Inexpensive sheet music
for recorder and flute

This is a very charming piece of music, which was composed by J.S.Bach for organ’s pedal. Here it is arranged for the treble recorder in two versions, the original and a simplified.

This is a very beautiful solo music piece with a latent second voice. It is arranged for the treble recorder. This piece offers you aplenty of opportunities if you want to practise your thumb techniques.

This is a romantic Caprice with a very lovely sound. Originally it was composed in E flat minor for the newly developed flutes which were equipped with the Boehm key mechanism. It is also the ideal excercise to practise a greater dexterity on the recorder.

Here you get 16 lovely melodies from eastern, southern, western and northern Europe, which are easy to play on the treble recorder.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. The etude's second voice can be found below at the "recorder duets".

This "Sonate classique" (1984) is for one recorder player with treble recorder, voice-flute and bass recorder. If you don’t have a voice-flute, you can instead play the tenor recorder.

Wilhelm Friedemann Bach, Johann Sebastian Bach's eldest son, left behind several artistically duos. One of them is presented here. Originally this duet was composed for two violas, but in the version on hand it is arranged for the treble and the tenor recorder. It consists of three movements: Allegro, Amoroso and Alla breve.

Bachs greatest hit for flute, the badinerie from orchestral suite no. 2 in B minor BWV 1067 is here arranged in combination with the corresponding minuet for treble recorder and voice-flute or tenor recorder. A part for voice-flute (tenor recorder in D) is added.

This lively duets for two treble recorders are an extract of the collection «Deuxième Recueil des Pièces» by Michel Blavet, in which he called them Piece d'Handel and Air d’Handel. They were written for two Flutes. The higher part is a little bit more ambitious than the lower part because it requires a good thumb technique. The Allegro is taken originally from the suite no. 7 for harpsichord HWV 432.

This beautiful and graceful gavotte with its virtuous variations is originally an air from the suite no. 5 for harpsichord HWV 430. It was taken over by Michel Blavat in his collection «Deuxième Recueil des Pièces», in which he called it gavotte de M.Handel. Blavet arranged this gavotte for two Flutes; here it is in a version for two treble recorders.

This composition is originally a solo-tune, but it brings about the greatest effect when it is played as a duet. Thereby, the "echo" is played invisibly to the audience. A nice surprise!
By the way, 2013 is a Hotteterre commemorative year. His 250th obit is on July 16th.

Orlande de Lassus (di Lasso), who composed almost entirely vocal works, wrote 12 «Cantiones duum vocum sine textu», i.e. 12 instrumental duets. Three of this excellent duets are edited for tenor and bass recorder (soprano and treble recorder). The first duet is in its original key, the other two duets are transposed up. Alternatively you can get this duets transposed for treble and tenor recorder.

This spirited duet for two treble recorders is a version of Sammartini's trio-sonata op. 1 nr. 6. It is perfectly suited as an exercise to practise double tonguing as well as it can be the addition to a duet-program.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. As a second part for treble recorder is added, the exercise is more fun to play. The range is F4 to A6 flat without F6 sharp. Apply a variety of articulations!

This duets for two treble recorders with a melodious bass generated by combination tones, are designed especially for practising the perfect intonation. For advancers there is a second part of duets with songs generated by combination tones while playing atonal recorder parts. A manual is included in the first part of duets containing dances.

Adolphe Adam composed, like Mozart, some variations about the French children's song "Ah, vous dirai-je, maman" which has the same melody as the nursery rhyme "Twinkle Twinkle Little Star". The variations are very virtuous and Adam composed them for soprano, solo flute and orchestra. Here the variations are arranged for two treble recorders and a bass recorder. A simple tune with sophisticated variations in romantic style.

It is assumed that G. Ph. Telemann composed this music piece while the organ arrangement is attributed to J.S. Bach. This lovely trio is presented here as a recorder-trio. It is relatively easy to play because the organ version was transformed by a minor third upwards.

J. S. Bach wrote this wonderful canonic work at the end of the cantata no 208 originally for violin, oboe and figured bass. Here it is arranged in its original key for two treble recorders an a bass recorder.

