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Uncommon Sheet Music for Flute and Alto Flute

quartet

  • 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.

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  • Foster - Old Folks; Oh! Susanna - Vo/Pf/Fl/Vc

    foster.old folks nsmOld Folks at Home and Oh! Susanna, by Stephen Foster

    Arranged with Flute and Cello ad lib by John W. Pratt

    Flute Parts, Cello Parts, Voice Parts, and Piano Scores ― PDF $7.99

    The following excerpts are taken from John W. Pratt's foreword to the edition:

     

    When a Golden Oldie comes to mind, Doo-dah! Doo-dah!

    Comic, sad, or any kind, Oh!  Doo-dah-day!

    Jeanie, Swanee, Kentucky, Joe,  Doo-dah!  Doo-dah!

    Beautiful, dreamy, fast, or slow, Oh!  Doo-dah-day!

    I'll bet I know who wrote it, he wrote them night and day,

    Stephen Foster wrote it, he'll never go away.

     

    Stephen Foster was born in Lawrenceville, Pa., on July 4, 1826...He wrote over 200 songs, including 135 parlor songs, 28 minstrel songs, and 21 hymns and Sunday school songs. A remarkable number are memorable, as the ditty above will attest to anyone with anything like my background. One wonders why. The harmonies and rhythms are basic, as are the forms and rhyme schemes (see above), the music is repetitious, and the vocal range rarely goes outside an octave (a great benefit for community singing). Yet the fit is so natural and the pacing so well judged that the songs are ideally effective and diabolically catchy. Foster is perhaps, though on a different plane, the Mozart of his field...

    For a pianist playing several stanzas at a sing-along, Foster's songs do become a little dull. But their very simplicity, repetitiousness, and familiarity abet variation as, again on a different plane, chorales serve Bach chorale preludes. Like chorale preludes, the piano parts here always incorporate the melody, so they can be played solo or to accompany amateur singers. It struck me that they could be enhanced by optional flute parts. After writing them, I discovered that, according to his brother Morrison, Foster himself "delighted in playing accompaniments on the flute...As the song went on he would improvise...the most beautiful variations upon its musical theme." If Foster's improvisations were like the one his brother published, however, they just varied the melody itself in the manner of the period. My game is more ambitious, as you will easily see. I added optional cello parts, mostly for color, as in the Haydn trios but superficially more interesting for the cellist. (Again we are on a different plane, of course.)

    "Oh! Susanna," one of the best-known American songs by anybody, is Foster's "Erlkönig." (Speak of different planes!) With its nonsensical lyrics and polka beat, it is clearly comical, and I treated it accordingly. It was written in Cincinnati, possibly for a social club, first performed at an ice cream saloon in Pittsburgh in 1847, and published in 1848. When no American song had sold over 5,000 copies, it sold over 100,000. It earned Foster only $100, but its popularity led to a publisher's offer, convincing him to become a professional songwriter, America's first.

    "Old Folks at Home" established Foster as a truly American composer. It was written in 1851 for a blackface troupe whose leader paid Foster about $15 to be credited for it. When almost finished, Foster asked his brother for "a good name of two syllables for a Southern river." He rejected Yazoo and Pedee, but was delighted with Swanee, a shortening of Suwanee, a small river in Florida which his brother found in an atlas. Though about a slave's nostalgia for home, I find its theme universal and melancholy and I resisted the temptation to jazz it up. Please try, at least, a slowish tempo.

    ― John W. Pratt, May 27, 2013 ©

     

    Please click to preview a page of the Score for Foster's "Old Folks at Home" with flute and cello ad lib.

    Flute parts, 2 pages; Cello parts, 2 pages; Voice parts, 2 pages; Scores, 7 pages; Total, 18 pages.

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  • Kakabadse - Russian Tableaux - String Quartet

    Kakabadse Russian nsmRussian Tableaux, by Lydia Kakabadse


    Contemporary Composition for Violin, Viola, Cello and Double Bass
    Score and Parts, PDF $18.99


    Please see the "Our Composers" section of the website to learn more about highly-acclaimed British composer Lydia Kakabadse, whom we were delighted to welcome as a new contributor to NSM's catalog in September 2017, with publication of her piece Russian TableauxRussian Tableaux is featured on The Phantom Listeners CD (Naxos 8.572524); visit the composer's website to listen to audio samples.CD image The-Phantom-Listeners-New-632x567

    Here are the composer's program notes for this beautiful work, which was written in memory of her father:

    Russian Tableaux, which was completed in September 2009 for string quartet (violin, viola, cello, double bass), displays such distinctive Russian traits as rich melody and texture, an abundance of colour, low register strings and strong bass.

