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Uncommon Sheet Music for Flute and Alto Flute

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All scores that include a part for at least one flute.

  • Nicholson - Coolun - Fl or Fl & Pf or Fl & Hp

    nicholson coolun 240pxCoolun, A favorite Irish Air with Four Variations, by C. Nicholson

    Gassett Collection - Facsimile Edition by Noteworthy Sheet Music

    Piano Score and Flute Part, PDF $9.99

    Charles Nicholson (1795-1837) was a masterful, hugely popular, and highly influential English flutist and teacher, famous for his individual style and powerful tone.  Among Nicholson's compositions are 13 fantasies and 15 airs with variations, including Coolun. A favorite Irish Air with Four Variations arranged for the Flute with an ad libitum Accompaniment for the Piano Forte, or Harp.  The "Coulin" or "Coolan" was described in an 1833 letter to the editor of the Dublin Penny Journal ( as "an air, that once heard even in the earliest infancy, can never be forgotten—a melody which breathes the most touching tenderness and exquisite sensibility, and the memory of which, enables the Irish to hear Scotland's 'O, Nanny wilt thou gang with me,'—or her 'Banks and Braes,' without envious repinings."

    Nicholson's consummate rendition of Coolun is highly effective when played either as a solo for flute alone or by flute with accompaniment of piano, lever harp, or pedal harp.  The Gassett Collection print from which our facsimile was created consists of a score for piano forte and flute, without a separate flute part. The flute part included in our edition was created from the score using a modern music notation software program.   

    Noteworthy Sheet Music's publication of Coolun was favorably reviewed by Katherine Borst Jones in the January, 2014 issue of Flute Talk magazine.  You can read the review, reproduced on our website for your convenience, or at Flute Talk (subscribers).

    Piano score, 6 pages; Flute part, 5 pages; Total, 15 pages.




    To order our print edition of Coolun, A Favorite Irish Air arranged for Flute and Piano or Harp for $16.98 plus a $5.95 shipping and handling fee to addresses in the USA. 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.

  • Popp - Greetings to Hungary - Flute and Piano

    Popp Fl Pf nsmGreetings to Hungary, Op.407, by Wilhelm Popp

    Flute and Piano

    Flute Part and Piano Score, PDF $0.00

    Wilhelm Albrecht Otto Popp (1828-1903) was an esteemed German composer, flutist, and pianist. He received his flute training from Caspar Kummer and Louis Drouet, and served as court pianist and flutist at the Ducal Saxon Court Theater in Coburg-Gotha. In 1867 he moved to Hamburg and became first flute of the Hamburg Philharmonic Orchestra. Popp composed some 600 works, many of which were written for flute and piano; most of his compositions were published in his lifetime and were well-known to musicians of his day.

    Wilhelm Popp’s Gruß an Ungarn (Greetings to Hungary) was first published for flute and orchestra in 1890, and an edition for flute and piano was published in 1899. NSM re-notated the flute and piano version, changing only the formatting and adding bar numbers and a new cover page. With a decidedly Hungarian sentiment, this piece is great fun to play and provides an enjoyable, exciting listen for audiences as well.

    Click for a free download of our re-typeset edition of Popp’s Gruß an Ungarn.

    Piano score, 8 pages; Flute part, 5 pages; Total 16 pages.

  • Reinecke - Lieder - Voice, Violin (Fl/Afl), Piano

    reinecke.op.26 afl.fl 240Waldesgruss and Frühlingsblumen, Op.26, by C. Reinecke

    Facsimile Edition plus Transcriptions for Flute & Alto Flute by C.A.Vater

    Score for Violin, Voice, & Piano, Violin Part, Flute & Alto Flute Parts, PDF $9.98

    Carl Reinecke (1824-1910) was a renowned German pianist, composer, conductor, and teacher of composition.  He composed numerous works, and for over 35 years was a leader of the music scene in Leipzig.  Reinecke's Op.26 includes two songs for voice with accompaniment of violin and piano: No.1, Waldesgruss (The Forest's Greeting); and No.2, Frühlingsblumen (Spring Flowers). The vocal range of Reinecke's Op.26 lieder extends from C4 to A5, and thus is well-suited for either soprano or mezzo-soprano.

