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Uncommon Sheet Music for Flute and Alto Flute

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clarinet

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

  • 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.  

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

    Preview

     

  • Bach - Prelude and Fugue, BWV 532 - arr. Woodwind Quartet

    Bach BWV532 WW4 nsmPrelude and Fugue, BWV 532, by J. S. Bach

    Arranged for Woodwind Quartet by John W. Pratt

    Score and Parts, PDF $15.97

    “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 can even be read as 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!  It makes almost no significant use of the sheer power of the mighty “king of instruments”; the way the voices are brought in and deployed in itself provides the excitement and variations in volume.  Woodwinds have ample piano and forte capabilities for the purpose.  The Prelude is also readily adapted to woodwind quartet, consisting mainly of a straightforward four-part Alla breve.The Prelude’s brief introductory and concluding material includes pedal scales and other flourishes that are no less effective for being easy to play on winds. // The arrangement here preserves Bach's four voices almost exactly.” — from J. W. Pratt’s foreword to the edition

    Click to listen to computer-generated audio samples from the score; audio clips from the Prelude (m4-22) and the Fugue (m14-27), are separated by a brief pause. 

    Score, 16 pages; Flute part, 5 pages; Oboe part, 6 pages; Bb Clarinet part, 6 pages; Bassoon part, 5 pages;Total, 46 pages.

    Preview
  • Bach - Toccata, Adagio, and Fugue - Wind Quartet

    bach bwv564 nsmToccata, Adagio, and Fugue in C major, BWV 564, by J. S. Bach

    Arranged for Woodwind Quartet by John W. Pratt
    Score and Parts for Flute, Oboe, Clarinet, & Bassoon, PDF $21.25

    excerpted from JWP’s © foreword to the edition:
    Among J. S. Bach's big organ works, the Toccata, Adagio, and Fugue, BWV 564 is atypical in ways that make it unusually well suited to transcription for woodwind quartet.  Unlike most, it has a middle movement, an Adagio with an elaborate and gorgeous melody which lies comfortably for flute and can benefit greatly from the shaded, nuanced dynamics and articulations that a solo flutist can provide.  The other winds bring out Bach's beautiful voice-leading in the Adagio's two inner parts and its marching but not martial bass.  The four-part Fugue is unusual, too—light and lighthearted, happily adaptable to woodwinds, with no call for great power and, rather than a climactic ending, a fading coda that defies convincing treatment on the organ. The exuberant Toccata starts with an extended manual solo passage... mostly in 32nd notes, which... I felt it would be more effective as a game of frequent handoffs between instruments than as a series of longer individual études. The pedal solo, mostly 16ths, calls for the extra weight of doubling.

    Click to listen to a computer-generated audio sample from the end of the Toccata into the beginning of the Adagio.

    Score, 17 pages; Flute part, 6 pages; Oboe part, 5 pages; Bb Clarinet part, 5 pages; Bassoon part, 4 pages; Total, 46 pages.

    Preview

  • Bartók - For Children - arr. for Winds

    Bartok ForChildren Bk2 fl cl nsmFor Children, by Béla Bartók
    piano pieces based on Hungarian and Slovakian folksongs

    Selected pieces arranged as woodwind duos, trios, or quartets by John W. Pratt and presented in multiple editions, organized by instrumentation and nationality.

    Béla Bartók was not only a major composer in a post-Romantic extended tonal style, but he was also a superb pianist with a precise technique, a scholarly explorer of folk music, and a serious pedagog. Folk melodies and harmonies strongly influenced his music, both indirectly and often directly, including many of his orchestral and chamber works, as well as solo piano pieces ranging in difficulty from easy to virtuosic. His For Children (Gyermekeknek,1908-1909, Sz. 42) was written for solo piano, and the original Books 1 and 2 contained 42 pieces after Hungarian folksongs and 43 pieces after Slovakian folksongs, respectively. Besides the usual purposes of music written for children, Bartók sought to broaden their musical experience with, for instance, modal and other scales, and harmonies outside the traditional western canon. For Children is by no means pablum; though the notes may be easy to play, these pieces have a lot else to offer. They were written when Bartók’s folksong research was well under way and his notational efforts at their peak. Students, teachers, and every-day players can make as much of them as they like... as simple tunes for beginners content to learn basic notes and rhythms, or as more advanced studies on articulation, musicality, etc.        —extracted from the preface by JWP

