Seven Spanish Folksongs, by Manuel de Falla

Transcribed for Alto Flute (and piano) by C. A. Vater

Alto Flute part, PDF $8.99

The seven songs included in the original voice and piano publication, as well as in our alto flute part edition, are El Paño Moruno (“The Moorish Cloth”), Seguidilla murciana (an old dance form, omitted in the Kochánski violin and piano version), Asturiana (a lament from the northern part of Spain), Jota (a familiar dance form from the north east of Spain), Nana (an Andalusian lullaby), Canción (“Song”), and Polo (reminiscent of the zapateado, a Spanish dance rich in flamenco rhythms). This information and an in-depth analysis of the Siete canciones populares españolas, including historical and regional background, music analysis, and an English translation of the lyrics, can be found in the excellent article by composer and conductor Gianmaria Griglio, co-founder and Artistic Director of ARTax Music.

Alto Flute part, 8 pages; Total,10 pages. (pdf of piano accompaniment is freely available at imslp.org)

Sechs Lieder, by Clara Schumann

Transcribed for Alto Flute by C. A. Vater

Part for Alto Flute (in lieu of voice); PDF $5.99

In her Sechs Lieder, Op. 13, Clara Schumann set to music six German poems—two written by Heinrich Heine (Ich stand in dunklen Träumen and Sie liebten sich beide), three by Emanuel Geibel (Liebeszauber, Der Mond kommt still gegangen, and Die stille Lotosblume) and one by Friedrich Rückert (Ich hab’ in deinem Auge).  Many of Clara Schumann’s songs were composed as gifts for her beloved husband Robert; they are romantic, melodic and highly expressive, and the Sechs Lieder of Op. 13 appropriately convey the broad array of intense emotions portrayed in the poetry that inspired them.  These songs, which are absolutely charming, are nicely adaptable for a solo instrument in lieu of voice.  They have been transcribed previously for violin or cello, and likely other instruments as well, but are particularly lovely when played on either alto flute or clarinet, instruments for which the voice line falls completely in range. Our Noteworthy Sheet Music editions of Op. 13 for alto flute or clarinet do not include re-notated versions of the score, since a high-quality PDF of the original piano and voice score is available free of charge in the public domain, and that piano accompaniment works perfectly well with our instrumental transcriptions of the voice line.  The score we used when creating our parts may be downloaded from the IMSLP website.  For NSM’s clarinet transcription of the Sechs Lieder voice line, please click the link.

Alto Flute Part, 4 pages; Total, 6 pages.

Sechs Lieder, by Clara Schumann

Transcribed for Clarinet by C. A. Vater

Part for B-flat Clarinet (in lieu of voice); PDF $5.99

In her Sechs Lieder, Op. 13, Clara Schumann set to music six German poems—two written by Heinrich Heine (Ich stand in dunklen Träumen and Sie liebten sich beide), three by Emanuel Geibel (Liebeszauber, Der Mond kommt still gegangen, and Die stille Lotosblume) and one by Friedrich Rückert (Ich hab’ in deinem Auge).  Many of Clara Schumann’s songs were composed as gifts for her beloved husband Robert; they are romantic, melodic and highly expressive, and the Sechs Lieder of Op. 13 appropriately convey the broad array of intense emotions portrayed in the poetry that inspired them.  These songs, which are absolutely charming, are nicely adaptable for a solo instrument in lieu of voice.  They have been transcribed previously for violin or cello, and likely other instruments as well, but are particularly lovely when played on either alto flute or clarinet, instruments for which the voice line falls completely in range. Our Noteworthy Sheet Music editions of Op. 13 for alto flute or clarinet do not include re-notated versions of the score, since a high-quality PDF of the original piano and voice score is available free of charge in the public domain, and that piano accompaniment works perfectly well with our instrumental transcriptions of the voice line.  The score we used when creating our parts may be downloaded from the IMSLP website.  For NSM’s alto flute transcription of the Sechs Lieder voice line, please click the link.

