PARTITIONS GRATUITES :
- Ali Theodore

(For Flute And Piano). Composed by Gary Schocker. For flute and piano. Baroque. Solo part and piano score. 20 pages. Duration 8 minutes. Published by Theodore Presser Company

Chamber Music Flute(s)

SKU: PR.494032560

Composed by Various. Collection - Score. Theodore Presser Company #494-03256. Published by Theodore Presser Company (PR.494032560).

UPC: 680160690428.

Lyric al Flute Miniatures is a captivating collection of 40 short pieces for beginner and early intermediate flute players of all ages, exclusively commissioned from some of today's most exciting composers.These musical gems offer a diverse array of musical styles, ensuring a rich and engaging journey into the world of flute music. From lyrical melodies to lively dances, each piece has been crafted to nurture both technique and expressive playing, exploring the beauty and versatility of the flute.There are biographies of all the composers at the end of the flute part, as well as notes and helpful performance suggestions for each work.Free Flute and Piano recordings, and Piano backing tracks for every piece can be found on YouTube at “theyoungfluteplayer” (no spaces) channel, see the playlist for Lyrical Flute Miniatures. You can also find the link and further information at  www.allegromusicpublishin g.com/flutemusicLyrical Flute Miniatures will delight students, flute teachers, and audiences alike, a valuable addition to your Flute repertoire!

Visions of Hawai'i. Composed by Eric Ewazen. Set of Score and Parts. Duration 17 minutes. Theodore Presser Company #114-41843. Published by Theodore Presser Company

Chamber Music Flute(s)

SKU: PR.144407290

Composed by Ali Ryerson. Performance Score. 4 pages. Duration 4 minutes. Theodore Presser Company #144-40729. Published by Theodore Presser Company (PR.144407290).

ISBN 9781491135150. UPC: 680160687008.

Jazz luminary Ali Ryerson traces a unique and personal artistic path in this solo work. With an engaging form reminiscent of jazz charts (a dreamy introduction, a catchy, swinging head, and improvisatory-feeling 12-bar choruses), Ryerson’s music pays deeply-felt homage to Charlie Parker and other jazz greats, while maintaining an organic connection to the lineage of unaccompanied woodwind music in the classical tradition. Classical players will gain insight into jazz harmony, rhythm, and expression as they learn this knockout recital piece, while Ryerson fans in the jazz world gain an image of her musical mind in this fully-notated composition.
Jazz Dream, a jazz-inspired solo flute piece, was commissioned by Claudia Anderson for her Glass Ceilings project. Claudia once told me that playing jazz flute has been one of her musical ambitions. I daresay her performance of JD could very well break a glass ceiling of her own!Moved by the events of 2020, composing Jazz Dream became my way of honoring my musical heroes from the Black community, namely the jazz musicians who created this music and truly broke glass ceilings. As jazz shares its origins with the blues, both genres having originated in the African-American community, I decided on a 12-bar blues form as the framework for the piece.The opening theme gently draws us into a dream-like state, with a melody in slow motion and lines that linger. When the REM cycle kicks into gear, there’s an abrupt rhythmic shift that leads straight into a swingin’ blues. Idiomatic jazz rhythms abound, with blue notes galore – the tension notes that virtually define the sound of both the blues and jazz (i.e. the flatted third, fifth, and seventh notes of a scale in place of the expected major intervals).After several groovin’ choruses of a 12-bar blues in B(, often played as if the soloist is improvising, the blues modulates to the key of E(, and as a tribute to the great Charlie Parker (AKA Bird), I harmonically suggest the more complex set of bebop changes that Parker introduced in his composition, Blues for Alice. Often referred to as Bird Changes or Bird Blues, instead of the basic I - IV – V chord progression commonly used in the blues, Parker used a series of sequential ii-V progressions (and secondary ii-V progressions). With the addition of some tritone substitutions, a chromatically descending bass line deftly replaces the original I-IV-V root movement. This is the harmonic background I was hearing as I wrote this particular chorus.After my 12-bar nod to Bird’s changes, the introductory dream theme returns, now in tempo and with a straight-ahead swing feel. Variations on this theme follow, again to be played as if improvising, with the soloist once again bringing their own personality into the performance. This section builds to a climax, the music pauses, then modulates to C, with a return to the original blues theme. The energy and groove increase through the final flourish, where a blues line ends on the idiomatic flatted fifth.

Chamber Music Bass Flute, alto Flute

SKU: PR.144407300

Composed by Ali Ryerson. Sws. Set of Score and Parts. 8+2+4 pages. Duration 5 minutes. Theodore Presser Company #144-40730. Published by Theodore Presser Company (PR.144407300).