In Vienna there were many lovers of mechanical clocks in the 18th century. Therefore Haydn, Mozart, Beethoven and other composers wrote pieces of music for these mechanical clocks. Today we know six compositions of Beethoven for this purpose. The most suitable for recorder trio (treble, tenor and bass recorder) is the sparkling Allegro in G major, here in its origin key, its origin pitch and similar to its original timbre.

This touching motet exists already in several arrangements, but with recorders it sounds best by playing low recorders. Here the composition is presented in the original key for tenor, bass, great bass and contra bass recorder.

The cheerful Canzonetta for three voices, as well as the canon (a result of a spontaneously toast to a good friend of D. Buxtehude) are arranged for treble, tenor- and bass recorder. All in all they are nice music pieces in a simple degree of difficulty.

Puzzle-canons were very common in the renaissance. This melodic puzzle of Fayrfax, the rhythmical one of Lloyd as well as the combined of Dunstable are some of the loveliest and niftiest examples of this time. The versions you can find here are arranged for a recorder ensemble.

This enchanting Prelude is a part of the organ work «Prélude, fugue et variation» (1862). Here you get a version for recorder-quartet (treble, tenor, bass and sub-bass recorder), transposed from original B minor to D minor.

These fine fugues for three voices are simple examples from the composition-teaching-book "Gradus ad Parnassum", which was written in the baroque era. A lot of old master like Haydn, Mozart, Beethoven and Schubert learned from this book. The fugues can be played with the soprano- and treble recorder as well as with the tenor recorder; however they sound better played on recorders which are an octave lower.

To the 200th birthday of the baroque poet Ludvig Holberg in 1884, Grieg composed a suite in "the old style". Two movements of this suite are arranged for the recorder quartet: the instrumentation like it was known in times of Holberg.

The herdsman-music from Handel's "The Messiah" is presented for 3-4 recorders (2 treble recorders, 1-2 bass recorders).

The sinfonia B flat major for two oboes, strings and basso continuo from the oratorio "Solomon" was once promoted to a hit of the baroque era. This new arrangement for recorder-quintet (two treble, tenor, bass and sub-bass recorder) is transposed to C major.

This beautiful andante was composed by Mozart for a "flute clock" (a mechanical clock with organ pipes). On hand you can find an arrangement for a recorder-ensemble. The sound is very similar to such a "flute clock".

The famous canon in D major for three violins and a figured bass is here arranged in F major for a recorder quartet (three treble recorder, one bass recorder) as well for double bass ad libitum. The corresponding gigue is available either for three treble and bass recorder or for a standard recorder quartet (discant, treble, tenor, bass). You get parts for canon and gigue, a free-score is added to the gigue.

The template for this quartet-arranging (3 treble recorders and a bass recorder) was the first movement of Pergolesi's last and most famous work, "Stabat mater", which is also used in the cantata «Tilge, Höchster, meine Sünden» BWV 1083 by Johann Sebastian Bach.

This elegiac composition for a string quartet was composed in 1890 "in commemoration of Amadeo of Savoyen, Earl of Aosta". It is one of a very few instrumental pieces of music, which the opera composer G. Puccini composed at all. The arrangement is for five recorders: one treble-, one tenor- and two bass recorders as well as a sub-bass recorder in F.

This beautiful chaconne for two treble recorders and figured bass is composed by Purcell as a very artful canon. It is taken from the third act of the opera "the prophetess, or the history of dioclesian". If you take a bass recorder for the "chacony-ground", the result is a nice recorder-trio. For better use, the bass part is figured with basso continuo instruments. Also accord symbols are added.

This well done Sonata is easy to play and originally composed for three treble recorders and figured bass. Here you can get a version for recorder quartet (3 treble, bass).

The wonderful "goldfinch imitation" is from Vivaldi's flute concertos op. 10. It is arranged for 4-6 recorders, whereas the arrangement is flexible in its variations of instrumentation; it depends on the available recorders in the ensemble. The solo part, original for flute, contains all three mouvements. The first movement can be used here for the sopranino recorder without changes.

