• Ave Verum Corpus (Byrd) – Flute Choir

    Ave verum corpus (Hail, true body) is based on a 14th century poem. This musical setting by William Byrd (1543 – 1623) is considered one of his finest works. A student of Thomas Tallis, William Byrd was the leading English composer of his time, a great master of the Renaissance along with Giovanni Palestrina and Orlando de Lassus, and left a huge legacy of printed music.

    The false relation, the G sharp in the 1st and 2nd flutes and the G natural in the alto and bass flutes  in measure 2 was Byrd's way of emphasizing the word verum.

    Composer: Anne McGinty
    Instrumentation: 4 C Flutes, Alto Flute & Bass Flute
    Duration/# of Pages: ca. 3:20 / 12 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $15.00
  • Bach: Aria – Woodwind Quintet

    The cantata, BWV 146, written for the third Sunday after Easter, contains the aria, Ich säe meine Zähren (I sow my Tears with a heavy heart.) Bach scored the aria for Flauto traverso, 2 Oboi d’amore, voice and basso continuo. This translates nicely to the instrumentation of the woodwind quintet, providing an expressive Baroque piece to the repertoire-suitable for concerts and services alike.

    Composer: Mark Questad
    Instrumentation: Flute, Oboe, Clarinet, F Horn & Bassoon
    Duration/# of Pages: ca. 4:20 / 24 pages, 8.5″ x 11″
    Key: Dm

    Score & Parts $21.00
  • Bach: Little Fugue in G Minor – Flute Choir

    The well known Little Fugue in G Minor is now scored for the full flute orchestra: Piccolo, four C Flutes, Alto Flute in an appropriate range and adding depth to Flute 4, with Bass Flute and Contrabass Flute on the original organ peddle. A welcome addition to the flute choir repertoire!

    Composer: Anne McGinty
    Instrumentation: Piccolo, 4 C Flutes, Alto Flute, Bass & Contrabass Flutes
    Duration/# of Pages: ca. 3:30 / 25 pages, 8.5″ x 11″
    Key: G Minor

    Score & Parts $21.00
  • Changes – Flute Choir

    M.F.K. Fisher, in her book The Gastronomical Me, wrote poignant stories of her life and career based on memorable meals and her experiences with food. When asked by Julia Child why she chose food and hunger for these stories, Mrs. Fisher replied, “When I write about hunger, I am really writing about love and the hunger for it, and warmth, and the richness and fine reality of a hunger satisfied.”

    Changes tries to capture that warmth and richness and reality musically. The titles of the three movements are chapter titles from this book, with the music reflecting the many changes that are an inevitable part of living.

    The first two movements are both slow and reflective. In the first movement each instrument has something to say and shares it with the others, with the resulting interchanges both bitter and sweet. The second movement, dreamlike as suggested by the title, recalls big dreams as well as little dreams—success, frustration and finally satisfaction. The final movement is playful and at times humorous, with a flurry of notes and amusing syncopations, a drastic change from the first two movements. The ending, with tongue in cheek and consideration of the meter used, is indeed a feminine ending in the classical sense as it does end on the second beat.

    The sample score shows the first page of each of the three movements. At this time there is no recording available.

    Composer: Anne McGinty
    Instrumentation: Piccolo, 4 C Flutes, Alto Flute & Bass Flute
    Duration/# of Pages: ca. 9:30 / 48 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $25.00
  • Die himmel erzählen die Ehre Gottes (Schütz) – Flute Choir

    Heinrich Schütz (1585 – 1672) was a Renaissance composer is regarded as the most important German composer prior to Johann Sebastian Bach. His compositions show the influence of his teacher, Gabrieli.

    One of the last composers to write in modal style, the text for this
    piece is from Psalm 19. The title translates to: The heavens are telling the glory of God.

    Originally written for six voices, the piece is ideal for flute choir and will sound glorious in a church or recital setting.

    The Ohio State University Flute Troupe, directed by Katherine Borst Jones, recorded this piece. The full version is available for your listening pleasure under the “Hear an Excerpt” link.

    Composer: Anne McGinty
    Instrumentation: Piccolo, 4 Flutes, Alto Flute & Bass Flute
    Duration/# of Pages: ca. 3:45 / 24 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $21.00
    MP3 Free!
  • Entrance of the Queen of Sheba – Woodwind Quintet

    This piece is a sinfonia with which George Friderik Handel began the third act of his oratorio, Solomon. This lively and festive processional is often played during wedding ceremonies. The flute, oboe and clarinet players will definitely enjoy playing this piece.

