Two Famous Ave Marias Cover Image

Two Famous Ave Marias: Flute & Keyboard Part(s)

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Two Famous Ave Marias Cover Image

Two Famous Ave Marias: Flute & Keyboard Part(s)

By Charles François Gounod / arr. David Marlatt

Level: Medium

Item: 81-F2129

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Description
These two works (one by Gounod and the other by Schubert) are among the most popular and often used pieces at weddings and recitals. The simple accompaniment combined with the famous flowing melody makes either Ave Maria a great choice for soloist and keyboard (piano or organ) at various occasions.

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
ISBN10: 1-55473-104-6
ISBN13: 978-1-55473-104-6
UPC: 685462006076
SKU: 81-F2129
Instrumentation: Flute & Keyboard

More about this title

About the Composer: Charles François Gounod

Charles François Gounod (1818-1893) was a French composer whose gift for melody defined much of the Romantic era's most accessible sacred and operatic music. His Ave Maria, based on Bach's Prelude in C Major, became one of the most widely performed pieces in choral and solo repertoires, valued for its spiritual depth and immediate appeal to both performers and audiences.

Why we love this

This pairing gives flutists genuine repertoire choices for meaningful occasions without the complexity that often accompanies "serious" solo repertoire. David Marlatt's arrangement respects both melodies while keeping the keyboard part straightforward, making rehearsal efficient and the performance polished. These two works have proven their worth across decades of weddings, recitals, and festivals because they sound beautiful and require only modest technical demands to play them well.

What to expect

Both Ave Marias radiate calm reverence and tender lyricism. The writing sits comfortably in the flute's warm register, inviting you to play with an almost vocal quality that lets these famous melodies breathe naturally.

Who it's for

Intermediate flutists preparing recital or wedding repertoire will find these arrangements immediately useful. They work equally well for students seeking contest or festival material and for private studio performers looking for pieces that impress listeners and build confidence.

How to get the most out of it

  • Shape the melody with subtle dynamic breathing rather than abrupt phrase breaks; let the keyboard anchor the harmonic motion while your line floats above it.
  • Balance your tone so that the flute sings clearly without drowning the keyboard accompaniment, especially in moments where the harmony carries emotional weight.
  • Work with your keyboard player early to settle on tempo and pedaling choices; these pieces benefit from slight flexibility that both players understand in advance.

How to use it

Either piece serves beautifully as a prelude to a wedding ceremony or as a closing number on a student recital. Pair them back-to-back for a complete sacred music segment, or use one as a contrasting solo moment on a program mixing genres and eras.

Skills your students will build

  • Playing with vocal phrasing and sustaining tone across longer lines
  • Balancing solo voice with keyboard accompaniment in chamber settings
  • Interpreting Romantic era melody with appropriate dynamic shape and sensitivity to harmonic rhythm
  • Performing familiar, melodically-driven music with stylistic maturity

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