B-flat Clarinet Part, 4 pages; Total, 6 pages.

Three Songs, by Frank Bridge

Transcribed parts for Clarinet by C. A. Vater (originally for viola)

Alternative Parts for A-Clarinet or B-flat-Clarinet (no score), PDF $8.99

Frank Bridge composed his Three Songs for Voice, Viola, and Piano in 1906-1907, setting to music one poem each by Matthew Arnold (Far, far from each other), Heinrich Heine (Where is it that our soul doth go?), and Percy Bysshe Shelley (Music when soft voices die).  Both the poetry and the music are richly romantic, addressing with high emotion the various stages of grief experienced over the loss of a loved one.  Bridge is an accessible post-romantic composer who should be better known.  We at Noteworthy Sheet Music thought his Three Songs would work equally well with clarinet substituting for the original viola, thereby creating a new opportunity for its performance by the appealing ensemble of voice, clarinet and piano.  We prepared transcribed parts for both A-clarinet and B-flat-clarinet, so players can choose which instrument they prefer for each of the three movements.  Our edition includes both of the clarinet part options but no score, as a good quality PDF of the Bridge score for voice, viola and piano is available as a free download from imslp.org and our clarinet parts work well with the original score’s piano and voice lines.

A-Clarinet part, 4 pages; B-flat-Clarinet part, 4 pages; Total, 14 pages. 

Quartet, Op.1, No.1, by Franz Joseph Haydn

Arranged for Clarinet Quartet by John W. Pratt (originally for strings)

Score and Parts for Bb-Clarinet-1, Bb-Clarinet-2, Bb-Clarinet-3 or Eb-Alto Clarinet, and Bass Clarinet, PDF $15.99

The earliest quartets of Franz Joseph Haydn are not precursors of the later works wherein he developed the form and style of the classical string quartet, but rather divertimenti written for four friends when he was about 25.  Most of these early works have five movements: fast, minuet/trio, slow, minuet/trio, fast; and their slow movements feature beautiful, elaborate, gently accompanied melodies.  The divertimento style and instrumental character of these early pieces does not evoke strings specifically or necessarily, and thus arrangement for other instruments is natural and might expand enjoyment of these wonderful first significant Haydn works to other players and audiences.  In this arrangement of Haydn’s Op.1, No.1 (Hob.III:1) by John Pratt, transposition down a step suits the timbre of clarinets, leaving most notes within range and requiring minimal modification.  This lovely, effective arrangement is for a clarinet quartet consisting of either three Bb-clarinets and bass clarinet or two Bb-clarinets, Eb-alto clarinet, and bass clarinet.

Score, 11 pages; Parts for Bb-Clarinet-1, 5 pages; Bb-Clarinet-2, 6 pages; Bb-Clarinet-3, 6 pages; alternative Eb-Alto Clarinet, 6 pages; and Bass Clarinet, 5 pages; Total, 50 pages. 

Choral Varié, Op.55, by Vincent d’Indy

Solo part transcribed for Alto Flute by C. A. Vater (originally for saxophone or viola)

Part for Alto Flute, PDF $5.99

D’Indy composed his Choral Varié pour Saxophone solo (ou Alto) et Orchestre, Op.55 in 1903.  The composer also created an orchestral reduction arrangement, published by Durand, Paris, 1903, for alto saxophone (or viola) and piano; it is this edition that we used as the basis for our transcription of the solo part for alto flute.  The Choral Varié piece is appealing and distinctive, solemn and tender.  It adapts nicely to the alto flute, highlighting the beautiful, intimate quality of that instrument’s low-register tones.  Our publication provides only our transcribed alto flute part; the piano part, published as the composer’s score in concert pitch for solo and piano, is freely available as a PDF download from imslp.org.

Alto Flute part, 3 pages of music; Total, 6 pages.