ISBN 9781491132364. UPC: 680160681709. 9 x 12 inches.

A beloved star in the international jazz world, AliRyerson has developed a large and enthusiastic following,particularly among alto and bass flutists in the traditionally classicalflute community. FOLKTALE is an original workequally inspired by both worlds. Along with all the elegantcounterpoint of baroque flute duets, FOLKTALE’slanguage is grounded in jazz harmony and rhythm, fullynotated for the classically-trained performer. Performancesuggestions are provided with hints on style and phrasing.When no bass flute is available, FOLKTALE may beplayed on C Flute and Alto.
FOLKTALE was inspired by a tune I wrote some years ago for my dear friend, Dr. Vivien Bonazzi. A dedicated jazzlover who hails from Canberra, Australia, Vivien is an accomplished flutist and guitarist. (Her day job is at the NationalInstitute of Health in Maryland, as Program Director in Computational Biology and Bioinformatics at the NationalHuman Genome Research Institute). Vivien commissioned me to write her a flute piece, something with a jazz feel anda written-out flute solo that would sound as if she were improvising. I enthusiastically agreed and wrote a tune titledAll Things Being Equal (a wink and a nod to the mathematical side of her personality!). I performed it only once, witha rhythm section, just before handing Vivien the sheet music. I never gave it a second thought until a couple of yearslater, when I found myself on a recording date with bass flutist extraordinaire, Wendy Stern. We so enjoyed working (andplaying!) together that day, that we vowed to join forces again as soon as possible. To speed up the process, I decided towrite us a duet. When I sat down to start composing, the melody I had previously written for Vivien kept popping intomy head. It finally occurred to me that it would make the perfect duet. So, after some major reworking of the score,FOLKTALE emerged, and I now have two very good friends to thank for its inspiration!

For Flute and Piano. Composed by Gary Schocker. Solo part with piano reduction. With Standard notation. 10 pages. Duration 4 minutes. Theodore Presser Company #114-41363. Published by Theodore Presser Company (PR.114413630).

(or me and my gold piccolo). By Gary Schocker. For Piccolo, Piano. Advanced. Duration 6 minutes

Chamber Music Flute(s)

SKU: PR.114423620

Composed by Jovana Damnjanović. Performance Score. Theodore Presser Company #114-42362. Published by Theodore Presser Company (PR.114423620).

ISBN 9781491137321. UPC: 680160690053.

MAYKA (Serbian for “mother”) is a fascinating collection of 10 short recital pieces, each inspired by Serbian folk-music traditions, enriched through a broad variety of non-traditional techniques. Serbian-born flutist Jovana Damnjanović created these teaching etudes in conjunction with her doctoral thesis introducing Eastern European traditions to Western flutists. Along with its 10 fresh and dazzling concert works, this publication includes a thorough preface on performance techniques and instructions for each etude.
MAYKA attempts to represent the sounds of traditional Serbian music and also make them more familiar and accessible to flute players around the world. The overarching inspiration for the sound is one of the most popular instruments in Serbian traditional music: the frula. Inspirations from the tone colors of other instruments such as duduk, cevara, dvojnice, and kaval are also present. To read more about these instruments, refer to Chapter 1: Introduction (pg. 13-16) in the online dissertation.My intention was to create an original work exclusively for flute that holds characteristics of Serbian traditional music. An imitation of one of the Serbian traditional song forms can be found in “Čоček;â� �� irregular time signatures can be found in “Igra,” “Čоček,â� �� and “Vez.” The style is mostly present through trills, ornaments, and tonality, which are ubiquitous characteristics of Serbian traditional music.Each of the concert etudes has a narrative. The reason for narrative is to bring the style closer to the performer, and to help with understanding each etude’s expressive significance. Some etudes were inspired by people and events, some by specific dances, music, and literature from Serbia. As the etudes are of programmatic nature, they are a great choice for themed recitals. The idea was to write pieces short enough to be good program-fillers, not too hard to put together yet effective, and also suitable for short performances in venues that do not have a piano. To read more about each etude’s narrative, refer to Chapter 3: Performance Guide (pg. 24-75) in the dissertation.The book is titled MAYKA, Serbian for mother, to honor my mother, my mother’s mother, and my Motherland, Serbia. Motherland is represented through the style and tonal language of all of the concert etudes, and my mother and grandmother have been the biggest inspiration for the narrative of “Svila,” “Nana,” and “Uspavanka.”.