Free Flute Sheet Music

Tune of the Day: Yorckscher Marsch

Named after Prussian general Ludwig Yorck von Wartenburg (1759–1830), this military march was composed by Ludwig van Beethoven in 1808 as “Marsch für die böhmische Landwehr” (“March for the Bohemian Militia”).

It is one of the most important German military marches, and is played quite often. In particular, it is the traditional march of the Wachbataillon, the German Bundeswehr's elite drill unit, and is played as the first march at the Grand Tattoo (Großer Zapfenstreich).

Thanks to Nathan for suggesting this piece!

Tune of the Day: Allegro by Corelli

This Allegro is the fifth and last movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 4 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.

Thanks to Mary for suggesting this piece!

Tune of the Day: Duet in G major by Köhler

Today's piece is duet No. 4 from the second volume of Ernesto Köhler's Twenty Easy Melodic Progressive Studies, Op. 93.

Tune of the Day: Study in E-flat minor by Hugues

Today's piece is the eighteenth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.

Tune of the Day: Jenny Bell

The earliest appearance of this beautiful polka can be found in the George H. Watson manuscript, Swanton Abbott, Norfolk, c. 1880. English folklorist Peter Kennedy recorded the tune in the 1950s from the playing of Northumbrian piper Jack Armstrong (1904–1978), who had the tune from his father Robert's manuscript collection.

Thanks to Phil for suggesting this tune!

Tune of the Day: Largo by Bellinzani

This is the opening movement of the sixth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.

Tune of the Day: Sicilian Mariner's Hymn

This tune is most notably associated with the Roman Catholic hymn “O Sanctissima” (“O Most Holy”). The earliest known publication was done in London in 1792, presenting it as a traditional song from Sicily, but no original source or date has been confirmed. The tune is often called “Sicilian Mariners Hymn”, referring to the seafarers' nightly invocation of the Blessed Virgin Mary as their protector. The tune has been notably reused for the German Christmas carol “O du fröhliche” (“O, how joyful”), the English recessional hymn “Lord, Dismiss Us With Thy Blessing”, and the first half of the American civil rights anthem “We Shall Overcome”.

The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.

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

Today we propose the third study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.

Tune of the Day: Edmund McDermot Roe

This air was composed by the celebrated blind Irish harper Turlough O'Carolan (1670–1738). The MacDermot Roes were a powerful family from County Roscommon. Tune collector O'Neill remarks:

Among Carolan's many distinguished friends and patrons, no one was more generous and loyal than Mrs. McDermot Roe, of Alderford House, County Roscommon. At the outset of his professional career in 1693, it was she who equipped him with a horse and an attendant harper; and it was to her hospitable home he directed his feeble footsteps in his declining days. Exceptionally honored in death, Carolan's remains were interred near the family vault of his benefactress.

Tune of the Day: Adagio by Corelli

This Adagio is the opening movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 5 in G minor, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.

Tune of the Day: Fum, Fum, Fum

This old Christmas carol, dating back at least to the 17th century, comes from Catalonia, an autonomous region in the northeastern corner of Spain. It is not typical of Spanish tradition but rather of Catalan tradition. It is not quite certain what the title is supposed to mean. The word “fum” means smoke in Catalan, and it may refer to the smoke rising from a chimney as seen from afar, even though many other interpretations have been proposed. The New Oxford Book of Carols, for instance, says that it “may imitate the sound of a drum (or perhaps the strumming of a guitar)”.

Thanks to Anne McKennon for contributing this arrangement for two flutes!

Tune of the Day: Study in B major by Hugues

Today's piece is the nineteenth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.

Tune of the Day: Miss Forbes' Return

This tune appears in Chicago Police officer Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in 1922. O'Neill notes:

“Miss Forbes' Return” as noted by Humphrey Murphy in Sergt. James O'Neill's manuscripts differs not materially from “Miss Forbes' Farewell” as printed in Aird's Selections of Scotch, English, Irish and Foreign Airs 1782–97. This strain is no less popular in Ireland than it is with Highland pipers everywhere. It may be claimed that Murphy's variant is more Irish in character than the original.

Tune of the Day: Presto by Bellinzani

This is the second movement of the sixth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.

This movement has actually no tempo indication in the original manuscript, but it usually appears as a “Presto” in modern editions.

Tune of the Day: Copenhagen Waltz

According to Linscott (Folk Songs of Old New England, 1939), the “Copenhagen Waltz” is a “melody characteristic of the 18th century”, although it actually seems to date from the beginnings of the fad for waltzes in the early part of the 19th century. The melody appears in numerous fiddlers' manuscripts throughout the 19th century, and was even collected in tradition as late as the 1950s in Yorkshire.

