Samolis - Duo for Two Flutes - Flutes
Duo for Two Flutes, by Matt Samolis
Contemporary Composition for Two Flutes, PDF $17.99
Duo for Two Flutes was written using twelve tone techniques. The original tone row was divided in half, with each set of six tones being used to generate one of the flute parts. Frequently changing time signatures reflect compositional organization of the pitches, and does not establish meter. The piece has a playful, somewhat mechanical feel. 
To listen to bits of a recording of Duo for Two Flutes performed by Matt Samolis and Peter H. Bloom, click on the icons below.
Score for Two Flutes, 8 pages; Total, 11 pages.
PreviewSarasate - Romanza Andaluza - Flute
Romanza Andaluza, by Pablo de Sarasate
Transcribed for Flute (originally for violin) by Peter H. Bloom
Flute Part, PDF $6.66
'Pablo Sarasate was one of those rare violin virtuosos whose compositions, while designed to display instrumental athleticism, also expressed elegance, economy, imagination, a suave sensuality, and musical integrity. His music befits the sort of technique that, although acrobatic, is captivating rather than assaultive; evocative rather than provocative. It's with this spirit—to amuse, amaze, and engage the audience while providing a satisfying challenge to the performer—that I've adapted his Romanza Andaluza for flute.
Sarasate frequently used the musical material of folk songs and dances from his native Spain as a framework for his pieces. With the melody prescribed, the harmonies implied, and the style both familiar and exotic, he would paraphrase, embellish, and interpret as if to say "with the violin, we can do this..." Inspired by his source material, his methods, and his style, I propose that: With the flute, then, we can do this...' ― Peter H. Bloom, June 23, 2012 ©
Romanza Andaluza, Op.22 was written originally for violin and piano. Editions of the piano score (click to access) are available as free PDF downloads from online libraries of public domain music, such as imslp.org. We provide the Flute part - click below to preview p1.
Flute part, 4 pages; Total, 6 pages.
PreviewSchnauber - A Little Grand Wedding March Waltz - Piccolo and Trombone
A Little Grand Wedding March Waltz, by Tom Schnauber
Score for Piccolo and Trombone, PDF $4.99
This piece was written for the wedding of two good friends of mine from graduate school. One was a trombonist and the other a piccolo specialist. It was conceived in the lovely tradition of Hausmusik: short, simple, fun, and meant for two people to play with each other or for friends. Also, though the score indicates trombone and piccolo, it should be equally satisfying with a cello or bassoon on the lower part and a standard flute on the upper. Or even contrabassoon and piccolo . . . whatever you have available. —Tom Schnauber
Score, 3 pages; Total, 4 pages
PreviewSchnauber - Not-Pooh Songs - Female Voice and Flute or Female Voice and Oboe
Not-Pooh Songs, by Tom Schnauber
For Female Voice and Flute or Female Voice and Oboe, 2 editions
Score for Female Voice and Flute, PDF $18.46
Score for Female Voice and Oboe, PDF $18.46
Tom Schnauber’s Not-Pooh Songs are absolutely delightful. The composer has set to music six children’s poems by A. A. Milne, four from When We Were Very Very Young (“The Alchemist”, “The Mirror”, “The Four Friends”, and “If I Were King”) and two from Now We Are Six ("The Charcoal Burner" and "The Engineer"). The work is offered by Noteworthy Sheet Music, LLC in two publications, one for female voice and flute, the other for female voice and oboe. The oboe line is sufficiently different from the flute line in terms of register to warrant it being published as a separate edition (i.e., the flute version makes use of that instrument’s wider range by putting some material in higher octaves). Also, the flute edition includes an alternate variation of “The Mirror” for voice and alto flute, whereas the oboe edition includes an alternate variation of “The Mirror” for voice and English horn.
It’s clear from hearing this music that Schnauber gets a real kick out of Milne’s poetry. The flute/oboe comments, echoes, etc. go with or against the voice line very effectively and entertainingly. These songs will have broad appeal to both players and audiences, and there’s a lot that a pair of performers could do with them. The music isn’t easy, but provides just the sort of challenges that the adventuresome player loves; in places, for example, the flute jumps from C7 to C4, plays multiphonics, and executes finger snaps. But, as the composer has pointed out, just because the music is somewhat demanding doesn’t mean that it should be presented seriously in performance; on the contrary, players should have fun with these pieces and convey the intended joy and playfulness of the work.
Note that both performers are to play from the score, so flutists and oboists may want to print their copy of the score single-sided to avoid a few difficult page turns.
To listen to a recording of Not-Pooh Songs performed by Mitsi Westra, voice, and Pamela French, oboe, visit Tom Schnauber’s SoundCloud page at https://soundcloud.com/user-557772917/sets/not-pooh-songs.
► Schnauber - Not-Pooh Songs - Voice and Flute - PDF
Preview: Not-Pooh Songs for Voice and Flute, p1
Score for female voice and flute, 22 pages; Lyrics, 2 pages; Total, 28 pages.