    1st movement – Mother Volga
    The river Volga, which has held much importance in Russian life, is known as the mother of Russian civilization and came to be called "Mother Volga". Accompanied by the double bass, the piece opens with the cello, followed in turn by the viola and then the violin, each representing a tributary that flows into the river. The river gathers momentum as the cello announces the main theme, which is taken up by the upper strings against pizzicato double bass. The viola attempts to steer a steady course against the meandering strings and, following a variation of the main theme, brings the piece to an end with arpeggio like runs.

    2nd movement – 1917
    Depicting the aftermath of the Russian Revolution of 1917 and the ensuing misery and sense of desolation, this movement opens with the cello playing the main theme grave con dolore, accompanied by the double bass. This theme is then taken up by the violin and later by the viola in their lower register. Despite an increase in tempo, where the violin plays a variation of the theme, the feeling of despair cannot be shaken off. This is characterized by the melancholy tone reflected in the continual use of the minor key, the repetition of the same notes and a return to the opening theme.

    3rd movement – Dance of the Matryoshka Dolls
    Also known as a Russian doll, the matryoshka is a hollow wooden doll containing a number of smaller dolls. The dance starts fast and lively and the first theme announced by the violin, characterizes the dainty dancing of the smaller dolls. In contrast, the 2nd theme when played by the double bass at a far slower tempo characterizes the heavy plodding movements of the larger dolls. The tempo reverts back to the original allegro where the first theme is now played by the viola followed by frequent interplay between the strings, bringing the dance to a fast and furious close.

    —Lydia Kakabadse, September 2017

     

    Here's what Sarah-Jane Bradley (www.sarahjanebradley.com), one of the UK's top violists, has written about Russian Tableaux, a piece she has performed a number of times both in concert and for recording: "Russian Tableaux is a magical depiction of scenes of life in Russia, infused with nostalgic folksong-like melodies and the Eastern flavour of harmonic minor tonality. Lydia Kakabadse makes excellent and highly effective use of the unusual quartet combination, featuring the rich, dark sonority of the double bass as well as virtuoso writing for all four instruments in the final Dance of the Matryoshka Dolls. Well worth exploring - a joy for performers and listeners alike."

    Score, 24 pages; Parts for Violin, Viola, Cello and Double Bass, 6 pages each; Total, 58 pages.

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  • Ross - Love Thee, Dearest - Harp Ensemble

    ross love thee nsmLove Thee, Dearest, Thomas Moore

    Arranged for Multi-Level Harp Ensemble by Judith Ross

    Score and Parts for Harps I, II, III, and IV; PDF $8.75

    Love Thee, Dearest is a popular Irish ballad with lyrics written by the famous poet Thomas Moore (1779-1852). Our harp ensemble arrangement was created by Judith Ross and is specifically designed for performance by harpists at varying levels. The Beginner, Easy, and lntermediate level parts may be performed on lever harp by one or more harpists. The Advanced part, for the teacher or advanced student, is designed to be performed by one person on pedal harp.

    Judith Ross, founder and director of the Massachusetts Harp Ensemble, has created numerous harp ensemble arrangements over the years. She welcomes harpists of all levels of expertise into her group, so most of her arrangements are designed to include parts of different levels of difficulty. That way, anyone can have a chance to participate and join in the fun. The Massachusetts Harp Ensemble is a Boston area treasure, enjoyed and appreciated by local harp students and their teachers, many of whom are familiar with Ms. Ross’ arrangements in manuscript form. Now some of these works are available to the broader harp community in new, typeset editions prepared by Noteworthy Sheet Music.

    Click to preview a page of the score for Love Thee, Dearest arranged for multi-level harp ensemble by Judith Ross.

    Score, 5 pages; Harp I part, 1 page; Harp II part, 1 page; Harp III part, 2 pages; Harp IV part, 1 page; Total, 16 pages.