    John Pratt has arranged selected pieces from the For Children books as various duos, trios, and quartets for wind instruments.  As presented originally by Bartók, many of the folksongs are entirely or mostly in two voices, like Bach’s two-part inventions in style if not structure or harmony, and thus convenient for wind duo and no more childish for Bartók than Bach.  Many others are also adaptable to duos of flute or oboe and clarinet or bassoon, mostly by spreading the left-hand chords in time.  Still others of the For Children pieces are more suitable for a wind trio of flute (or oboe), B-flat clarinet, and bassoon, or a quartet of flute, oboe, B-flat clarinet, and bassoon.  To compare the specific songs included in our editions with the complete set arranged for piano available in Bartók’s publications, visit the For Children listing on imslp.org.

    All of the NSM editions described below are available as downloadable PDFs.  We provide scores, but not separate parts, as all players can easily play off copies of the scores, which are organized for convenient page turns when the PDFs are printed two-sided in their entirety.  Click the Preview button to view a page of the score from each edition. To order, in the table at the bottom of this webpage, check the box for the edition you would like to purchase, click Add to Cart, then click Checkout.

     

    ► Bartók - For Children, Book 1 - selected pieces arr. as Duets for Flute (or Oboe) and Clarinet 
    Bartok ForChildren Bk1 fl cl nsmThis edition includes 25 pieces from Book 1 arranged as duets; all of them can be played by B-flat clarinet and either flute or oboe, but for six of the pieces we also include alternative versions with octave changes that are better suited to oboe.  The pieces included are Nos. 1-15, 22-26, 29, 31, 21, 40, and 42. Click to listen to computer-generated audio samples from the score; audio clips of #11 "Me and the Rain" with flute and clarinet and #32 "Wedding Day and Night" with oboe and clarinet are separated by a brief pause. 

     

     

    Score, 26 pages; Total, 30 pages.
    Preview: Book 1, Flute (or Oboe) and Clarinet

     

    ► Bartók - For Children, Book 1 - selected pieces arr. as Duets for Oboe (or Flute) and Bassoon 

    Bartok ForChildrenBk1 ob bn nsmOur oboe (or flute) and bassoon edition includes the same 25 pieces from Book 1 as our flute and clarinet edition described above, except here they are arranged and optimized as duets for oboe and bassoon, with alternative versions better suited for flute and bassoon provided for two of the folksongs.

    Score, 21 pages; Total, 24 pages.
    Preview: Book 1, Oboe (or Flute) and Bassoon

     

    ► Bartók - For Children, Book 2 - selected pieces arr. as Duetsfor Flute (or Oboe) and Clarinet 

    Bartok ForChildren Bk2 fl cl nsm

    Our Book 2 edition of arrangements for flute (or oboe) and clarinet duo includes 23 pieces: Nos. 1-6, 8, 10-13, 16-20, 22, 25, 26, 29, 31, 35, and 36.  All of these pieces can be played by B-flat clarinet and either flute or oboe, but we also include alternative versions that are more suitable for oboe for three of the pieces. 

    Score, 17 pages; Total, 22 pages.
    Preview: Book 2, Flute (or Oboe) and Clarinet

     

    ► Bartók - For Children, Book 2 - selected pieces arranged as Duetsfor Oboe (or Flute) and Bassoon 

    Bartok ForChildrenBk2 ob bn nsmThe oboe (or flute) and bassoon edition includes the same 23 pieces from Book 2 described above for flute and clarinet, here arranged and optimized as duets for oboe and bassoon, with an alternative version better suited for flute for one of the pieces.

    Score, 15 pages; Total, 18 pages.
     Preview: Book 2, Oboe (or Flute) and Bassoon

     

    ► Bartók - For Children, Book 1 - selected pieces arranged as Triosfor Flute (or Oboe), Clarinet, and Bassoon 

    Bartok ForChildren Bk1 Trio nsmIn this trio edition, we present 20 songs from Book 1, including 14 that are also available as duo arrangements in the editions listed above and 6 that are only offered in our trio edition. The pieces are Nos. 1-9, 11, 13-15, 19, 20, 30, 35, 39, 41, and 42.  The trios are arranged for flute or oboe, B-flat clarinet, and bassoon.  Click to listen to a computer-generated audio sample from #39 "Insect Wedding".