These exercises for three recorders are composed for group lessons and contain all keys. Two students play each exercise with treble recorders as canon in two, the third voice is a separate part for a third student or the teacher.
You can play the exercise no. 1 in a abbreviated version with not more than four accidentals or in a long version with all keys. Exercise no. 2 is also an exercise for practicing double-tongue and exercise no. 3 is played in shuffle rhythm.
Each exercise contains a canon part and a score. The third voices of all exercises are combined in a single part.

These two scale exercises for three recorders are composed for group lessons and contain all keys: the first with all major keys and the second with all minor keys. Two music pupils play each exercise with treble recorders as canon in two, the third voice is a separate part for the teacher.
They can play the exercise in a abbreviated version with not more than four accidentals or in a long version with all keys. The part of the third recorder is separately available.

In the middle of the 16th century, a series of artful ricercari were created by Adrian Willaert and set standards. Here are two of the most beautiful fantasies from the collection "Fantasie recercari contrapunti a tre voci" arranged for three recorders (treble, tenor, bass recorder).

The original trio-sonata for viola, bass recorder and figured bass Wq 163 is here arranged as a sonata for bass recorder and harpsichord. If you use modern Instruments, the recorder isn’t too quiet in this version. Moreover, this arrangement is well suited for lessons in which a baroque viola isn’t at disposal. There are two versions: the range of the earlier version (manuscript of Berlin) is F3 to D5 and of the later version (manuscript of Brussels) is F3 to C5. By the way, we consider the version of Berlin as the better one.

This beautiful Madrigal is composed by Palestrina in 1566. It consists of two parts: (1: the two four-liners of the sonnet / 2: the two tierces). In the early 17th century, many diminutions resulted from this famous spring-love-song. Bartolomeo de Selma y Salverde composed the version on hand, which contains besides the discant variation an ornate bass as especialness. The "Prima Parte" is here arranged for soprano recorder and harpsichord or organ.

This delightful baroque hit is composed by Uccellini in 1642 for two violins and a basso ostinato in D major. The Bergamasca or Bergamask is a dance and a song from the region of Bergamo in Northern Italy. The popular melody spread throughout Germany too. Even V. Rathgeber, S. Scheidt and J. S. Bach used this theme.
The arrangement here is in C major for discant recorder and organ. Optional you can choose a instrumentation with two discant recorders and a figured bass. An other version is in original D major for treble recorder in G and harpsichord or organ.

A musically charming exercise composed by J.S.Bach for organ's pedal. Here it is arranged for the Flute in its original key.

Here you can find Rondeau, Giga and Minuetto, which are taken from a collection of notable flute-soli which are composed in the France baroque era. These little pieces of music are fascinating because of their latent polyphony and their remain of the solo-compositions of Quantz.

It is told about Mozart that he was passionate about games. That's why he is described to the invention of a musically game of dice, in which a waltz-theme may be composed. There are two versions arranged for flute: a short and easy one with eight bars and a long one with 32 bars like the original game.

Here you get 16 lovely melodies from eastern, southern, western and northern Europe, which are easy to play on the flute.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. As a second part for flute is added, the exercise is more fun to play. The range is C4 to B6. Apply a variety of articulations!
More exercises see below for «Flute Duets»

Bachs greatest hit for flute, the badinerie from orchestral suite no. 2 in B minor is here arranged in combination with the corresponding minuet for two concert flutes. The first part is the original flute part, the second part could be performed optional on a concert flute (with or without B foot joint), alto flute in G or Flûte d'amour in A. According parts are added.

This lively duets for two flutes are an extract of the collection «Deuxième Recueil des Pièces» by Michel Blavet, in which he called them Piece d'Handel and Air d’Handel. The Allegro is taken originally from the suite no. 7 for harpsichord HWV 432.

This beautiful and graceful gavotte with its virtuous variations is originally an air from the suite no. 5 for harpsichord HWV 430. It was taken over by Michel Blavat in his collection named «Deuxième Recueil des Pièces», in which he called it Gavotte de M.Handel. Blavet arranged this gavotte for two Flutes; here it is in a modern version of notation where you don't need to turn the page.

Orlande de Lassus (di Lasso), who composed almost entirely vocal works, wrote 12 «Cantiones duum vocum sine textu», i.e. 12 instrumental duets. Three of this excellent duets are edited for two flutes. The first duet is transposed up a fifth, the other two duets are in its original key.

