Hallelujah (from <i>Messiah</i>) Cover Image

Hallelujah (from <i>Messiah</i>): 6 Flutes Score & Parts

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Hallelujah (from <i>Messiah</i>) Cover Image

Hallelujah (from Messiah): 6 Flutes Score & Parts

By George Frederic Handel / arr. David Marlatt

Item: 81-F2978

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Description
The most often performed Christmas piece is now scored for five flutes. The key has been altered to A-flat concert and everyone has a chance to play some of the melody so all parts are interesting and fun.

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
Page Count: 24
ISBN10: 1-55473-482-7
ISBN13: 978-1-55473-482-5
UPC: 685462014835
SKU: 81-F2978
Instrumentation: 6 Flutes

More about this title

About the Composer: George Frederic Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in England, where he became a dominant figure in Baroque music. He composed across nearly every genre of his era: operas, oratorios, concerti grossi, and keyboard works. His oratorio Messiah, first performed in Dublin in 1742, remains one of the most frequently performed choral works in the world.

Handel's gift for melody and structural clarity made his music immediately accessible to performers and audiences alike. His influence on music education extends far beyond his own time; educators have long recognized that his writing for voices and instruments serves as a model for clear part-writing and memorable thematic material. The "Hallelujah" chorus has transcended its sacred context to become a cultural touchstone, performed in countless arrangements and settings.

Why we love this

Handel's "Hallelujah" carries instant recognition and genuine joy, and this sextet arrangement preserves both while solving the real challenge of flute ensemble writing: keeping all six players engaged. Marlatt's decision to transpose to A-flat major and distribute the melody ensures no flute gets relegated to inner harmony for the entire piece. Your students will feel the satisfaction of playing a masterwork they actually recognize.

What to expect

Radiant and celebratory, with the brightness of A-flat major shining through every phrase. The repeated "Hallelujah" figuration creates a sense of building momentum and joy, while the distribution of melodic material across all six flutes gives the piece a democratic, communal feeling. It soars without demanding virtuosity.

Who it's for

Intermediate to advanced flute players working in a sextet or larger ensemble setting. This arrangement works equally well for a school band extracting six flutists for a feature performance, a community wind ensemble, or a dedicated flute choir. Any group looking for a substantial yet approachable piece that carries immediate musical impact.

How to get the most out of it

  • Balance the melody line carefully when it passes between flutes. Mark your parts clearly to show who holds the tune in each section, and remind players that accompaniment figures need to sit underneath.
  • Shape the phrases with consistent dynamic arcs rather than sudden changes. The "Hallelujah" text pattern naturally suggests longer, sustained phrases that benefit from gradual swells.
  • Match articulation across all six flutes on rhythmic unison passages. A unified attack on the iconic repeated-note figure matters far more than absolute perfection of intonation.
  • Commit to the A-flat major sonority. This key choice brightens the texture compared to the original D major; lean into that warmth rather than fighting it.

How to use it

Program this as your winter concert anchor or as a showstopper that closes the first half. It works beautifully as a bridge piece between a serious classical work and lighter seasonal fare, or as the emotional heart of a holiday concert. Consider pairing it with a smaller flute ensemble piece to highlight your flute section's range.

Skills your students will build

  • Balancing melodic and harmonic roles within an ensemble texture
  • Maintaining consistent tone across extended phrases in a single key
  • Coordinating articulation and attacks in homophonic sections
  • Reading and performing from a full score while maintaining individual part awareness
  • Shaping longer musical lines with dynamic control rather than note-by-note phrasing

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