Showing 1–16 of 1195 results

  • 1st Mvmt.

    Originally in Eb major, transposed here to G.

    Recorder & Keyboard part, 4+2 pp.
  • “Pastorale” from the “Christmas” Concerto, Op. 6, No. 8

    Recorder & Keyboard part, 4+1+1 pp.
  • 1st 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, 12+3 pp.
  • All Recorder Parts for Partita No. 3

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

    6 pp.
  • Duet

    Fifth and final number in the cantata. Originally for soprano, bass, 2 oboes, strings, and basso continuo, transposed here from C major to F. Title means, “I have before me a hard journey.”

    Recorder part, 2 pp.
  • 1st Mvmt.—Parts for both Recorder 1 and Recorder 2

    Originally in d minor, transposed here to g. Newly revised and augmented with the 2nd & 3rd movements 8.29.16. The Concerto BWV 1062 was also used as a source. Both recorder parts have optional high A’s and F#’s. Note on the second movement: the main theme contains grace notes in its 2nd measure which are featured only in BWV 1062, and which may be omitted (but of course this must be done on a consistent basis). See also a version for 1 recorder and keyboard, under “Pieces for Solo Recorder and Keyboard.”

    2+2 pp.
  • Sarabande

    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 & Keyboard part, 2+1 pp.
  • Non-Bach Solos Pre-Mozart

    110 pp.
  • 4. Gigue

    Originally in e minor, transposed here to g.

    Recorder part, 1 pp.
  • For Alto Recorder

    1 pp.
  • 2nd 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, 1 pp.
  • “Danse cuirassée,” from *Vieux sequins et vielles cuirasses*

    Recorder & Keyboard part, 1+1 pp.
  • 1st Mvmt., Allegro

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

    3 pp.
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