    Our edition contains an "enhanced" facsimile of the original score and violin part, plus new transcriptions of the violin part for either alto flute or flute.  Thus, the two songs may be performed utilizing the accompaniment of violin, alto flute, or flute, along with the voice and piano.  Alternatively, these pieces work very well as an instrumental arrangement with the voice part played on flute, accompanied by alto flute and piano.  

    Score, 6 pages; Violin, Alto Flute, and Flute parts, 2 pages each; Total, 18 pages.

  • Reissiger & Fürstenau - Les Inseparables! - Fl & Pf

    reissiger  furstenau nsmLes Inseparables!, Op.45, by Reissiger & Fürstenau

    Grand Original Duets for Piano and Flute, No.1

    Gassett Collection - Facsimile Edition by Noteworthy Sheet Music

    Flute and Piano Parts, PDF $20.25

    Carl Gottlieb Reissiger's Opus 45 was written as a Sonata for Violin and Piano, but was adapted for flute by Anton Bernhard Fürstenau.  Fürstenau (1792-1852) composed and arranged many works for flute.  He was among the most admired flutists of the 19th century and remains a well-known favorite of flutists today.  Reissiger (1798-1859) was an accomplished composer of opera, orchestral, and chamber music.  An influential figure in the city of Dresden, he served as Director of the Dresden Opera and later as Kapellmeister.  Les Inseparables! No.1, is the first of the Three Grand Original Duets for Piano and Flute by Reissiger and Fürstenau.  The piece, which consists of three movements, is a virtuosic work that should delight and challenge both players.  

    Piano part, 21 pages; Flute part, 6 pages; Total, 33 pages.

  • Reissiger & Sedlatzek - La Pasta - Fl & Pf

    R-S LaPasta nsmLa Pasta! Op.36, by Reissiger & Sedlatzek

    Concertantes Variations sur la Cavatina de Rossini, No.3

    Gassett Collection - Facsimile Edition by Noteworthy Sheet Music

    Flute and Piano Parts, PDF $13.50

    Reissiger and Sedlatzek's  work  La Pasta is a particularly effective concert piece with which the accomplished flutist can enthrall a diverse audience by evoking the dramatic majesty of grand opera while applying the scintillating techniques of the 19th century virtuoso.  La Pasta is flutist Johann Sedlatzek's homage, celebration, and souvenir of the redoubtable  mezzo-soprano Giuditta Pasta (1798± - 1866±), arranged by the superb composer/conductor Carl Gottlieb Reissiger.  Pasta (nee Negri)  was  a cynosure of Italian opera who created brilliant dramatic roles for Bellini, Donizetti, and Rossini.  Legendary Maria Callas (1923-77) is often compared to Pasta  by opera aficionados, but few are likely to have heard both in their prime.  — P. H. Bloom, 5/23/2011

    Piano part, 13 pages; Flute part, 5 pages; Total, 24 pages


  • Robichaux - Recurrence - Flute & Piano

    Robichaux Recurrence nsmRecurrence, by Ben Robichaux

    Contemporary Composition for Flute and Piano

    Flute Part and Piano Score, PDF $12.99

    NSM welcomed composer Ben Robichaux as a new contributor to our catalog in early June, 2017, when we published his piece Recurrence for flute and piano.  For details of Mr. Robichaux's background, interests, and other works, please click the link to access the Composers section of the NSM website.

    Recurrence was written for the composer's friend Michael Lyons.  As outlined in the program notes, the "duet is framed in a traditional rondo form: ABACA. The returns of the A theme are never literal returns and repeated materials among the differing sections are never identical repetitions. These returns of A are the inspiration for the title, and the re-occurrence of the A material is a study on the lengths that a theme can be stretched and still be recognizable. The returns undergo extensive development. The B and C sections are meant to be extreme contrasts to the A sections as a means of cleansing the aural palate in order to erase the listener's memory of the theme. Despite the great lengths taken to blur the primary theme, its recognizability is undeniable. The closing section is a reflection on the basic differences among the three occurrences of the main theme. This final section is a summation of the processes that have previously been blurred by the contrasting sections of the piece. Ultimately the form portrays a futile fight that concludes with a peaceful resignation to the inevitable."

    mp3 iconThe premiere of Recurrence took place in July, 2017, with Kenneth Cox (flute) and Bronwyn Schuman (piano).  The performance was recorded by audio engineer Charles Hagaman; a sample can be heard by clicking the mp3 icon. 

