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Uncommon Sheet Music for Flute and Alto Flute


  • Bach - Chaconne - Flute or Alto Flute

    Bloom_head_shot_orchid_SilpakornChaconne, BWV 1004, by J. S. Bach

    Transcribed for Flute or Alto Flute by Peter H. Bloom, PDF $9.98

    The Chaconne BWV 1004, originally from Johann Sebastian's Suite in D minor for unaccompanied violin, is among the most challenging, controversial, enigmatic, and magnificent works known. This transcription by Peter H. Bloom was created for unaccompanied alto flute in G or concert flute in C. Mr. Bloom is motivated by an interest in historical performance practice, devotion to the art of improvisation, fascination with the technique of the flute and alto flute, and an abiding love of this masterpiece of Bach's. As well as transposing and digitally engraving the original version of the Chaconne, Mr. Bloom provides practical, effective, and cogent performer's solutions to the many interpretive challenges that occur throughout this work.  Click to preview a page of the Bach Chaconne

    Flute or Alto Flute part, 10 pages; Total, 12 pages.

  • Bach - Fugue in D-major - Woodwind Quartet

    Johann_Sebastian_BachFugue in D-major, BWV 532, by J. S. Bach

    Transcribed for Woodwind Quartet by John W. Pratt

    Score and Parts, PDF $25.00

    Among the big Bach organ fugues, BWV 532 is unusually well suited to woodwind quartet.  Written during Bach's early, carefree Weimar period (only four children to support), it is high-spirited and even witty.  It benefits from having a separate sonority for each voice, especially when the countersubject interjects a perky comment in the subject's empty space.  It has rapid passage work throughout, almost suggesting Mendelssohn — but his chamber music, not his organ music! 

    The woodwind quartet arrangement (for flute, oboe, B-flat clarinet, and bassoon) preserves Bach's four voices almost exactly.  Click to preview p2 of the score for Bach's Fugue in D major for woodwind quartet.

    Score, 11 pages; Parts, 20 pages; Total, 34 pages.

  • Bach - Prelude & Fugue - Wind Quintet

    bach wtc 1 22 ww5.image 240pxPrelude and Fugue, WTC Book I, No.22, by J.S.Bach

    Transcribed for Woodwind Quintet by John W. Pratt, PDF $16.00

    Though written for keyboard, this Prelude and Fugue from Book I of Bach's Well-Tempered Clavier is wonderfully adaptable to an instrumental quintet.  The Prelude, with its serene harmonic pacing, reveals an almost Schubertian sublime beauty, and the magical counterpoint of the five-part fugue emerges crystal-clear.  The challenge for the players, as well as the pleasure, lies in ensemble achievements, not technical difficulties in individual parts.  Scored for Flute, Oboe, B-flat Clarinet, Horn, and Bassoon, with an alternate part for Alto Flute in place of Oboe.  Click to preview p1 of the score for the Bach Prelude and Fugue for woodwind quintet Prelude and Fugue for woodwind quintet.

    Score, 6 pages; Parts, 2 pages each for Flute, Oboe (plus alternate Alto Flute), Clarinet, Horn, and Bassoon; Total, 20 pages.

  • Bach - Toccata, Adagio, and Fugue - Piano

    JP_at_piano_11.11.10.croppedToccata, Adagio, and Fugue, BWV 564, by J. S. Bach 

    Transcribed for Piano by John W. Pratt, PDF $14.84

    BWV 564 is unusual among Bach's big organ works.  It has a middle movement, an Adagio with an elaborate and gorgeous melody which can benefit greatly from the piano's shaded, nuanced dynamics and articulation.  The fugue, too, is atypical - light and lighthearted, well suited to the piano, with a fading coda that is if anything harder to treat convincingly on the organ than on the piano.  The exuberant Toccata is also highly effective and fun to play on the piano.  Click to preview p1 of the score for Bach's Toccata, Adagio, and Fugue for piano.

    Piano part, 15 pages; Total, 17 pages.

  • Beethoven - Adelaide - Flute & Piano

    beethoven adelaide nsmAdelaide, by Ludwig van Beethoven

    Anonymous Arrangement for Flute, each edition with a Foreword by P. H. Bloom

    New Edition, Flute Part and Piano Score (flute part in small staff) – PDF $10.50

    Facsimile Edition, Flute Part and Piano Score (clarinet part in small staff) – PDF $8.25 

    Beethoven completed his musical setting for Friedrich von Matthison's poem Adelaide in 1796.  The song quickly became a favorite interpretive vehicle for instrumentalists as well as singers.  Clarinetist Iwan Müller's "bel canto" treatment, essentially the original melody with added ornaments, cadenzas, and interpretive notations, remained a favorite among concertizing clarinetists for more than a century.  It's likely that Müller's work informs the anonymous arrangement for flute, published by Diabelli in the second quarter of the 19th century, that we present here....  This anonymous paraphrase of Adelaide is a masterful study of the subtle nuance and passionate restraint of "bel canto" instrumental praxis.  (excerpted from the foreword ©by P. H. Bloom)

    After offering our facsimile

  • Brahms - Drei Duette - 2 Voices and/or Instruments and Piano

    Brahms Drei-Duette nsmDrei Duette, Op.20, by Johannes Brahms

    Transcribed for Mixed Voice, Instruments, and Piano by John W. Pratt

    Score for Soprano, Alto, and Piano; Transcribed upper voice Parts for Violin/Oboe, Alto Flute, and A-Clarinet; and Transcribed lower voice Parts for Violin/Oboe, Alto Flute, A-Clarinet, and Viola; PDF $12.99

