Recorder part

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Showing 177–192 of 231 results

  • Double

    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 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

  • Chorale Prelude “Wachet auf ruft uns die Stimme” BWV 645

    Originally in Eb major, transposed here to F. The source of BWV 645 was the chorale of the same name from Cantata 140, which was also consulted for this arrangement. See also a version for recorder duet. Title means, “Awake, the voice calls us.”

    Recorder part, 1 pp.
    $0.50

  • tetsing

    Recorder part, 66pp.
    $0.50

  • 2nd Mvmt.

    Originally in A major, transposed here to F. Thought to have been based on a lost concerto for oboe d’amore. In almost all cases, recorder plays main theme in tutti sections.

    Recorder part, 2 pp.
    $0.50

  • Aria

    20th number in this, the “Peasant” Cantata. Originally for bass, violin, and continuo in A major, transposed here to F. This aria is a parody of an aria, number seven from Cantata 201, “Zu Tanze, zu Sprunge,” which was also used in the transcription. Both arias have a “B” section which is omitted in this transcription. Title means, “May you ever prosper.”

    Recorder part, 2 pp.
    $0.50

  • Prelude and Fugue BWV 541

    Originally in G major, transposed here to Bb. There are optional low notes below ?cello C? if the keyboard can play them. Revised May 26, 2015.

    Recorder part, 3 pp.
    $0.50

  • 2nd mvmt.

    Originally in d minor, transposed here to g. The Concerto for 2 Harpsichords BWV 1062 was also used as a source. The recorder part has a high A and a few F#’s, all optional. The main theme of the 2nd movement contains grace notes in its 2nd measure which are featured only in BWV 1062, and which may be omitted, and then of course this must be done on a consistent basis throughout the movement. See also a version for two recorders and keyboard, under ?Pieces with Other Instrumentations.?

    Recorder part, 2 pp.
    $0.50

  • "Deposuit potentes"—f minor version

    Eighth number in the Magnificat. Originally in f# minor, transposed here to f. The title means, “He has put down the mighty, and he has exalted the humble.” See also the version in d minor, which in all candor is a good deal more idiomatic. The present version is included as an etude for a key which of course does occur in the classical recorder repertoire, though rarely.

    Recorder part, 1 pp.
    $0.50

  • Prelude No. 18

    Originally in g# minor, transposed here to d.

    Recorder part, 2 pp.
    $0.50

  • 3rd 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 part, 2 pp.
    $0.50

  • Prelude

    Originally in C# major, transposed here to F.

    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

  • Aria

    Third number in the cantata. Originally for soprano, violin, and basso continuo, transposed here from d minor to g. Title means, ?I am content in my sorrow.?

    Recorder part, 2 pp.
    $0.50

  • Sinfonia from Partita No. 2 BWV 826

    Originally in c minor, transposed here to g. In three sections: Grave adagio, Andante, and a two-part fugue, at an unspecified but clearly much faster tempo.

    Recorder part, 2 pp.
    $0.50
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