Free Flute Sheet Music

Tune of the Day: Study in E-flat major by Gariboldi

Today we present the thirteenth study from Italian composer Giuseppe Gariboldi's Etudes mignonnes (Dainty Studies), Op. 131.

Tune of the Day: Vivace by Loeillet

This Vivace in E minor is taken from Belgian Baroque composer Jean-Baptiste Loeillet's second book of Six sonatas of two parts, made on purpose for two German flutes, first published in London in 1720.

Thanks to Joyce Kai for contributing this piece!

Tune of the Day: Triste by Telemann

The first movement of Georg Philipp Telemann's Sonata in F minor for bassoon and basso continuo is marked “Triste”, which in Italian literally means “sad”. Indeed, right in the opening of the movement the composer creates a peculiar atmosphere by a very effective use of a mournful triplet figure, which may sound a bit surprising to the unprepared listener.

Tune of the Day: A Wife of My Own

This 9/8-time jig probably originated in Scotland in the first half of the 18th century, when it started being included in a number of manuscripts. Its earliest known appearance is in the Scottish Drummond Castle Manuscript, which is inscribed “A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734”.

O'Farrell's Pocket Companion (1806) gives the tune's provenance as Irish, but this appears to be an isolated opinion.

Tune of the Day: Study in A minor by Kummer

This is the fourteenth study from German flutist and composer Caspar Kummer's 32 Etudes amusantes et instructives, Op. 129, first published in 1858.

Tune of the Day: Soave by Telemann

This is the third movement from the sixth of Telemann's Sonates sans Basse à deux Flutes traverses, ou à deux Violons, ou à deux Flutes à bec, or “Sonatas without Bass for Two Transverse Flutes, or Two Violins, or Two Recorders”.

Tune of the Day: Fantasia for Solo Flute No. 8

Here we are again with a new Fantasia for Solo Flute. This is No. 8, and it's in the key of E minor. It starts off with a slow, elegant Allemande full of large intervals. You will also find some rarely-heard chromatic lines, which give a very peculiar character to this movement. Rameau once wrote that the key of E minor is never merry, even in an allegro. His remark is certainly apt here: the central Spirituoso is way too agitated to be considered happy. The last movement is in the style of a Polonaise, a Polish dance in which the second beat should be played softer than the first one, and the third beat should gently lead to the next measure.