All scores that include a part for at least one alto flute.
Drei Romanzen, Op.94, by Robert Schumann
Transcribed for Alto Flute (and Piano) by Carol A. Vater
Alto Flute Part, PDF $5.96
Robert Schumann composed his Drei Romanzen (Opus 94) for oboe and piano in 1849, and Simrock published the first edition, Drei Romanzen für Hoboe, ad libitum Violine oder Clarinette, mit Begleitung des Pianoforte, in 1851. Others have created arrangements of this popular piece for additional instruments, including cello, alto sax, soprano sax, tuba, flute, and horn. The 3 Romances are beautifully adaptable to the alto flute’s range and sonority. We provide here the alto flute part; the piano part is readily available in the public domain, free, as a pdf download of the score for oboe and piano. Here is a link to one such source: Piano Score.
Alto Flute part, 6 pages; Total, 8 pagesPreview
Fantasiestücke, Op.73, by Robert Schumann
Transcribed for Alto Flute and Piano by Carol A. Vater
Alto Flute Part, PDF $5.96
Robert Schumann composed his Fantasiestücke (Fantasy Pieces) for clarinet and piano, but also arranged them for cello with piano. Others have since created arrangements of this highly popular and frequently performed piece for a variety of additional instruments. The Fantasy Pieces are charmingly adaptable as a work for alto flute and piano, and we offer here our alto flute transcription of the solo part. The edition does not include the piano part, but a suitable version is readily available in the public domain as a free pdf download of the score for clarinet and piano. Here is a link to one such source: Piano Score.
Alto Flute part, 6 pages; Total, 8 pages.Preview
Fünf Stücke im Volkston, Op.102, by Robert Schumann
Transcribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $6.99
Excerpted from the foreword by John W. Pratt:
"Robert Schumann (1810-1856) wrote Fünf Stücke im Volkston (Five Pieces in Folk Style), Opus 102, for violoncello and piano on April 13-15, 1849. // Fünf Stücke im Volkstonwas premiered on Schumann's 40th birthday, June 8, 1850 by his wife, Clara, and their friend Andreas Grabau, the dedicatee, a cellist in the Leipzig Gewandhaus Orchestra. Clara thought the pieces beguiling, fresh, original, and under-appreciated. They have been viewed as precursors of his cello concerto, composed in October, 1850, and first performed after his death in honor of his 50th birthday. // Just as folk songs may appropriately be sung by a great variety of voices, it is perhaps appropriate that songs without words in folk style may be played by a great variety of solo instruments and piano. In any event, Schumann's Fünf Stücke im Volkston have been arranged for oboe, viola, clarinet, alto saxophone, horn, bass clarinet, bassoon, trombone, and baritone saxophone, at least. The pieces are this popular for good reason, being varied and appealing, and we are pleased to add alto flute to this list. Though often programmed by professionals, they call for folk-like playing, not virtuosity, and are entirely suitable for ordinary folk."
We provide our transcribed alto flute part only; the piano score is in the public domain and available without charge from imslp.org.
Alto Flute part, 6 pages; Total, 10 pages.Preview
Märchenbilder, Op.113, by Robert Schumann
Transcribed for Alto Flute and Piano by J.W.Pratt & C.A.Vater
Alto Flute Part, PDF $9.98
Märchenbilder (Fairy Tale Pictures) was composed for viola and piano by Robert Schumann, and the work is now a staple of the viola repertoire. The piece was alternately indicated for violin and piano by the composer himself. We have created a transcription of the viola part for alto flute, which we provide here. The piano part is readily available in the public domain as a free pdf download of the score for viola and piano. Here is a link to one such source: Piano Score.