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    US customers may purchase professionally-printed hard copies of Love Thee, Dearestdirectly from Noteworthy Sheet Music for $14.85 plus a $5.95 shipping and handling fee. Please use the Contact Us form to let us know which edition(s) you would like to purchase, along with your contact information and your USPO mailing address.  

  • Ross - The Croppy Boy - Harp Ensemble

    ross.croppy boy nsmThe Croppy Boy, Traditional Irish Ballad

    Arranged for Multi-Level Harp Ensemble by Judith Ross

    Score and Parts for Harps I, II, III, & IV, PDF $8.97

    The Croppy Boy is one of the saddest lrish ballads of the 1798 rising.  The title refers to the young rebel soldiers, who wore their hair closely cropped.  This arrangement is specifically designed for performance by harpists at varying levels.  The Beginner, Easy, and lntermediate level parts are intended for lever harp, but can be played on pedal harp, and may be performed by one or more harpists.   The Advanced harp part, for the teacher or advanced student, is designed to be performed by one person on pedal harp, but can probably also be done on a lever harp having all the high and low strings.

    Judith Ross received a B.M. with Distinction and M.A. from the Eastman School of Music.  She studied harp with Eileen Malone and Pierre Jamet, and harmony, keyboard, and composition with Nadia Boulanger (considered one of the greatest musical pedagogues of the 20th century).  She is a winner of the Paderewski Gold Medal in piano.  Ms. Ross has given frequent solo and orchestral performances throughout New England, and is the founder and director of the Massachusetts Harp Ensemble.   She has taught at the State University College of NY at Fredonia, Boston University, Lesley College, New England Conservatory, and El Coro de Niños in San Juan, Puerto Rico.   For 37 years she taught solfège, harmony, form and analysis, and harp at the Longy School of Music in Cambridge, MA, where she is former Chair of the Theory Department.

    Click to preview a page of The Croppy Boy score arranged for harp ensemble by Judith Ross.

    Score, 7 pages; Harp I part, 1 page; Harp II part, 2 pages; Harp III part, 2 pages; Harp IV part, 1 page; Total, 22 pages.

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    US customers may purchase professionally-printed hard copies of The Croppy Boy directly from Noteworthy Sheet Music for $15.25 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.

  • Valerius/Kremser/Pratt - We Gather Together - arr. Brass Ensemble

    WeGather B4-B5 nsmWe Gather Together, by Adrianus Valerius


    Arranged for Brass Ensemble by John W. Pratt
    Quartet version: Score and Parts for C-Trumpet-1, C-Trumpet-2, F Horn, and Trombone; 
    Quintet version: Score and Parts for C-Trumpet-1, C-Trumpet-2, F Horn, Trombone, and Tuba;

    Edition includes both Quartet and Quintet versions; PDF $7.99

     

    Wilt heden nu treden, nowadays more commonly known as We Gather Together, is a Christian hymn of Dutch origin composed by Adrianus Valerius and first published in 1626 (imslp.org); it was later harmonized by Eduard Kremser (en.wikipedia.org). In the United States, We Gather Together is the most popular song traditionally associated with the Thanksgiving holiday. The Thanksgiving tradition in the Pratt household goes back as far as John Pratt (b. 1931) can remember, and when it fell to him to play all three stanzas at his family's annual gathering, he got interested in livening it up.  He has now created an arrangement of We Gather Together for brass ensemble that lends new excitement and interesting harmonies to this old favorite. The opportunistic half-step modulations introduced to help amateur voices warm up also brighten successive stanzas for brass. The Noteworthy Sheet Music edition includes two variations of this brass arrangement, for quartet or quintet. Some of the parts (in addition to tuba) differ in the quartet and quintet arrangements, and we are including both complete sets of scores and parts in this single publication.
    Note that for these publications, the parts should be printed one-sided since they are only one page each and we have not inserted blank filler pages.

    Click to listen to an mp3 of a computer-generated rendition of the brass quartet arrangement; your live performances will of course be more realistic and appealing.

    Brass Quartet: Score, 3 pages; Parts for C-Trumpet-1, C-Trumpet-2, F-Horn, and Trombone, 1 page each.  Brass Quintet: Score, 3 pages; Parts for C-Trumpet-1, C-Trumpet-2, F-Horn, Trombone, and Tuba, 1 page each.  Total, 18 pages.

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