     

     

    Score, 21 pages; Total, 24 pages.
    Preview: Book 1, Flute (or Oboe), Clarinet, and Bassoon Trio

     

    ► Bartók - For Children, Book 2 - selected pieces arranged as Trios for Flute (or Oboe), Clarinet, and Bassoon 

    Bartok ForChildren Bk2 Trios nsmHere Mr. Pratt offers eighteen of Bartók’s Book 2 Slovakian folksongs in arrangements for a woodwind trio of flute or oboe, B-flat clarinet, and bassoon; the pieces included are Nos. 2, 3, 7, 9, 11-14, 16, 17, 21, 25, 26, 28, 29, 32, 33, and 42.  Ten of these songs are also included in our duo arrangement publications.

    Score, 18 pages; Total, 22 pages.
    Preview: Book 2 Flute (or Oboe), Clarinet, and Bassoon Trio

     

    ► Bartók - For Children, Book 1 - selected pieces arranged for Wind Quartet (Flute, Oboe, Clarinet, and Bassoon)

    Bartok ForChildren Bk1 WW4 nsmThis edition includes eleven of Bartók’s Hungarian folksongs in arrangements for a woodwind quartet of flute, oboe, B-flat clarinet, and bassoon.  Two of these songs, Nos. 19 and 20, are also included in our trio arrangement publication, but none are replicated in the duo arrangement editions; the quartet publication includes Book 1 Nos. 16-21, 27, 28, and 36-38.

    Score, 11 pages; Total, 14 pages.
     
     
    Preview: Book 1, Flute, Oboe, Clarinet, and Bassoon Quartet

     

    ► Bartók - For Children, Book 2 - selected pieces arranged for Wind Quartet (Flute, Oboe, Clarinet, and Bassoon)

    Bartok ForChildren Bk2 WW4 nsmThis edition presents seventeen of Bartók’s Book 2 Slovakian folksongs in arrangements for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon).  Four of these songs, Nos. 11, 14, 25 and 28, are also included in our trio arrangement publication, and several are included in the duo arrangement editions. The Book 2 songs arranged here as quartets are Nos. 5, 8, 11, 14, 15, 18, 23- 25, 27, 28, 30, 31, 34, 37, 38, and 43. Click to listen to a computer-generated audio sample that consists of ~32” of song #5 Bird in Flight (Theme & part of Var.1, through m34), followed immediately by #18 Former Flame in its entirety.

    Score, 24 pages; Total, 28 pages.
     Preview: Book 2, Flute, Oboe, Clarinet, and Bassoon Quartet

    Add To Cart Product Name Price
    Bartók - For Children, Book 1 - arr. for Flute (or Oboe) and Clarinet
    $14.75
    Bartók - For Children, Book 1 - arr. for Oboe (or Flute) and Bassoon
    $14.75
    Bartók - For Children, Book 2 - arr. for Flute (or Oboe) and Clarinet
    $12.75
    Bartók - For Children, Book 2 - arr. for Oboe (or Flute) and Bassoon
    $12.75
    Bartók - For Children, Book 1 - arr. for Flute (or Oboe), Clarinet, & Bassoon Trio
    $14.75
    Bartók - For Children, Book 2 - arr. for Flute (or Oboe), Clarinet, & Bassoon Trio
    $12.75
    Bartók - For Children, Book 1 - arr. for Wind Quartet
    $8.25
    Bartók - For Children, Book 2 - arr. for Wind Quartet
    $14.75

  • Beach - Ecstasy - Voice (or Afl), Alto Flute (or Cl), and Piano

    Beach Ecstasy nsmEcstasy, Op.19 No.2, by Mrs. H. H. A. Beach


    Two versions, for "Low voice (in Db)" or "High voice (in Eb)", with Alto Flute Obbligato (transcribed) and Piano.
    Alternative parts for Alto Flute Solo and Bb Clarinet Obbligato.
    Program Notes by Peter H. Bloom.


