Recorder part

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Showing 225–236 of 236 results

  • Fugue

    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.
    $0.50
  • 3rd 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
  • 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
  • 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
  • 1st Mvmt.

    Originally in G major, transposed here to Bb.

    Recorder part, 2 pp.
    $0.50
  • Courante

    Originally in G major, transposed here to C.

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

    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
  • 2nd Mvmt.

    Originally in C major, transposed here to F. Soprano recorder (with a more difficult option for Alto) is called for at the beginning of both the 1st and 2nd movements, with plenty of time to switch to Alto early on. There are easier and harder versions and these differ in only one section of the first movement. Thus, if one wants to save paper but wants both easier and hard versions, note that the only difference occurs in p. 5 of the score, and on p. 2 of the 1st movement’s recorder part. Significant revisions made October 27, 2016.

    Recorder part, 2 pp.
    $0.50
  • Four Mvmts. from Partita No. 6, BWV 830

    Originally in e minor, transposed here to a.

    Recorder part, 6 pp.
    $0.50
  • 1st Movement

    Recorder part, 5 pp.
    $0.50
  • *Parade*, “Ballet réaliste” (from the Orchestral version)

    Score + 2 pp. of translations

    Recorder part, 7 pp.
    $0.50
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