Alto Flute Part, 10 pages; Total, 12 pages.Preview
Sonata in A minor, Op.105, by Robert Schumann
Transcribed for Alto Flute (and Piano) by John W. Pratt
Alto Flute Part, PDF $8.99
Sonata in A Minor, Opus 105, was the first of two violin sonatas composed by Robert Schumann in 1851. The first movement has a gentle melody very well suited to the alto flute and the kind of flowing piano accompaniment and overlapping harmonies one finds in much of Schumann's chamber music. The Allegretto, with its hesitations and shifting moods and motifs, is also well suited to the alto flute. The restless final movement is exciting and effective (and a workout for both players) whatever solo instrument is used. The range and dynamics of Schumann's violin part, as well as its character, fit the alto flute's nature and capabilities beautifully. We provide our alto flute transcription of the violin part; the piano score and original violin part are available elsewhere in the public domain as free pdf downloads (click on the link).
Alto Flute part, 9 pages of music; Total, 12 pages.Preview
Three Romances, Op.22, by Clara Schumann
Transcribed for Alto Flute or Flute (and Piano) by C.A.Vater
Alto Flute Part and alternative Flute Part, PDF $8.99
Clara Schumann’s Drei Romanzen für Pianoforte und Violine, Op. 22, were written in 1853 and dedicated to the Schumanns’ great friend, the famous Hungarian violin virtuoso Joseph Joachim, with whom Clara performed the Three Romances when they concertized together on tours across Europe. The Romances are lovely, short pieces; melodic and expressive, they epitomize the Romantic era and represent true chamber music in the sense that both instruments are featured comparably, rather than the piano having a merely accompaniment role. They are nicely adaptable to wind instruments, and are particularly lovely when played on alto flute. Our transcription required few modifications to bring the original violin part completely in range for alto flute and provide flute-friendly, musically-appropriate alternatives to the occasional violin double-stop. Some flutists may wish to mix and match the three movements, preferring to play one or two of the Romances on alto flute and the third on concert flute, or vice versa; so, to that end, we have included in this edition a complete alternative part adapted for C-flute. We do not provide a re-notated copy of the score, however, since high-quality PDFs of the piano and violin score are freely available in the public domain, and are easy to use along with our flute transcriptions of the violin line. To download one such PDF of the score, please visit the imslp website.
Alto Flute part, 5 pages; Flute part, 5 pages; Total 14 pages.Preview
Romance, by Alexander Scriabin
Transcribed for Clarinet or Flute or Alto Flute (and Piano) by J. W. Pratt
Parts, PDF $0.00
Alexander Scriabin (1872-1915), the mystic Russian composer with music to match, wrote nine mind-bending orchestral works and myriad mostly miniature piano pieces. He began as a "Russian Chopin" and ended planning a week-long "Mysterium" to be performed in the Himalayas using "an orchestra, a large mixed choir, an instrument with visual effects, dancers, a procession, incense, and... mists and lights" (Wikipedia).
The Romance of 1890, his only chamber work except one variation for string quartet, is nearer the Chopin end of that spectrum, though the piano part adds harmonic and rhythmic complexities not evident from the solo part alone.
- John W. Pratt, Jan. 19, 2016
Please click on the links to download your free PDFs:
Transcription for clarinet required no changes of pitch. Scriabin - Romance - Clarinet
The transcription for flute is raised an octave, except the last five measures. Scriabin - Romance - Flute
The transcription for alto flute raises MM21-24 and MM36-48 an octave. Scriabin - Romance - Alto Flute
The piano score is freely available on IMSLP.org.
Scriabin image courtesy of Wikimedia.org, PD-old.
Snow Pond Composers Workshop Anthology New Music for Flute 2015
Edited by Joshua Tomlinson, PDF $21.95
The first annual Snow Pond Composers Workshop took place June 7-13, 2015, under the direction of Edward Jacobs and Richard Nelson. The workshop was part of the broader Snow Pond Music Festival taking place in Sidney, Maine. Peter H. Bloom was the Visiting Performing Artist, and Elliott Schwartz was the Guest Composer. The Snow Pond Composers Workshop Anthology—New Music for Flute 2015, edited by Joshua Tomlinson, includes all of the scores presented at the workshop:
ED by Sean O. G. Burns | one player, on flute with kick drum and voice
Where Wind Blows by William C. Edwards | solo flute
Farewell to Charms by Henry Feinberg | solo flute
Amuse-Bouche by Edward Jacobs | solo flute
Published by American Composers Alliance, reprinted with permission.