    Piano Scores, Voice Parts, Alto Flute Obbligato Parts, and alternative Alto Flute Solo Parts and Clarinet Obbligato Parts; PDF $8.99

    Noteworthy Sheet Music is thrilled to publish our edition of Amy Marcy Cheney Beach's song Ecstasy in 2017, in celebration of the 150th anniversary of the composer's birth. The idea to make Ecstasy available to a broader combination of players and singers came from flutist Peter H. Bloom, who proposed that the piece would be an excellent vehicle with which instructors might inform students (early and advanced alike) about interpretation of the highly romantic late 19th century idiom. To that end, we have packaged together in a single edition Mrs. H. H. A. Beach's two versions of Ecstasy, for "low voice (in Db)" and "high voice (in Eb)", with each version including transcriptions of the obbligato (originally for violin) for either alto flute in G or clarinet in Bb, and an alternative solo part in the form of an alto flute transcription of the voice line. Thus, multiple performance variations are possible, including high or low voice and piano with either alto flute or clarinet obbligato, or fully instrumental versions for alto flute and piano, or two alto flutes and piano, or alto flute, clarinet, and piano. 

    Scores, 8 pages (4 pages each version); Voice parts, 2 pages (1 page each version); Alto Flute Obbligatos, 2 pages (1 page each version); Clarinet Obbligatos, 2 pages (1 page each version); Alto Flute solo parts, 2 pages (1 page each version); Total, 20 pages.

    Preview
  • Bloom - From the Drawer - Tenor or Soprano, Flute, Clarinet, Bassoon, Horn

    Bloom FTD nsmFrom the Drawer, by Peter H. Bloom

    Contemporary Composition for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet in B-flat, Bassoon, and Horn in F

    Score and Parts, PDF $13.99

    Peter H. Bloom is a Boston-based flutist, whose original compositions and arrangements are published by Noteworthy Sheet Music.  From the Drawer was written for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet, Bassoon, and Horn, and provides a musical setting for the intensely emotional poem by Constantine Cavafy.

    Here are Peter Bloom's comments about From the Drawer from the composer's preface (Copyright © 2015) to the edition:

    "Constantine Cavafy’s 1923 poem, From the Drawer, captures the acerbic condition of longing, the impossibly private nature of affection, and the occultation of time. Its poignancy is universal; transcending gender, age, era, place, and even translation. Rather than rely on one particular translation of Cavafy’s text, I’ve drawn on a number of versions to arrive at a paraphrase that both informs and is shaped by the musical score.

    The musical setting is a sonic image of the intensely emotional response to a flood of memory that informs the poet’s narrative: now pensive, now anxious, now wistful, now joyous, now fraught, now resigned, and ever mercurial."  P. H. Bloom, September 19, 2015

    Our sheet music edition of From the Drawer was featured on the New Products page of the Summer 2016 edition of "The Flutist Quarterly", journal of The National Flute Association.

    Score, 14 pages; Tenor or Soprano part, 2 pages; Flute part, 4 pages; Clarinet part, 3 pages; Bassoon part, 3 pages; Horn part, 3 pages; Total, 29 pages.

    Preview
     

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    We also offer a professionally-printed hard copy edition of From the Drawer for $23.78 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, 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.

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  • 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 voice is replaced by an instrument, no words will be lost and the result will be a song with wonderful instrumental obbligato and piano accompaniment. If two instruments are used, the result is a beautiful "song without words." We include in our edition transcriptions of both voices for oboe/violin, alto flute in G, and clarinet in A, and of the lower voice for viola as well. Our transcriptions provide slurs to suggest a vocal style to instrumental players and to facilitate coordination of the instrumental parts with those of the voices. We also provide a re-notated piano/vocal score, in which repeat signs are used in the second and third songs to save page turns, rather than writing out the multiple stanzas as in the original. For those needing only the piano/vocal score, the Breitkopf & Härtel edition is in the public domain and freely available on imslp.org.

    Piano/Vocal Score, 10 pages; Instrumental Parts, 3 pages each; Total, 42 pages.

    Preview
  • 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 $6.99

    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 enters after the first stanza of the viola's carol.  The song is a beautiful cradle-rocking lullaby, in 6/8 time.

    It is said that the viola was Brahms' favorite stringed instrument, and the composer gave the viola a major role in both of these songs, allowing it to open both pieces before the singer enters.  Clarinetists have long coveted these viola parts, and various performances have provided clear evidence that a successful outcome can be achieved with the substitution of a clarinet for the viola in Op.91.  So when a clarinetist friend of ours asked us to create a transcription for him, we gladly obliged.  Our edition of the clarinet part adapts the first song, "Gestillte Sehnsucht", for clarinet in A, and the second, "Geistliches Wiegenlied", for clarinet in Bb.  The original piano score and voice part are in the public domain, readily available as free PDF downloads from IMSLP.org.

