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Showing 17–32 of 42 results

  • Bach Chorale Prélude BWV 668, Harder Version

    2+1 pp.
    $0.50

  • Prelude

    Originally in G major, transposed here to F.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • BourrĂ©e I & II from Suite No. 1, BWV 806, with choice of transpositions

    Originally in A major, transposed here to your choice of G or C.

    Recorder & Keyboard part, 2+1 pp.
    $2.00

  • Prelude

    Originally in A major, transposed here to C.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Gavotte I & II from Suite No. 6 BWV 1012

    Originally in D major, transposed here to G. With a bass line and harmonic realization based on the original but filled out in a manner befitting an accompanying keyboard instrument.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Two Canzonets by Thomas Morley

    “See mine own Sweet Jewel”, and “Aria a 3 Voices”. Both originally in G Mixolydian, transposed here to C Mixolydian.

    Recorder & Keyboard part, 2+1 pp.
    $2.00

  • 2nd Mvmt.

    Originally in g minor, transposed here to d. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. Note the alternative version in c; this one in d is a little easier. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie ?Truly, Madly, Deeply.?

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Prelude

    Originally in c minor, transposed here to a.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Bach Chorale Prélude BWV 668. Easier Version

    2+1 pp.
    $0.50

  • Sarabande

    Originally for lute, for keyboard, or for both, or possibly for lute-harpsichord, in c minor, transposed here to d. The prelude is supplied with optional cadenzas at the two fermatas toward the end. It is possible to perform the last two dances in the order presented, or, as in the great recorded performance by guitarist Julian Bream, play the A section of the Double right after the A section of the Gigue, followed by the respective B sections. Slight revision May 6, 2014. Significant revision of Double Jan. 18, 2016, in which the keyboard now extends over the usual limit of C6 to E6.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Gnossienne 3

    Written in 1890 for piano solo. Transposed here up a 4th.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Allemande from Suite No. 4, BWV 1010

    Originally in Eb major, transposed here to F. The keyboard parts have newly composed bass lines. Slurs are added, but due to their lack of clarity in the earliest and most important source, they should not be taken overly seriously.

    Recorder & Keyboard part, 2+1 pp.
    $2.00

  • 2-part Invention No. 8, BWV 779

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Gigue

    Originally for lute, for keyboard, or for both, or possibly for lute-harpsichord, in c minor, transposed here to d. The prelude is supplied with optional cadenzas at the two fermatas toward the end. It is possible to perform the last two dances in the order presented, or, as in the great recorded performance by guitarist Julian Bream, play the A section of the Double right after the A section of the Gigue, followed by the respective B sections. Slight revision May 6, 2014. Significant revision of Double Jan. 18, 2016, in which the keyboard now extends over the usual limit of C6 to E6.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Gnossienne 1

    Written in 1890 for piano solo. Transposed here up a 4th.

    Recorder & Keyboard part, 2+1 pp.
    $0.50

  • Chorale Prelude, “O Mensch, bewein’ dein’ Sünde gross,” BWV 622

    2+1 pp.
    $0.50
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