    The cover artwork for our publication was created by Scoop Brancisco, used with permission.

    Piano score, 10 pages; Flute part, 3 pages; Total, 15 pages.

  • Saint-Saëns - Fantaisie - Flute

    saint-saens fantaisie nsm 245Fantaisie, Op.124, by Camille Saint-Saëns

    Transcribed for Flute (originally for violin) by Peter H. Bloom

    Flute Part, PDF $8.98

    The following excerpt is taken from Peter H. Bloom's foreword to the edition:

    "We flutists are always on the lookout for great repertoire to perform with harp, and the Fantaisie is a perfect gem to purloin from the violinists' repertoire.  The expressively romantic melodies, lush impressionistic sonorities, athletic intervals, diversity of articulation, variety of dynamics, and evocative exoticism are ideal for the flute.  The few problems of range are easily modified, customized, accommodated.   As a duo, the work features both instruments in equally prominent and demanding roles.  It's no surprise, then, that a number of flute transcriptions have been generated over the years.  My goal, in this current work, is to provide fellow flutists with a significantly fresh approach to the Fantaisie.

    Although a simplified adaptation of the Fantaisie is fairly straightforward, an arrangement that preserves the thrilling virtuosic intensity and rhetorical thrust of the work is another matter.   An accurate presentation of Saint-Saëns's aural palette is essential to an authentic performance of the Fantaisie, and methods of achieving dynamic balance and tonal color often differ between flute and violin.  The rhetorical nuances of articulation between the two instruments also require different approaches to achieve equivalent interpretations. The treatment of the violin pizzicato at measure 178, the elimination of articulation marks at measure 11, the inversions of double-stops/tremolos at measure 43-44 and 77-86, and the octave transposition from measure 184-194 exemplify these accommodations.

    Violin double-stops present a conundrum.   Technically impossible on the flute, double-stops are often reduced to a single line.  The lower part is simply excised. But discarding the sonic complexity and virtuosic gesture of Saint-Saëns's parallel voicing dilutes the music and belies the composer's dramatic intentions.   I've suggested double-stops be executed, on the flute, as tremolos.  They're somewhat challenging but not impossible.   Consider that the tremolo, as a virtuoso flute technique, was perhaps more popular during the composer's lifetime than in the late 20th and early 21st centuries.

    Changes to the original violin part are made, here, with the intention of conserving the composer's ingenious creation.  After a decade of study, experimentation, adjustment, and performance of this work, I've settled on a transcription for flute that conveys, with integrity, the musical spirit of the original orchestration."

    P. H. Bloom, May 11, 2013 ©

    mp3 iconClick the icon to listen to a portion of the Saint-Saëns's Fantaisie performed by the duo "2", Peter H. Bloom on flute and Mary Jane Rupert on harp.  Or watch part of a performance video on YouTube


    Fantaisie, Op.124 was written originally for violin and harp.  We provide the Fantaisie flute part transcribed by P. H. Bloom; the harp part is available as a free PDF download from online libraries of public domain music, such as

    Flute part, 7 pages; Total, 12 pages.




    We also offer a professionally-printed hard copy edition of Fantaisie, Op.124 by Saint-Saëns, transcribed for Flute for $14.99 plus a $5.95 shipping and handling fee to addresses in the USA.  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.

  • Samolis - Canal - Soprano & Flute

    Samolis.Canal.Cover.webCanal, by Matt Samolis

    Contemporary Composition for Soprano and Flute, PDF $13.95

    Matt Samolis began studying flute, then later composition and tenor banjo. He has worked with ensembles at New England Conservatory, Brandeis University, and Tufts University, as well as Open Hand Theatre, Pilgrim Research Collaborative, and numerous other projects.  Currently, his primary focus is composition, curating, and performing as a flutist with various local groups, as well as his drone alliance, The Metal & Glass Ensemble.