    Clarinet part, 4 pages; Total, 8 pages.

    Preview
  • Brahms – Variationen über ein Thema von Robert Schumann – Pf, Fl, Ob, Cl, Bn

    Brahms Op23 pno ww4 nsmVariationen über ein Thema von Robert Schumann, Op.23, by Johannes Brahms

    Arranged for Piano, Flute, Oboe, Clarinet, and Bassoon by John W. Pratt

    Piano Score and Wind Parts, PDF $16.99

    - adapted from John W. Pratt’s foreword to the edition: Brahms’s Variations on a Theme by Robert Schumann, Op.23, were written in tribute to his friend, for piano four hands.  Yet how often have you heard this exquisite masterpiece, in any form?  Arranging it as a quintet for piano and winds allows realization of its implicit orchestral effects and incorporation of contrasting and beautiful woodwind sonorities while preserving its many special piano sonorities and its personal, chamber music qualities and will, hopefully, encourage performance.  The variations range from delicately decorative (Var. I) to spectral (IV) to warmly Brahmsian (many) to bravura (IX) and even perhaps witty (V and VII).  The final variation (X) is an amazing valedictory, a funeral march which becomes combined with the theme and is suffused throughout with sadness, solemnity, resignation, and reaffirmation, by turns and even simultaneously.  Especially apt contributions by the woodwinds in this arrangement include, to mention just two, the appreciative chuckles accompanying the rollicking theme of Var. V and the chorale effect at the end of Var. X.  At the same time, the arrangement allows the piano to fulfill its usual roles in chamber ensembles and to contribute some special colorings of its own, including the multi-octave filigree of Var. I, the layout of the accompaniments in the first part of Var. III and last part of Var. V, the bass rumbles of Var. IV and Var. X, and the two-hand octaves in Var. VI and Var. IX.

    Listen to a computer-generated audio clip of the Theme; of course, real live instruments will sound even better: 

    The Preview below is a page of the score from Var. VI. Note that the score is presented in concert pitch.

    Score, 28 pages; Flute, Oboe, B-flat Clarinet, and Bassoon parts, 4 pages each; Total, 48 pages.

    Preview 
     
  • Bridge – Two Pieces: Pensiero and Allegro appassionato – trans. for Clarinet and Piano

    Bridge 2Pieces Cl Pf nsmTwo Pieces: Pensiero and Allegro appassionato, by Frank Bridge

    Transcribed for B-flat Clarinet and Piano by C.A.Vater

    Score and Part; PDF $10.99

    Certain chamber works written for viola can also work very beautifully when transcribed for clarinet, and indeed may actually be coveted by clarinetists.  Brahms’ Two Songs for Voice, Viola and Piano, Op. 91 is one such piece, and our transcription has become one of NSM’s most popular publications.   Clarinetists may discover that our adaptation of the viola part of Frank Bridge’s Two Pieces: Pensiero and Allegro appassionato, written for viola and piano, is also well-conceived and enjoyable to play.  As suggested by their titles, these two pieces were written in very different styles, but they complement each other well, showing off Bridge’s composing versatility and providing performers an opportunity to display a range of emotions and capabilities.  In our edition, we have raised the Pensiero key from F minor to G minor, taken a few passages in both pieces 8va to bring them into clarinet range, and created clarinet-friendly adaptations for the viola’s occasional double stops, but otherwise the pieces remain as Bridge composed them.   

    Score, 10 pages; Clarinet part, 3 pages; Total, 16 pages.  

    Preview

  • Bruch - Eight Pieces - Alto Flute

    JDCAVJP composite01smaller.from JD 11.17.10Acht Stücke, Op.83, by Max Bruch

    Transcribed for Clarinet, Alto Flute, and Piano by Davies, Pratt, and Vater

    Alto Flute Part, PDF $9.98

    Originally scored for clarinet, viola, and piano (or violin, cello, and piano), Bruch's Acht Stücke (Eight Pieces) adapts nicely for a trio with clarinet, alto flute, and piano. Bruch's beautiful melodies are well served by the rich tones of the alto flute. 