The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.

Tune of the Day: Study in F-sharp minor by Fürstenau

Today we propose the fourth study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.

Tune of the Day: Pat On Parade

This march tune is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. O'Neill notes: “This March or Hornpipe tune noted from memory may be worthy of preservation, but when or where it was acquired the writer is unable to state. Suggestion supplied the name.”

Tune of the Day: Allegretto by Paul Merkus

Today we have a new contribution from our guest composer from the Netherlands, Paul Merkus. This Allegretto was originally written in the summer of 1986 as a piece for solo piano, and later arranged for flute and piano.

After the exposition of the main theme in C major and the repetition in octaves, the piece modulates almost imperceptibly to A major in order to gradually work towards a climax. What follows is a tender interlude, followed by a more elaborate reprise of the main theme, concluded by a powerful ending.

Tune of the Day: Mary Had a Baby

This Christmas carol comes from the African-American tradition and talks about the coming of the baby Jesus. It appears to have originated on the South Carolina coastal island of Saint Helena in the 19th century.

Thanks to Diana Irving for contributing this arrangement!

Tune of the Day: Study in B minor by Hugues

Today's piece is the twentieth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.

Tune of the Day: Moonlight on the Lough

This tune comes from the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, Ireland, notated by his student.

“Lough” is an Irish word for lake.

Tune of the Day: Vivace by Corelli

This Vivace is the second movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 5 in G minor, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.

Tune of the Day: Ma'oz Tzur

“Ma'oz Tzur”, or “Rock of Ages”, is without any doubt the most popular Hanukkah song. The bright and stirring tune now so generally associated with it invariably serves as the “representative theme” in musical references to the feast, and it is sung almost universally by Jews on this festival.

Thanks to Anne McKennon for contributing this arrangement for two flutes!

Tune of the Day: Study in D-flat major by Fürstenau

Today we propose the fifth study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.

Tune of the Day: Moita Festa

This Christmas carol, whose title literally means “a lot of partying”, was composed in 1829 by José Pacheco, master of music at Mondoñedo Cathedral in Galicia, a Celtic region in the North-West of Spain. It is a villancico, a traditional piece featuring short stanzas and a refrain, and uses the same key signature and tempo of a traditional muiñeira or mill dance.

During his lifetime Pacheco composed some 150 Christmas carols, but in practice this is the one he is remembered for, to the point that the tune is often simply referred to as the “Galician Carol”.

Merry Christmas from flutetunes.com!

Tune of the Day: Largo by Bellinzani

This is the third movement of the sixth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.

Tune of the Day: The Holly and the Ivy

This folk song can be traced back only as far as the early 19th century, but its lyrics reflect an association between holly and Christmas dating back to medieval times. The lyrics and melody varied significantly in traditional communities, but during the 20th century the song became standardized. The version which is now popular was collected in 1909 by the English folk song collector Cecil Sharp in the market town of Chipping Campden in Gloucestershire, England.

Thanks to Anne McKennon for contributing this arrangement for two flutes!

Tune of the Day: Study in D major by Hugues

Today's piece is the twenty-first study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.

Tune of the Day: Johnny's Trip to France

This march tune is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. He writes:

The above fine marching tune tho' manifestly in the Irish style is probably of Scotch origin because it comes from the subconscious memory of the writer who associated in Chicago nearly 50 years ago, with such noted Highland pipers as McLean, Cant, and Monroe. Of the four distinct tunes named after Lochiel the Jacobite hero to be found in old printed collections, I find that one specially arranged for the Highland bagpipe is a variant of “Johnny's Trip to France”; dreamily remembered by the editor since early manhood.

Tune of the Day: Adagio by Corelli

This Adagio is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 5 in G minor, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.

Tune of the Day: Auld Lang Syne

This old Scottish song is traditionally sung at the conclusion of New Year gatherings all around the world, especially in English-speaking countries. In Scotland, it is common practice that everyone joins hands with the person next to them to form a great circle around the dance floor. At the beginning of the last verse, everyone crosses their arms across their breast, so that the right hand reaches out to the neighbor on the left and vice versa. When the tune ends, everyone rushes to the middle, while still holding hands. When the circle is re-established, everyone turns under the arms to end up facing outwards with hands still joined. This custom is also practiced at Scottish weddings, and the bride and groom are often lifted up in the center of the circle.

Thanks to Anne McKennon for contributing this arrangement for two flutes!