Showing 225–236 of 236 results
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 part, 1 pp.
In original key of C major. There is a choice of register on the three occasions where the opening theme occurs.Recorder part, 2 pp.
Originally in e minor, transposed here to g.Recorder part, 1 pp.
Fugue for Violin and Continuo BWV 1026
Same key and mode as in original?g dorian.Recorder part, 2 pp.
testingRecorder part, 23
Originally in d minor, transposed here to g. This arrangement is dedicated to Larry Zukoff, the teacher with whom I first played this fugue in a recorder arrangement (a different one, I believe by him).Recorder part, 2 pp.
Originally in C# major, transposed here to F.Recorder part, 1 pp.
Originally in g minor, transposed here to d. Contains a high A and some high F#’s that are not too difficult for intrepid recorder players. And some of these and other high passages are given with lower options.Recorder part, 2 pp.
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.
"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.
Originally in F# major, transposed here to Bb. Revised 6.13.15.Recorder part, 1 pp.
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, 1 pp.