Stillness by Richard Nelson | trumpet, saxophone, guitar, bass, and drums/percussion;
or, flute and electric guitar (or other small combination of instruments)
Party On, Bloom! by Alan Racadag | one player, on piccolo, C-flute, alto flute,
and optional bass flute
Soliloquy III by Elliott Schwartz | one player, on flute, piccolo, alto flute, and piano
Published by American Composers Alliance, reprinted with permission.
Something Human by Joshua Tomlinson | solo flute
Indecision (...or maybe not) by Isaac Ward | solo flute
Vyvirian Folk Songs by Julian Ward | solo flute
Quicksilver by Joshua Zinn | solo flute
This is a remarkable collection of new music for flute, which Noteworthy Sheet Music is pleased to make available to the broader flute community. Our edition includes composer biographies and performance notes, as well as the scores.Scores, 39 pages of music; Total, 64 pages.
Awarded 2018: Congratulations to composer Edward Jacobs on being awarded a prestigious Guggenheim Foundation Fellowship.Peter H. Bloom gave a lecture on “Effective Writing for Flutes and the Contemporary Flutist” at the 2018 Snow Pond Composers Workshop. In his presentation, Mr. Bloom discussed various topics using four contemporary works published by Noteworthy Sheet Music, including Amuse-Bouche and Soliloquy III, as examples. We later published a free text version of this excellent presentation on our website, in the Reviews and Articles section, including some of the audio clips and supplemental written materials that Mr. Bloom used as demonstrations... click the link to access the text version.===========================================================We also offer a plastic-comb-bound print edition of the Snow Pond Anthology for $37.32 plus a $5.99 shipping and handling fee. We ship print editions only to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.===========================================================
Arab Dance, by P. Tchaikovsky
Arranged for Flute and Harp or Piano by Mary Jane Rupert
Transcribed for Alto Flute by C.A.Vater
Alto Flute Part and Harp or Piano Score, PDF $7.99
Mary Jane Rupert's arrangement of The Nutcracker for flute and harp or piano includes all of the pieces from the original Suite, Op. 71a, except the Overture. Dr. Rupert stayed as close as possible to the original orchestration, in terms of key, harmony, register, and color. Originally published in 1988, the arrangement was re-edited by Dr. Rupert in 2013 for publication as separate flute/piano and flute/harp editions by Noteworthy Sheet Music. After creating the new flute editions, Noteworthy Sheet Music's editors realized that one of the pieces of the suite in particular, Arab Dance, would work beautifully on alto flute. We created an alto flute transcription of the flute part, both for ourselves and for our alto flutist friends.
We offer separate versions of the score for piano or harp, although in the case of the Arab Dance the harp-specific notation is minimal compared to some of the other pieces contained in the complete edition of The Nutcracker arranged for flute and harp.
Butterfly Effects, by Elizabeth Vercoe
Contemporary Composition for Flute(s) and Harp
Flute Part and Harp Score, PDF $26.99
Butterfly Effects is an intriguing and varied piece in seven sections for flute and harp in which the flutist is asked to play bass, alto, piccolo and concert flutes. The titles are the names of butterflies: Mourningcloak, Banded Blue Pierrot, Common Jezebel, Question Mark, Monkey Puzzle, Karner Blues, and Psyche.
Excerpted from Elizabeth Vercoe's preface: "Butterfly Effects for flute and harp was written for the duo "2", with flutist Peter H. Bloom and harpist Mary Jane Rupert, who premiered the first parts of the piece in Bangkok and the entire work in Illinois in 2010. Along with the butterflies themselves, a quotation from Zhuangzi was the starting point for the music: "Am I a human who dreamt of being a butterfly or am I now a butterfly who dreams of being human?" The Taoist philosopher's dream illustrates, among other lessons, his sense of oneness with all living beings. // All seven movements are short, some only a minute in length. Mourningcloak, for alto flute and harp, is somber and reflective. Banded Blue Pierrot (concert flute) is short and glittering. Common Jezebel is a sultry tango for bass flute and harp that becomes increasingly chromatic and contrapuntal, requiring the harpist to do some fancy footwork. Question Mark, also for bass flute, requires the flutist to use "beat boxing" and key slap techniques that maximize the percussive qualities of the flute. Monkey Puzzle, in a kind of mimicry of the confusing antennae and pseudo antennae of the insect, flutters along to the middle of the piece and then proceeds backwards to the beginning in what is known as retrograde motion. Karner Blues adopts some of the riffs of blues instrumentalists and singers in the only movement for piccolo. Psyche, a word meaning breath or soul in Greek, is for concert flute and reminds us again of the Zhuangzi dream and the oneness of all living beings."
