Free Flute Sheet Music

Tune of the Day: Here Comes the Bride

This is the standard march played for the bride's entrance at many formal weddings throughout the Western world. The piece comes from Wagner's opera Lohengrin, but its usual placement at the beginning of a wedding ceremony is not entirely in accordance with its placement in the opera. In the opera, the chorus is sung after the ceremony by the women of the wedding party, as they accompany the heroine Elsa to the bridal chamber.

One curious thing is that the marriage between Elsa and Lohengrin is an almost immediate failure, reaching irretrievable breakdown twenty minutes after the chorus has been sung. However, as we all know, this has failed to discourage the widespread use of the piece.

Tune of the Day: Buttermilk Mary

This traditional Irish jig first appeared in Ryan's Mammoth Collection, published in Boston in 1883. It appears to be closely related to the popular tune “An Irishman's Heart to the Ladies”.

Tune of the Day: Study in D minor by Clinton

Today we propose a little study by British flutist and composer John Clinton. It was first published in London in 1843, as part of his A Theoretical and Practical Essay on the Boehm Flute.

Tune of the Day: Gigue by Mattheson

This gigue is the fourth and final movement of a sonata for 3 flutes in F major by the German Baroque composer and music theorist Johann Mattheson. It was published in Amsterdam in 1708.

Tune of the Day: Aria by Braun

This Aria is the fourth movement of the second of the six Op. 7 flute sonatas with bass accompaniment by French flutist and composer Jean-Daniel Braun, published in Paris in 1736.

Tune of the Day: Made in Ireland

This jig belongs to the Tenpenny Bit family of tunes. The title “Made in Ireland” is unique to Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905.

Tune of the Day: Doll's Waltz

This elegant, graceful waltz is taken from Ernesto Köhler's 25 Romantic Studies, Op. 66. The only real difficulty here lies in the large intervals. Try to keep a steady tempo throughout the piece, and to differentiate repeated phrases with a careful use of dynamics.