"La Follia": This famous baroque theme was used by the viol-virtuoso Marais as the basis for his solo composition in 1701. He noted that his composition of variations can be played on other instruments too. The presented version is arranged for two flutes in its original key.

This six exercises includes every scale of the 12 major - and the 12 minor-modes. A second part is added for the teacher.

This duets for two flutes with a melodious bass generated by combination tones, are designed especially for practising the perfect intonation. For advancers there is a second part of duets with songs generated by combination tones while playing atonal flute parts. A manual is included in the first part of duets containing dances.

This six exercises includes every triad of the 12 major - and the 12 minor-modes. Two Exercises are for practicing octaves. A second part is added for the teacher.

This six duet etudes are for practicing double-tongue, low register, high register, chromatic scales and fast fingerings. A second part is added for the teacher.

Adolphe Adam composed, like Mozart, some variations about the French children's song "Ah, vous dirai-je, maman" which has the same melody as the nursery rhyme "Twinkle Twinkle Little Star". The variations are very virtuous and Adam composed them for soprano, solo flute and orchestra. Here the variations are arranged in its original key for two concert flutes and alto flute in G. A simple tune with sophisticated variations in romantic style.

This nice trio is arranged for two concert flutes and alto flute in G. Bach wrote this Aria in F major for organ, after he studied works of F. Couperin.

J. S. Bach wrote this wonderful canonic work at the end of the cantata no 208 originally for violin, oboe and figured bass. Here it is arranged for two concert flutes an alto flute in G.

In Vienna there were many lovers of mechanical clocks in the 18th century. Therefore Haydn, Mozart, Beethoven and other composers wrote pieces of music for these mechanical clocks. Today we know six compositions of Beethoven for this purpose. The most suitable for flute trio (two concert flutes and alto flute in G) is the sparkling Allegro in G major, here in its origin key, its origin pitch and similar to its original timbre.

The cheerful Canzonetta for three voices as well as the canon (a result of a spontaneously toast to a good friend of D. Buxtehude) are arranged for two concert flutes and alto flute in G, nice pieces of music in a simple degree of difficulty.

These fine fugues for three voices are simple examples from the composition-teaching-book "Gradus ad Parnassum" which was written in the baroque era. A lot of old masters like Haydn, Mozart, Beethoven and Schubert learned from this book. Four of these fugues are arranged for three concert flutes and two of them are arranged for two concert flutes and alto flute in G.

Gimenéz (also Jerónimo Jiménez y Bellido) was a Spanish composer who wrote almost exclusively zarzuelas (some kind of Spanish operetta). His Intermedio sounds immensely popular and is now edited for a septet or flute orchestra. It comes from the one-act opera "The Wedding of Luis Alonso". The alto and bass flutes in the flute orchestra should be at least as numerous as the parts flute 1 - 3. Generally only one piccolo and bassoon are used. Instead of bassoon you can also use bass clarinet or baritone saxophone. Accordingly transposed parts are added for free.

This beautiful andante was composed by Mozart for a "flute clock" (a mechanical clock with organ pipes). Here it is presented as an arrangement in G major for a flute quartet (three concert flutes and alto flute in G). The sound is very similar to such a "flute clock".

The famous canon in D major and the corresponding gigue for three violins and a figured bass is here arranged for three concert flutes, alto flute in G as well for double bass ad libitum. You get parts for canon and gigue, a free score is added to the gigue.

This spirited duet for three flutes is a version of Sammartini's trio sonata op. 1 no 6. It is perfectly suited as an exercise to practise double tonguing as well as it can be the addition to a trio programme.

This well done Sonata is easy to play and originally composed for three treble recorders and figured bass. Here you can get a version for flute quartet (three concert flutes and alto flute in G).

These exercises for three flutes are composed for group lessons and contain all keys. Two students play each exercise as canon in two, the third voice is a separate part for a third student or the teacher.
You can play the exercise no. 1 in a abbreviated version with not more than four accidentals or in a long version with all keys. Exercise no. 2 is also an exercise for practicing double-tongue and exercise no. 3 is played in shuffle rhythm.
Each exercise contains a canon part and a score. The third voices of all exercises are combined in a single part.