Butterfly Effects may be performed by one flutist playing multiple instruments, or by multiple flutists each playing one instrument for the relevant movement(s).
Our striking cover image for this publication is of the painting "Jezebel Tapestry #2" by Louisa King Fraser, used with the artist's permission.
Butterfly Effects for flute(s) and harp received a rave review by Nicole Riner in the Fall 2015 edition of the National Flute Association’s membership magazine The Flutist Quarterly. Read the review in its entirety reprinted on the NSM website with permission from the NFA, or visit the NFA website.
Peter H. Bloom gave a lecture on “Effective Writing for Flutes and the Contemporary Flutist” at the 2018 Snow Pond Composers Workshop. In his presentation, Mr. Bloom discussed various topics using four contemporary works published by Noteworthy Sheet Music, including Butterfly Effects, as examples. We later published a free text version of this excellent presentation on our website, in the Reviews and Articles section, including some of the audio clips and supplemental written materials that Mr. Bloom used as demonstrations.
The Elizabeth Vercoe CD "Butterfly Effects and Other Works" was released in November 2018. The CD is available through Navona Records and features the title track performed by duo "2". Here is a quote from Cinemusical's review of the CD: "The album opens with a multi-movement work for flutes and harp, Butterfly Effects (2009). Across the seven movements, Vercoe explores the qualities of different instruments in the flute family: alto flute, bass flute, concert flute, and piccolo. The music has a slight impressionistic quality to it, aided by the harp’s material. Against this is first a rather dreamy, dark opening movement (“Mourningcloak”); a faster-paced flitting “Banded Blue Parrot”; a tango (“Common Jezebel”); intriguing effects like beat-boxing (“Question Mark”) and blues riffs (“Karner Blues”); and a palindromic compositional technique (“Monkey Puzzle”). The flute lines allow for registral exploration and often features some sinuous lines. Some are sultrier than others, but it is as if these are all like watercolor brushstrokes that tend to be somewhat introspective in this often stunningly beautiful work." Another nice review of this CD, written by Nicole Riner, came out in the Flutist Quarterly Spring 2019 edition; here's a quote: "I had the pleasure of reviewing the sheet music for Butterfly Effects for this publication in 2015 and found it to be wonderfully diverse and intriguing. /// Bloom and Rupert perform this work deftly and with a great sense of unity”.
Flute part, 16 pages; Harp Score, 43 pages; Total, 66 pages.Preview
We also offer a printed hard copy edition of Butterfly Effects for $45.88 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.
Grand Duo Concertant, Op.48, by Carl Maria von Weber
Transcribed for Alto Flute and Piano by John W. Pratt
Alto Flute Part, PDF $9.98
Carl Maria von Weber (1786-1826), an important forerunner of the Romantic school, was a prolific composer, yet wrote only three substantial chamber works. One is the Grand Duo Concertant for clarinet (or violin) and piano. Sounding a bit like Mozart on steroids, with robust harmonies and brilliant passagework, it has three movements - an exciting Allegro con fuoco, a beautiful Andante with a very rich, chordal piano accompaniment and passionate piano interlude, and a sparkling Rondo. We offer this excellent alto flute transcription of the clarinet part; the piano part is readily available in the public domain, as a free high quality pdf download of the score for clarinet and piano; here is a link to the listing on imslp.org: Piano Score
Alto Flute part, 10 pages; Total, 12 pages.Preview