    In creating this transcription of the viola part for alto flute, we have taken great care to maintain the spirit and character of the original instrumentation.  We provide here the alto flute part.  The piano and clarinet parts are readily available in the public domain as free pdf downloads of the score and parts.  Here is a link to one such source:  Piano Score and Clarinet Part

    Alto Flute part, 17 pages; Total, 19 pages.

    Preview
  • Cambini - Sonata in D Major - Flute and Clarinet

    Cambini Op5No1 fl-cl nsmSonata in D Major, Op.5, No.1, by Giuseppe Maria Cambini

    Transcribed for Flute and B-flat Clarinet by R.A.Evans
    Score and Parts, PDF $7.99

    Giuseppe Maria Cambini (1746-1825) was an Italian-born violinist and composer.  He was one of the most prolific composers of his era, particularly of instrumental works, of which he wrote over 600, including numerous symphonies, 149 string quartets and over 100 trios, as well as ballets, operas, & oratorios.  Flutists will know him for his concertos and extensive body of chamber works featuring the flute, including duos, trios, quartets and quintets.


    Cambini wrote his Sonata in D Major, Op.5, No.1 for two flutes, and Noteworthy Sheet Music has published a re-notated version of the flute duet at the suggestion of flutist Richard A. Evans, who long ago obtained the music from the Library of Congress and believed it undeserving of its current obscurity.  Aware of the scarcity of music composed for flute-clarinet duos, Mr. Evans also initiated this flute-clarinet edition of Cambini's Sonata in D Major by transcribing the flute-2 part for clarinet in B-flat. We at NSM agreed that the Op.5, No.1 duet should be made more readily available to present-day musicians and audiences, in both the flute-flute and flute-clarinet versions.  Our editions provide both scores and parts, and incorporate articulation and dynamic edits supplied by Mr. Evans.

    Score, 8 pages; Flute part, 4 pages; B-flat Clarinet part 4 pages; Total, 22 pages.

    Preview
  • Danzi - Grande Sonate - Piano and Clarinet

    DanziOp62Cl nsmGrande Sonate, by Franz Danzi

    transcribed for Piano and Clarinet by John W. Pratt

    Piano score and B♭ Clarinet part, PDF $14.99

    Danzi’s Grande Sonate, Opus 62, written for piano and basset horn, was published around 1823, along with an alternative part for cello. Please see additional information about this piece in the article describing our re-notated basset horn edition. The Grande Sonate comprises four movements and provides both sparkle and mellow rich beauty. It is nicely adaptable to other winds, particularly the clarinet. Certain passages in the final movement of the original work seem to invite elaboration or improvisation by the solo instrument, and arranger John Pratt offers suggestions for possible additions or alternatives for the clarinet, making it even more fun to play.

    Piano Score, 28 pages; B♭ Clarinet Part, 7 pages; Total, 40 pages.

    Preview
  • Devienne - Sonata in D Major - Flute and Clarinet

    Devienne Op10No1 Fl-Cl nsmSonata in D Major, Op.10, No.1, by François Devienne

    Duet transcribed for Flute and Clarinet
    Score and Parts, PDF $9.99

    François Devienne (1759-1803) was a French composer, flutist and bassoonist, as well as a professor at the Paris Conservatory. His compositional output included: 12 operas; many concerted pieces for various wind instruments, with orchestra; overtures; concertos, quartets, trios, sonatas, etc. for flute, piano, and other instruments; 12 suites; numerous romances, chansons, etc.; and an influential flute method book, Méthode de flûte (1795).
    Noteworthy Sheet Music published this edition of Devienne's Sonata in D Major, Op.10, No.1 at the suggestion of flutist Richard A. Evans, who long ago obtained the original flute-flute duet from the Library of Congress and believed it undeserving of its current obscurity. Aware of the paucity of repertoire available for flute and clarinet, and realizing the piece would work nicely for that instrument pair as well, he transcribed the second flute part for B♭ clarinet. We at NSM agreed that the duet, which has two movements, Allegro spirituoso and Rondo: Allegro poco presto, should be made more readily available to present-day musicians and audiences. Our edition provides both score and parts and incorporates articulation and dynamic edits supplied by Mr. Evans.

