Showing 1–16 of 1195 results

  • 2nd Mvmt.

    Originally in Eb major, transposed here to G.

    Recorder & Keyboard part, 3+1 pp.
  • Bach Keyboard Concerto No. 2, BWV 1053

    Includes commentary page.

    38+8+1 pp.
  • Cantata 51 Aria, “Höchster, mache” for Alto

    5+1 pp.
  • Prélude and Fugue No. 3 BWV 872

    Recorder & Keyboard part, 4+2 pp.
  • 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 & Keyboard part, 4+1 pp.
  • Prelude

    Originally in D# minor, transposed here to a. Minor revision (adding a missing tie) 12.22.16.

    Recorder part, 1 pp.
  • Complete Suite No. 4 BWV 1010

    Recorder & Keyboard part, 14+7 pp.
  • Italian Concerto, BWV 971, 3rd Mvmt.

    Originally in F major, transposed here to C. Optional low bass tones in keyboard part are given in small notes.

    Recorder & Keyboard part, 8+2 pp.
  • Gigue

    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.
  • Suite No. 3, BWV 1009, in original key

    21 pp.
  • Sonata, BWV 1021

    12 pp.
  • Prélude and Fugue No. 9, BWV 878

    Recorder & Keyboard part, 7+2 pp.
  • 3rd 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 part, 2 pp.
  • *Sonnerie pour réveiller le bon gros Roi des Singes (lequel qui ne dort toujours que d’un œil)*, arr. for two alto recorders

    Duet, 1 pp.
  • 3rd Mvmt., Vivace

    Originally in e minor, transposed here to g. Minor revisions (on pp. 5-6) 4.14.13.

    2 pp.
  • Bach Sonata BWV 1029, transposed to d minor

    20+5 pp.
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