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Showing 1–16 of 140 results

  • Prelude

    Originally in C# major, transposed here to F.

    Recorder part, 1 pp.
    $1.00
  • 2-part Invention No. 13

    Originally in a minor, transposed here to d.

    Recorder part, 1 pp.
    $0.50
  • Gigue

    In original key of C major. The keyboard parts have newly composed bass lines. Slurs are added, but due to the lack of clarity in the earliest and most important source, they should not be taken overly seriously. Note that we offer the full Suite transposed to F major. One idea would be to use these C major movements as encores, e. g. after performing the full Suite in F. Also note that the Gigue arrangement has been extensively revised as of 8.14.12, and 9.7.13 saw a slight adjustment to the Bourr?e one.

    Recorder part, 1 pp.
    $0.50
  • -1-Duet

    Duet, 1 pp.
    $0.50
  • Excerpt from Symphony No. 1 4th Mvmt. arr. for alto & bass recorders

    1 pp.
    $0.50
  • Aria

    Third number in the cantata. Originally for soprano and continuo, transposed from a minor to d. Title means, “Highest one, make thy goodness henceforth (new every morning).” Because of the limited range of the recorder part, this may be played on a Renaissance alto if desired. See the note on the Trio from Brandenburg Concerto No. 1. Note that we also offer arrangements of this aria for other sizes of recorder and one for recorder duet.

    Recorder part, 1 pp.
    $0.50
  • Prelude No. 15,version in C

    Originally in G major, transposed here to C, with another version in Bb. If one has an alto @ 392, it is possible to mix and match. My opinion is that the recorder part for the prelude is more doable in Bb, and that the part for the fugue is easier in C. Thus one could use a version all in Bb, but using the alto @ 392 to play the fugue, playing from the C major recorder part, but sounding in Bb.

    Recorder part, 1 pp.
    $0.50
  • 1st Mvmt.

    Originally in G major, transposed here to C. If played on tenor or soprano, with F fingering, will be in the same key as original continuo part. (Our keyboard part, when done, will be in C major, to work with recorder part played by alto.) N.B.: This is the original of which BWV 1038 (q. v.) for flute, violin and continuo is an arrangement?possibly not by Bach. As for the present work, doubt exists about where the bass part originated.

    Recorder part, 1 pp.
    $0.50
  • Mussorgsky “Tuileries” for alto & bass

    Duet, 1 pp.
    $0.50
  • Chorale Prelude,”Wenn wir in höchsten Nöthen sein”, BWV 641

    Originally in G major, transposed here to C. Title means: “When we are in the most urgent peril.”

    Recorder part, 1 pp.
    $0.50
  • 1st Section of Fantasie

    Recorder part, 1 pp.
    $0.50
  • Gavotte I & II

    Originally in g minor transposed here to c.

    Recorder part, 1 pp.
    $0.50
  • Fugue

    Originally in C# major, transposed here to F.

    Recorder part, 1 pp.
    $1.00
  • 3-part Invention No. 15

    Originally in b minor, transposed here to g.

    Recorder part, 1 pp.
    $0.50
  • Gavotte I & II

    Originally in c minor, transposed here to d. Two versions, one based primarily on Bach’s arrangement for lute, and the other based only on the original cello suite. In the latter, the keyboard part has a newly composed bass line. Slurs taken from the earliest cello suite source are added, but due to the lack of clarity in that most important manuscript, they should not be taken overly seriously. Note that we have a version for recorder alone (in the “Pieces for Solo Recorder, No Keyboard Part Planned,” section), featuring grace notes to simulate multiple stops, that is based solely on the cello suite.

    Recorder part, 1 pp.
    $0.50
  • “Menuet al Rovescio” from Piano Sonata Hob. XVI/26, arr. for alto & bass recorders

    1 pp.
    $0.50
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