    Score, 10 pages; Flute part, 5 pages; B♭ clarinet part, 5 pages; Total, 24 pages.

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  • Dvořák - Sonatina - Clarinet (and piano)

    Dvorak Sonatina-Op100 cl nsmSonatina, Op.100, by Antonín Dvořák

    Transcribed for Clarinet in A (and Piano) by J.W.Pratt and C.A.Vater

    A-Clarinet Part, PDF $11.99

    From 1892 to 1895, Czech composer Antonin Dvorak (1841-1904) was in the United States, serving as the director of the National Conservatory of Music in New York City. He wrote his Sonatina in G major (Opus 100, B. 183) for violin and piano in 1893, and in some ways it reminds us of his triumphant Symphony No. 9, "From the New World", which was composed the same year. The Sonatina was written for and dedicated to Dvořák's own children. It has an average duration of 20 minutes and consists of four movements: I. Allegro risoluto; II. Larghetto (Indian Lament); III. Scherzo. Molto vivace; and IV. Finale. Allegro.

    In transcribing this popular work for clarinet, we have incorporated several changes in the part to account for sonic differences between the clarinet and the violin. In so doing, every effort has been made to maintain the spirit and character of the original composition. In places the New World feel is even stronger with a wind instrument. We provide here our transcribed A-clarinet part only; Dvořák's original piano part works well with the new clarinet part, and the score for violin and piano is readily available in the public domain as a free pdf download from imslp.org.

     

    A-Clarinet Part, 11 pages; Total, 14 pages.

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  • Dvořák – Romance, Op. 11 – trans. Clarinet

    Dvorak Romance cl nsmRomance, Op. 11 by Antonín Dvořák

    Transcribed for B♭ Clarinet by C. A. Vater (originally for violin)

    Part for B♭ Clarinet, PDF $6.97

    Czech composer Antonín Dvořák based his Romance, Opus 11 on the slow movement of his String Quartet in F minor, composed in 1873, re-working that Andante con moto quasi allegretto to create two versions of the Romance, one for solo violin and orchestra (B.39) and another for solo violin and piano (B.38).  The Romance is one of Dvořák’s most magnificent melodic works, teaming with romance, lyricism, and emotional intensity.  Understandably, the piece became extremely popular and has been transcribed for several other instruments, including viola, cello, guitar, and flute.  In creating an NSM edition of the work for clarinet (and piano), we have incorporated several changes in the solo part to account for sonic differences between the clarinet and the violin.  In so doing, every effort has been made to maintain the spirit, character, and flow of Dvořák’s original composition.  We provide here our transcribed B♭ clarinet part only; the score for violin and piano is readily available in the public domain as a free pdf download from imslp.org, and that piano part can be used in performance along with our clarinet part.

    B♭ Clarinet part, 4 pages; Total, 6 pages.

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  • Figueiredo - Na Rua Dos Meus Ciúmes - WW5

    figueiredo image rrNa Rua dos Meus Ciúmes, Traditional Fado

    Arranged for Woodwind Quintet by Antonio F. Figueiredo

    Parts and Score, PDF $10.00

    Na Rua Dos Meus Ciúmes is a traditional Portugese fado, still highly popular among recording artists today.  This passionate love song tells the story of the intense jealousy experienced by a girl upon seeing her lover pass by with another woman on the street near her home.  Though her pain is palpable, the girl is proud and determined to endure her suffering resolutely and without tears.figueiredo.cover

    Antonio Figueiredo was born in the Azores, Portugal, and now resides in Massachusetts.  He grew up listening to (and falling in love with) fado music, with all its romance and passion, and its timeless themes of love, loss, jealousy, poverty, and the sea.  Figueiredo is a bassoonist who plays regularly in various orchestras and chamber music groups in the Boston area.  He enjoys arranging folk tunes for woodwind quintet, and he created this delightful and engaging arrangement of Na Rua Dos Meus Ciúmes for one of his own groups.  The piece is scored for flute, oboe, clarinet in B-flat, horn in F, and bassoon.  

    "This brief piece is a charming addition to the quintet repertory."  Read John Ranck's full review of Figueiredo's arrangement of Na Rua Dos Meus Ciúmes.  

    Score, 5 pages; Parts, 1 page each; Total, 12 pages.