► Schnauber - Not-Pooh Songs - Voice and Oboe - PDF
Preview: Not-Pooh Songs for Voice and Oboe, p7
Score for female voice and oboe, 22 pages; Lyrics, 2 pages; Total 28 pages
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Schnauber - Those Infernal Exsanguinators - Flute and Piano
Those Infernal Exsanguinators, by Tom Schnauber
Flute part and Piano score, PDF $17.97
Summer in Minnesota. The sun is setting, the broad sky is clear, and the cool light of dusk promises a welcome respite from the day’s heat and humidity. You step out into the stillness and stand, gazing at the orange-red horizon, thankful for the dimming light and approaching night. And then they come. Those insidious little creatures, those vile insects that define and destroy the season: the mosquitoes. Only some at first, few enough to make you think that if you swat them away, you can still enjoy the evening air. But then more come, and more, and even more. They whine, you moan, they sting, you slap, they swarm, you flail. Soon, your body a mass of swelling welts, you realize that the twilight peace you had hoped for when you left your house is a sham, an impossible illusion shattered by the piercing terror of those infernal exsanguinators. Angry and itching, you run back inside and slam the door shut. —Tom Schnauber
In October, 2020, we at NSM were delighted to welcome Tom Schnauber as one of our contributing contemporary composers; click the link to read about this acclaimed composer's career and his many exciting projects.
Those Infernal Exsanguinators is a compelling piece; to discover this for yourself, please visit Tom Schnauber's soundcloud page and listen to a recording of the work beautifully performed by Tamara Thweatt, flute, and Hey-Seon Choi, piano.
Piano Score, 18 pages; Flute part, 7 pages; Total, 28 pages.
PreviewSchubert - Erlking - Flute, Cello & Piano
Erlkönig, Franz Schubert
Arranged for Flute, Cello, and Piano by John W. Pratt
Piano Score and Parts for Flute and Cello; PDF $11.99
Franz Schubert (1797-1828), inspired by reading Goethe's poem, wrote his song "Erlkönig" in a few hours in 1815. The song was an immediate hit, and continues to be popular to the present day. Numerous transcriptions have been prepared, but surprisingly none that we found for flute, cello, and piano. John Pratt has created such a trio arrangement, listed here, and also a duet version of the piece with Schubert's solo part adopted without change but with a less punishing alternative to Schubert's piano accompaniment.
Excerpted from Mr. Pratt's © preface:
"In the trio arrangement, the flute provides a natural voice for the child and for the mysterious Erlking, whose words are in the child's head. The cello makes a natural father. The narration is mostly given to the cello also, but the flute takes over when the child is mentioned in bars MM 24-30, and joins the cello when the ride is ending in anguish and distress (MM 139-145). The piano is treated as a member of a trio rather than an accompaniment to a voice singing words. The presence of the cello helps free the piano from the constant pounding and allows it to employ a wider range of expressive sonorities than Schubert's, befitting the absence of words. One might view the result as a kind of tone poem."
Preview
Schubert - Rondo in B minor - Flute (and Piano)
Rondo in B minor, D.895, by Franz Schubert
Transcribed for Flute (and Piano) by J.W.Pratt and C.A.Vater
Flute Part, PDF $11.99
The Rondo in B minor, D.895 (alternatively known as Rondeau brillant) was written for violin and piano in 1826 by the great Austrian composer Franz Peter Schubert. Dedicated to the young violin virtuoso Josef Slawjk, the Rondo is demanding in both the solo and piano parts. The work consists of an Andante introduction and an Allegro rondo, and is quite long at 713 measures and typically some thirteen minutes or more in duration. Inexplicably, the piece is less familiar to players and audiences than many of Schubert’s other works. Brian Newbould, renowned composer, conductor, author, and Schubert expert, wrote of the Rondo in his treatise Schubert: The Music and the Man (University of California Press, Jan 1, 1997, p365): “Not surprisingly, perhaps, it is little known because it is seldom played. But it is also undervalued: it scintillates, dances and sings, with a blend of infectious joy, tireless energy, rhythmic zip and ‒ from time to time ‒ heart-melting turns of melody and harmony.”
These characteristics and the way the music realizes them are not only suitable to but often even suggestive of a wind instrument. Our transcription provides effective flute-friendly alternatives for the violin’s double-stops as well as for notes that fall below the flute’s range, so the piece can be played comfortably and beautifully on flute. The Rondo is virtuosic in places, showy and exciting, and overall great fun to play. The Noteworthy Sheet Music edition of our transcribed flute part does not include a re-notated copy of the score, since high-quality PDFs of the piano and violin score are freely available in the public domain and are sufficient to use along with our flute part, in lieu of violin. To download one such PDF of the score, please visit the Rondo’s page on IMSLP.
Flute part, 12 pages; Total 14 pages.
PreviewSchumann, Clara - Three Romances - Alto Flute or Flute (and Piano)
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 provides 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.
PreviewScriabin - Romance - Transcribed for Clarinet, Flute, or Alto Flute
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, 2016Please 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.
Slawinski - 5 Dessert Rounds - Two Flutes
5 Dessert Rounds, by Zenon Slawinski
Contemporary Composition for Two Flutes
Score, PDF $4.99
Excerpts from the preface to the edition by Zenon Slawinski:
In most classic rounds the second voice begins and plays (or sings) the same melody as the first voice. That's the case here too for three of the five Dessert Rounds. Rounds 3 and 4 are different. In Round 3 - The Chocolate Chocolate Chip Cookie - the second voice plays the same melody but a third higher. In Round 4 - Sweet Potato Flan - the second voice plays the melody a 4th higher. // The Dessert Rounds are relatively simple and should not pose any difficulties for most intermediate players, although there are some tricky meter changes in Round 2 - Chocolate Mint Ice Dream - if you practice this slowly you'll soon be able to get past the meter changes and simply enjoy your dessert. // Round 4 - Sweet Potato Flan - is written in 7/4. // I purposely left off many performance markings so the players can make their own mark on the compositions. Interpret these pieces freely and have fun.
Zenon Slawinski, September 12, 2014
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Click to listen to a few audio samples of the Dessert Rounds:
Round 1 
Round 2
Round 4
Round 5
Score for two flutes, 6 pages; Total, 10 pages.
Preview