This exercise for four flutes is composed for group lessons and contains all keys. Three students play the exercise as canon in three, the fourth voice is a separate part for a fourth student or the teacher. You can play the exercise in a abbreviated version with not more than four accidentals or in a long version with all keys. The part for the fourth flute contains a transposed part for alto flute in G.

In the middle of the 16th century, a series of artful ricercari were created by Adrian Willaert and set standards. Here are two of the most beautiful fantasies from the collection "Fantasie recercari contrapunti a tre voci" arranged for three flutes (two concert flutes and alto flute in G).

The original trio sonata in F major for viola, bass recorder and figured bass is here arranged as a sonata for alto flute in G and harpsichord. Tonal, it is very charming and it is a supplement to the sparse alto flute literature. The sonata could also be performed optional on a flûte d'amour in A.

This delightful baroque hit is composed by Uccellini in 1642 for two violins and a basso ostinato in D major. The Bergamasca or Bergamask is a dance and a song from the region of Bergamo in Northern Italy. The popular melody spread throughout Germany too. Even V. Rathgeber, S. Scheidt and J. S. Bach used this theme.
The arrangement here is in its original key for flute and harpsichord (organ). Optional you can choose a instrumentation with two flutes and a figured bass.

Adolphe Adam composed, like Mozart, some variations about the French children's song "Ah, vous dirai-je, maman" which has the same melody as the nursery rhyme "Twinkle Twinkle Little Star". The variations are very virtuous and Adam composed them for soprano, solo flute and orchestra. Here the variations are arranged in its original key for two flutes and cello. A simple tune with sophisticated variations in romantic style.

It is assumed, that G. Ph. Telemann composed this music piece, while the organ arrangement is attributed to J. S. Bach.
This lovely trio is presented here as a version for 2 flutes and cello.

This delightful jewel of music from the Bach family appears in the original in the rare scoring 2 flutes and viola. Wilhelm Friedrich Ernst is the grandson and the last male descendant of Johann Sebastian Bach.

There are only few Arias without figured bass in cantatas by J. S. Bach. In the homage cantata «Preise dein Glücke» (Price your happiness) for the king of Saxony is included a wonderful piece for flute, sopran and „Violini e Violetta“. Later Bach reworked this aria for his Christmas Oratorio. Here you get the version of cantata no. 215 in its original key for a instrumental trio.

This beautiful chaconne for two flutes and figured bass is composed by Purcell as a very artful canon. It is taken from the third act of the opera "the prophetess, or the history of dioclesian". For better use, the cello part is figured and accord symbols are added.

The instrumentation "two flutes and cello" is a very charming instrumentation for chamber music. On the one hand the sound is beautiful; on the other hand the combination of instruments is balanced. As it was so famous, J. Haydn, C. Stamnitz, F. A. Hoffmeister, Joh. Chr. Bach, C. F. Abel, F. Devienne (and more) were composing trio music pieces for this instrumentation at the end of the 18th century. The "Trio classique", which is presented here, was composed in 1981. It should tie on the golden age of the above-mentioned instrumentation for chamber music. The composition is mostly tonal and it draws its liveliness from a rhythmical and polyphonic movement-structure.

«Concerto a Flauto d'Amore, Oboe d'Amore, Viola d'Amore, 2 Violine, Viola, Fagotto e Cembalo» is the title of Graupner's lovely concerto with the three instruments of love. A very special work with a formidable combination of tone colors. The autograph of this concerto is kept in the university library in Darmstadt. Graupner transposed each part of the flute d'amore in A and the oboe d'amore in A pitch up a minor third. Here the parts of the d'amore-instruments are also transposed. A version with today usual instruments in C (flute, oboe, viola) is sounding as notated. In the autograph the figured bass is without numbers. The realization of the figured bass can be improvised by the harpsichord player.

You get here the solo parts of the two Concertos op. 10 No. 1 and No. 3: «La Tempesta di Mare» RV 433 and «Il Gardellino» (The Goldfinch) RV 428. Sometimes the commercially available editions contain score and parts without the solo part. Here you get the missing parts.