Recorder & Keyboard part

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Showing 17–32 of 283 results

  • Prelude

    Originally in C# major, transposed here to F.

    Recorder & Keyboard part, 4+1 pp.
    $0.50

  • Fugue

    Originally in e minor, transposed here to a.

    Recorder & Keyboard part, 3+1 pp.
    $0.50

  • Gavotte I & II from English Suite No. 3, BWV 808

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

  • Overture to *Cosi fan tutte* K. 588

    Originally for orchestra in C major, untransposed here.

    Recorder & Keyboard part, 9+3 pp.
    $0.50

  • Aria from Cantata 63, Version with 2-page recorder part

    Recorder & Keyboard part, 7+2 pp.
    $0.50

  • 4EnglishCountryDances4SopAndKbd

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

  • 2nd Mvmt.

    Originally in G major, transposed here to Bb.

    Recorder & Keyboard part, 4+1 pp.
    $0.50

  • 3-part Invention No. 15, BWV 801

    Recorder & Keyboard part, 3+1 pp.
    $0.50

  • Rhapsody for Piano Op. 1 No. 9

    Originally in g minor, here transposed to d

    Recorder & Keyboard part, 4+2 pp.
    $0.50

  • Canon at the Octave

    Originally in d minor, transposed here to g. Contains a fermata 4 bars before the end. A FREE item from this website is due anybody who can correctly identify the meaning of this fermata. By the way, the page turns for the kbd. player on this piece have been created better than one can believe (i. e. VERY easy for the player)!

    Recorder & Keyboard part, 10+2 pp.
    $0.50

  • 2nd Mvmt.

    Originally in g minor, transposed here to c. 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. In the first movement, some of the hardest passages for the recorder part are eliminated, or rather given to the keyboard player, simply by switching places between the original gamba part and the right hand of the keyboard part. Of course, the fact that these two parts are in the same style (very much as in a trio sonata, or a double concerto) is what makes this an especially viable transcriptional option. Note the alternative version in d; this one in c is a little bit more difficult. 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

  • Excerpt from Piano Sonata, D. 958, 4th mvmt., version for alto recorder

    Recorder & Keyboard part, 3+1 pp.
    $0.50

  • Sonata No. 2 for Violin & Keyboard BWV 1015

    Recorder & Keyboard part, 14+5 pp.
    $1.00

  • Prélude and Fugue No. 12, BWV 881

    Recorder & Keyboard part, 8 pp.
    $0.50

  • testing

    testing

    Recorder & Keyboard part, 23
    $23.00
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