Recorder part

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Showing 49–64 of 231 results

  • Gnossienne No. 1

    Written in 1890 for piano solo. At original pitch here.

    Recorder part, 1 pp.
    $0.50

  • Prelude No. 19

    Originally in A major, transposed here to C.

    Recorder part, 1 pp.
    $0.50

  • Chorus “Was Gott thut das ist wohlgethan” from Cantata 99/100

    This arrangement is based on a chorus which in similar form opens both Cantata 99 and 100. It is for full Baroque orchestra plus four-part chorus. The title, the same in both cases, means “What God does, that is rightly done.” The original key in both cases is G major, transposed here to C.

    Recorder part, 2 pp.
    $0.50

  • 2nd mvmt.

    Originally a concerto for violin in E major (BWV 1042), then a concerto for harpsichord in D, transposed in this arrangement to G. 2nd movement contains one high f# which is not too difficult for a good player.

    Recorder part, 1 pp.
    $0.50

  • Fugue No. 15, BWV 860

    Originally in G major, transposed here to F.

    Recorder part, 2 pp.
    $0.50

  • Prelude

    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, 2 pp.
    $0.50

  • 2. Adagio ma non troppo

    Originally in e minor, transposed here to g.

    Recorder part, 1 pp.
    $0.50

  • Both Prelude and Fugue

    Originally in C major, transposed here to Bb. After the early attribution to Bach, considerable doubt has arisen among scholars that he composed this and its companions among the “Eight Short Preludes and Fugues,” BWV 553-560. But there is no consensus on the true composer.

    Recorder part, 1 pp.
    $0.50

  • testing

    testing

    Recorder part, 23
    $23.00

  • 2nd Mvmt.

    Originally in Eb major, transposed here to G.

    Recorder part, 1 pp.
    $0.50

  • Aria

    This is an exceptional piece from the baroque period on this site in that it goes above c6 to g6 in the keyboard part. The fourth number in the cantata, it is originally for tenor, 2 violins concertante and continuo in a minor, transposed here to c. Because of the pervasive triplets, I believe the duple music should be assimilated to the triplets, and have lined it up that way. However, it may also be played as written. Title means, “The Father’s voice let itself be heard.”

    Recorder part, 2 pp.
    $0.50

  • Both 5. Burlesca and 6. Scherzo

    Originally in a minor, transposed here to d. Includes an introductory commentary.

    Recorder part, 1 pp.
    $0.50

  • K. 55

    Originally for solo keyboard in G major, transposed here to C.

    Recorder part, 2 pp.
    $0.50

  • Allemande from Partita No. 5 BWV 829

    Originally in G major, transposed here to Bb.

    Recorder part, 1 pp.
    $0.50
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