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  • Finlayson - Moon Shadows - Winds and Percussion

    Finlayson Moon-Shadows nsmMoon Shadows, by Walter A. Finlayson

    Contemporary Composition for 2 Flutes, 2 Clarinets, Bass Clarinet, and 9 Percussion Instruments

    Score and Parts, PDF $14.25

    Walter Finlayson (1919-2000) was an American composer, musician, educator, and music innovator, with nearly twenty original compositions and some forty arrangements to his credit.  While serving in the navy, he played saxophone and clarinet in the US Naval Reserve dance band, seated next to the great Artie Shaw.  Finlayson's ASCAP output includes music for band, dance band, orchestra, voice, and chorus.  His compositions and arrangements have been published by Boosey & Hawkes, EB Marks, Boston Music, and Mercury Music, and performed by major college marching band programs.  One of his best-known compositions is I Had a Premonition, which was written for voice and piano, but which was later arranged for the Jimmie Lunceford Orchestra, one of the preeminent bands of the swing era.  A recording of the tune can be heard on The Jimmie Lunceford Collection: 1930-47 compact disc released in 2014 on the Fabulous label, and on YouTube.

    Noteworthy Sheet Music's chief editorial consultant Peter H. Bloom received Finlayson's previously-unpublished score for Moon Shadows from the composer's daughter, and we were impressed with its quality and sophistication.  For a piece written in the late 1930's or early 1940's, as Gale Finlayson recollects (the score is not dated), Moon Shadows seems remarkably ahead of its time.  The work is scored for two flutes, two clarinets, bass clarinet, bells, vibraphone, xylophone, finger cymbals, maracas, bongos, roll cymbals, temple blocks, and tympani.  We notated our modern edition of the piece as faithfully as possible based on the hand-written Finlayson score; our edition of Moon Shadows includes both score and parts.  We at NSM are pleased to aid in the re-discovery of some of Walter Finlayson's works; for additional information about this interesting composer, please visit the Our Composers page under About Us.

    Score, 19 pages; Parts for Flute-1, Flute-2, Clarinet-1, Clarinet-2, Bass Clarinet, Bells, Vibraphone, Xylophone, Finger Cymbals and Maracas, Bongos and Roll Cymbals, Temple Blocks, and Tympani, 1 page each; Total, 34 pages. 

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  • Gaubert - Deux Esquisses - Clarinet and Piano

    Gaubert Deux cl pf nsmDeux Esquisses, by Philippe Gaubert

    transcribed for Clarinet and Piano by C. A. Vater

    Clarinet part and Piano score, PDF $9.99

    Philippe Gaubert was a prominent French flutist, composer, and conductor who held a professorship at the Paris Conservatory and principal conducting positions at the Paris Opéra and the Orchestre de la Société des Concerts du Conservatoire. We’ve created a transcription of his Deux Esquisses (Two Sketches) for B♭ clarinet, complete with piano score. These pieces were written for flute and piano but are nicely adaptable for other winds. They were originally published by Heugel & Cie, in 1915 (No.1) and 1914 (No.2), and are now in the public domain. No.1, Soir sur la Plaine (Evening on the Plain), opens intriguingly with the solo instrument playing alone, repeating a single note. This motif sets the lovely, mysteriously forlorn tone of Soir sur la Plaine, and returns multiple times later in the piece. No.2, the second sketch, is Orientale, which, as its name suggests, evokes an atmosphere seemingly strange and foreign, Eastern.

    Piano Score, 10 pages; Clarinet part, 4 pages; Total, 20 pages.

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  • Glazunov – Elegy – Clarinet

    Glazunov Elegy Cl nsmElegy, Op.44, by Alexander Glazunov

    Transcribed for Bb Clarinet (and Piano) by John W. Pratt

    Clarinet Part — PDF $3.99

    Alexander Konstantinovich Glazunov (b. St. Petersburg, 1865; d. Paris, 1936) was a major composer in the late Russian romantic tradition. His Elegy, Op.44, was written for viola and piano in 1893, and has been transcribed by John W. Pratt for Bb clarinet. The piece is about 6 minutes long, elegiac but not lugubrious. It consists of a lovely melody in 9/8 enhanced by a simple but warm piano accompaniment. The viola melody is readily transcribed for other instruments, since it is without double stops. The piano part is freely available at IMSLP.org.

    Clarinet part, 2 pages; Total, 6 pages.