    Canal is written in a free, self referential style, and uses the text of Roy Campbell's poem of the same name, written in 1920.  Despite the somber text, the mood is idyllic and somewhat reminiscent of the contemporary musical language in use at that time.  Each player also has a brief ad lib section, where they can interpret the material as they choose.  

    Click to listen to two snippets of an audio recording of Canal, performed by soprano Noell Dorsey and composer/flutist Matt Samolis:    mp3 icon Canal Owlseyes     mp3 icon Canal Whiteflame

    Or listen to the full recording on Matt's website.

    Score for Soprano and Flute, 5 pages; Total, 7 pages.



    US customers may purchase professionally-printed hard copies of Canalfrom Noteworthy Sheet Music for $20.93 plus a $5.95 shipping and handling fee.  Please use the Contact Us form to let us know which print edition(s) you would like to purchase, along with your contact information and your USPO mailing address.

  • Samolis - Duo for Two Flutes - Flutes

    samolis.duo.imageDuo 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. samolis-webTo listen to bits of a recording of Duo for Two Flutes performed by Matt Samolis and Peter H. Bloom, click on the icons below.

    Duo for Two Flutes audio 2 mp3 icon

    Duo for Two Flutes audio 4 mp3 icon

    Score for Two Flutes, 8 pages; Total, 11 pages.

  • Sarasate - Romanza Andaluza - Flute

    sarasate op.22 image 240pxRomanza 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  We provide the Flute part - click below to preview p1.

    Flute part, 4 pages; Total, 6 pages.

  • Schnauber - A Little Grand Wedding March Waltz - Piccolo and Trombone

    Schnauber Waltz nsmA 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

  • Schnauber - Those Infernal Exsanguinators - Flute and Piano

    Schnauber Exsanguinators nsm blThose 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 arecording 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.

  • Schubert - Erlking - Flute, Cello & Piano

    Schubert Erlking Trio nsmErlkönig, 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."

    Piano score, 8 pages; Flute part, 2 pages; Cello part, 2 pages; Total, 20 pages.


    We also offer a printed hard copy edition of Erlking for $20.38 plus a $5.95 shipping and handling fee to addresses in the USA. Please use the Contact Usform 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.

  • Schubert - Rondo in B minor - Flute (and Piano)

    Schubert RondoD895 Fl nsmRondo 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.

  • Schumann, Clara - Three Romances - Alto Flute or Flute (and Piano)

    SchumannC Op22 Afl Fl nsmThree 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.

  • Scriabin - Romance - Transcribed for Clarinet, Flute, or Alto Flute

    ScriabinRomance, 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

    Scriabin image courtesy of, PD-old.

  • Slawinski - 5 Dessert Rounds - Two Flutes

    Slawinski.DessertRounds nsm5 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


    Click to listen to a few audio samples of the Dessert Rounds:

    Round 1  mp3 icon

    Round 2  mp3 icon

    Round 4  mp3 icon

    Round 5  mp3 icon

    Score for two flutes, 6 pages; Total, 10 pages.



  • Slawinski - Bagette no. 4 - Flute & Piano

    slawinski bagette no.4 nsmBagette no. 4, by Zenon Slawinski

    Contemporary Composition for Flute and Piano

    Flute Part and Piano Score, PDF $16.99

    Zenon Slawinski studied music theory and composition at the University of Michigan with Leslie Bassett, William Bolcom, and William Albright. He also studied Campanology with Hudson Ladd. After graduating with honors he pursued a career in both music and graphic design. Mr. Slawinski was co-music director for the Peabody and Ohio State award winning Children's Radio Theatre program, and scored numerous independent and industrial films and films for the Smithsonian Institution that aired at Smithsonian museums and on PBS. He wrote the music to the popular political talk show The John McLaughlin Group. Mr. Slawinski was a founding partner of a multimedia production company and recording studio working in the early interactive days on educational and entertainment music projects in the CDi and CD-ROM formats, many of which won numerous awards. For more details of Zenon Slawinski's biography, please see the Composers section of the NSM website.