    Composed in 1858–1860, the Drei Duette, Op. 20, for soprano and alto are the earliest of Johannes Brahms' duets and quartets for solo voices and piano. The three songs are titled Weg der Liebe (1. Teil), Weg der Liebe (2.Teil), and Die Meere. Except for brief canonic passages in No. 1, the voices have the same words, sung simultaneously, mostly in parallel thirds and sixths. The accompaniments are straightforward, without Brahmsian ensemble challenges but not without harmonic interest. Many have found the songs Mendelssohnian. The words come from the collection Stimmen der Völker of Johann Gottfried Herder (1744–1803). The first two are translations by Herder of two parts of a Northern English folk poem Love will find out the Way. The third is Italian in origin.

    The vocal parts lie well for many instruments, opening the possibility of mixed voice and instrument, as well as fully-instrumental, performances. If one

  • Brahms - Trio in A Minor - Alto Flute

    brahms with new caption jpgTrio in A Minor, Op.114, by Johannes Brahms

    Transcribed for Alto Flute, Cello, and Piano by Carol A. Vater

    Alto Flute Part, PDF $5.99

    Johannes Brahms (1833-1897) composed the Trio in A Minor for Clarinet, Cello and Piano in 1891 and subsequently created an alternate arrangement in which viola was substituted for the clarinet. The expressive qualities, range, and rich, dark tones of the alto flute are well-suited to this beloved piece.  In creating this transcription of the clarinet part for alto flute, every effort has been made to maintain the spirit and character of the original composition.  We provide here the Brahms Trio in A minor alto flute part; click to preview p1.  The piano and cello parts are readily available in the public domain as free pdf downloads of the original score and parts.  Here is a link to one such source:  Piano Score and Cello Part 

    Alto Flute part, 13 pages; Total, 15 pages.

  • Brahms - Two Songs, Op.91 - Clarinet

    brahms op.91 nsmTwo Songs, Op.91, by Johannes Brahms

    Transcribed for Clarinet by John W. Pratt (part originally for viola)

    Clarinet Part, PDF $5.99

    The two chamber music songs of Brahms' Zwei Gesänge, Op.91 were composed specifically for his dear friends, the violinist/violist Joseph Joachim and the mezzo-soprano Amalie Schneeweiss, who were married in 1863.  The songs (for alto, viola, and piano) were written over 20 years apart, but Brahms published them together as Op.91 in 1884.

    "Gestillte Sehnsucht", which appears first in the Op.91 pairing, was actually written second, in 1884.  The song sets the text of the poem by Friedrich Rückert (1788-1866).  "Gestillte Sehnsucht" is a nature poem, filled with images of forests at sunset, gentle breezes, and twittering birds.  Rückert is famous not only for his exquisite poems themselves but also for the great inspiration his work provided to numerous prominent composers, in addition to Brahms.  "Geistliches Wiegenlied" (Sacred Cradle Song) was first composed in 1863-1864, and later revised.  The viola opens with the melody of the medieval Christmas carol "Joseph, lieber Joseph mein."  The singer has her own variation of the melody, and

  • Brahms - Var. on a Theme of R. Schumann - Piano

    brahmsVariations on a Theme of Robert Schumann, Op.23, by J. Brahms

    Transcribed for Piano Solo by John W. Pratt, PDF $19.75

    Brahms wrote his beautiful Variationen über ein Thema von Robert Schumann for piano four hands, but essentially all the musical ideas are captured in this transcription for solo piano. The variations range from delicately decorative to spectral to warmly Brahmsian to bravura and even witty. The last, suffused with sadness, solemnity, resignation, and reaffirmation, combines a funeral march with the theme, which is known as Schumann's last idea because it came to him at night shortly before his attempted suicide and final commitment to an asylum. 

    Sheet music for solo piano – Brahms' Variationen über ein Thema von Robert Schumann – click to preview p1.

    Piano score, 21 pages; Total, 23 pages.

  • Brahms ― Sonata, Op.120 No.1 ― Alto Flute

    Brahms-Sonata-Op120-1 Afl nsmSonata, Op.120 No.1, by Johannes Brahms

    Transcribed for Alto Flute by J.W.Pratt

    Alto Flute Part, PDF $8.99

    Although written originally for clarinet, Brahms himself created two more versions of his Op.120 sonatas, for violin and viola. John W. Pratt, who transcribed these works for alto flute so expertly, writes in his foreword: "If Brahms was happy with versions for clarinet, viola, and violin, surely he would have welcomed arrangements for alto flute, especially since it is the mellow rather than the clarion aspect of the clarinet that he called on. In making our arrangements for alto flute, the violin versions have been particularly helpful, since the violin has the same lower range as the alto flute, but they required modification for several reasons. One, of course, is that the alto flute cannot play as loudly at the bottom of its range as the violin can. Another is that Brahms gave the violin double stops even though the clarinet is limited to a single voice." Our editions of the two Op.120 sonatas include only the alto flute parts, as Brahms' piano scores are freely available in the public domain. Here is a link to the listing of Op.120 No.1 on,


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