    Composer: Mark Questad
    Instrumentation: Flute, Oboe, Clarinet, F Horn & Bassoon
    Duration/# of Pages: ca. 4:00 / 24 pages, 8.5″ x 11″
    Key: Bb

    Score & Parts $21.00
  • Fugue in E-Flat Major (J.S. Bach) – Flute Choir

    “The triple fugue … is a symbol of the Trinity. The same theme recurs in three connected fugues, but each time with another personality. The first fugue is calm and majestic, with an absolutely uniform movement throughout; in the second the theme seems to be disguised, and is only occasionally recognisable in its true shape, as if to suggest the divine assumption of an earthly form; in the third, it is transformed into rushing semiquavers as if the Pentacostal wind were coming roaring from heaven.” ~ Albert Schweitzer

    The Fugue in E-Flat Major (BWV 552) has become known in English-speaking countries as the “St. Anne” because of the first theme's resemblance to the St. Anne hymn O God, Our Help in Ages Past, a hymn that would have been unknown to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different theme, it has been called a triple fugue, although only the first theme is combined with the second and third themes; for that reason the second and third sections are sometimes referred to as double fugues. The number three is pervasive and has been understood to represent the Trinity. The description of Albert Schweitzer follows the nineteenth century tradition of associating the three sections with the three different parts of the Trinity. The number three, however, occurs many other times: in the number of flats of the key signature; in the number of sections; and in the number of bars in each section, each a multiple of 3 x 3. Each of the three themes of the fugues seems to grow from the previous ones.

    Written for organ, the ranges of each of the five fugal voices works well for flute choir. Articulations and minimal dynamic suggestions have been added to honor the music, to make it sound as it would have sounded if the fugue were conceived for these modern instruments.

    Composer: Anne McGinty
    Instrumentation: Piccolo, 4 C Flutes, Alto Flute & Bass Flute
    Duration/# of Pages: ca. 5:30 / 35 pages, 8.5″ x 11″
    Key: Eb

    Score & Parts $21.00
  • Haec Dies – Flute Choir

    This joyous 6-part motet is a welcome addition to the flute choir repertoire. In polyphonic and imitative style, each voice is important to the overall structure. A student of Thomas Tallis, William Byrd was the leading English composer of his time, a great master of the Renaissance along with Giovanni Palestrina and Orlando de Lassus, and left a huge legacy of printed music. The lyrics are: “This is the day the Lord has made; let us rejoice and be glad in it. Alleluia.” Each time the word rejoice appears, the melody ascends, giving added brightness and lift. The common pronunciation of “Haec” is “eck” although it may also be pronounced as “hike.” Haec dies means this is the day.

    Composer: Anne McGinty
    Instrumentation: 5 C Flutes & Alto Flute
    Duration/# of Pages: ca. 2:15 / 13 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $15.00
  • I Love, Alas – Flute Choir

    George Kirbye (c. 1565 – 1634) was an English composer of the late Tudor period and early Jacobean era. He was one of the members of the English Madrigal School, but also composed sacred music.

    Little is known of the details of his life. He probably made the acquaintance of John Wilbye, a much more famous madrigalist, who lived and worked only a few miles away, and whose style he sometimes approaches.

    Kirbye's most significant musical contributions were the psalm settings he wrote for East's psalter in 1592, the madrigals he wrote for the Triumphs of Oriana (1601), the famous collection dedicated to Elizabeth I, and an independent set of madrigals published in 1597. This piece, one of six madrigals for six voices, shows careful attention to the text setting.

    The lyrics are:

    I love, alas, yet am I not beloved;

    My suits are all rejected,

    And all my looks suspected.

    Experience now too late hath proved,

    That 'twas in vain that erst I loved.

    This madrigal is written in an imitative style and as the different voices enter, the accompanying voices should get somewhat softer so all entrances can be easily heard. This is notated using dynamics and decrescendos at the beginning of the piece; however, the concept applies to all imitative entrances. The ranges are not extreme and this would be a good choice for young players as well as the experienced flute choir.

    There is no recording available at this time.

    Composer: Anne McGinty
    Instrumentation: 5 C Flutes & Alto Flute
    Duration/# of Pages: ca. 2:00 / 15 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $15.00
  • Illusions – Flute Choir

    Illusions make us think we are seeing something we’re not, a deception, which is quite magical; and this piece is based on magic.

    The first movement, Wild Card, depicts the journey to find one’s own way in life. The individual parts go this way and that, sometimes at peace with decisions made and sometimes filled with the unease that comes with fear of the unknown.

    A wizard can be someone clever and skilled, as a computer wizard, and can also be synonymous for obsessions, including bewitchment and enchantment. Wizardz, the second movement, gives every instrument its own voice within the ensemble, sometimes clever and skilled, sometimes filled with enchantment and motivation with a little sorcery for good measure. Juggling, the third movement, sonically juggles the sound back and forth, up and down among the players, trying to keep all the balls in the air at the same time.

    The sample score shows the first page of each of the three movements. At this time there is no recording available.

    Composer: Anne McGinty
    Instrumentation: Piccolo, 4 C Flutes, Alto Flute & Bass Flute
    Duration/# of Pages: ca. 10:15 / 74 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $25.00