    Bagette no. 4 is from a set of four Bagettes written by Zenon Slawinski for his flutist wife, for the two of them to play together. The piece showcases the flute and has challenging moments for both players throughout. The spelling of "bagette" is intentional. The piece opens and closes with a quick ostinato in ¾ in the piano part that lays the foundation for the feel of the entire Bagette. The second section is more pensive and contemplative, with the piano taking the lead initially. The next section is bold and in a new key - B major - and here the flute and piano engage in a playful interaction. The composer intends for the players to put their own spin on the piece and interpret the music freely.

    You may also listen to audio of the piece, recorded on the composer's Yamaha MOTIF ES with the sampled piano and flute sounds found in the instrument.  Click to listen

    Customers who purchase the sheet music to Bagette no. 4 are entitled to a free rehearsal mp3 of the piano track with which the flutist can play along.

    Piano score, 15 pages; Flute part, 7 pages; Total, 26 pages.



  • Slawinski - Cookies - Flute & Piano


    Slawinski Cookies nsmCookies, by Zenon Slawinski 

    Contemporary Composition for Flute and Piano

    Flute Part and Piano Score, PDF $24.50

    From the preface by Zenon Slawinski:

    The Cookies came about because my wife and I had been exploring the various compositions and arrangements available for flute and piano and I felt that we needed something new for our time and our audience. We live in a constantly changing world yet we love to hang our hat on the past, especially when it comes to music.  I wanted to create a set of pieces that would not only be enjoyable for the listener but provide the players with a high level of satisfaction.

    These pieces range in difficulty from the rather simple and easy to play (Cookies 1, 2, 4, 7), to the intermediate (Cookies 5, 8, 9, 11), and to the more challenging (Cookies 3, 6, 10, 12).

    A special note about Cookie No. 5.  This piece was influenced by the Jazz tunes in the popular series of Real Books which follow a common practice in today's "chart" or "lead sheets" where the melody line is written out and chords are marked for the accompaniment to play.  This gives a lot of freedom initially to the piano.  As the flutists becomes more familiar with their part, I would encourage them to get off the page and try some of their own lines.

    I purposely gave few performance markings so that players can create their own.  Interpret these freely and have fun.

    Zenon Slawinski, September 17, 2014

    You may listen to some short audio samples of the Cookies, recorded on the composer’s Yamaha MOTIF ES with the sampled piano and flute sounds found in the instrument.

    Cookie 1 mp3

    Cookie 2 mp3

    Cookie 3 mp3

    Cookie 4 mp3

    Cookie 5 mp3

    Cookie 6 mp3

    Cookie 7 mp3

    Cookie 8 mp3

    Cookie 9 mp3

    Cookie 10 mp3

    Cookie 11 mp3

    Cookie 12 mp3

    Customers who purchase the sheet music to Cookies are entitled to free rehearsal mp3’s of the piano tracks with which the flutist may play along.

    Cookie 9 is a flute solo; the piano is tacet.


    Cookies 1 to 12, complete edition: Piano score, 60 pages; Flute part, 21 pages; Total, 84 pages, PDF Price $24.50. 

    For those who would prefer to buy a subset of the Cookies, rather than all 12, we offer three smaller editions:

      Cookies 1,2,4,7: Piano Score, 15 pages; Flute part, 5 pages; Total 24 pages; PDF Price $9.45

      Cookies 5,8,9,11: Piano Score, 15 pages; Flute part, 7 pages; Total 28 pages; PDF Price $9.45

      Cookies 3,6,10,12: Piano Score, 30 pages; Flute part, 9 pages; Total 42 pages; PDF Price $18.90

    Add To Cart Product Name Price
    Slawinski - Cookies - Complete Edition 1-12 - Flute & Piano
    Slawinski - Cookies 1,2,4,7 - Flute & Piano
    Slawinski - Cookies 5,8,9,11 - Flute & Piano
    Slawinski - Cookies 3,6,10,12- Flute & Piano


    US customers may purchase professionally-printed hard copies of the complete edition of Cookies for $41.65 plus shipping and handling.  Please use the Contact Us form to let us know which sheet music you would like to purchase, along with your contact information and your USPO mailing address.

  • Snow Pond Anthology—2015

    SPA nsmSnow 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.