8+2 pp.

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Showing 1–16 of 22 results

  • 1st mvmt.

    Originally in c minor, transposed here to g. Revised Dec. 12, 2016.

    Recorder & Keyboard part, 8+2 pp.
    $2.00
  • Prélude and Fugue No. 23, BWV 892é

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • 1st mvmt.

    Originally in c minor, transposed here to g. Revised Dec. 12, 2016.

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • Aria, “Gott soll allein mein Herze haben” from Cantata 169

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • 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.
    $2.00
  • Four Scotch tunes from *Calliope* (1739) arr. for soprano recorder & keyboard

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • 1st Mvmt.

    Originally in d minor, transposed here to g.

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • 1st 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.
    $0.50
  • 3rd Mvmt.

    Originally in d minor, transposed here to g.

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • 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.
    $0.50
  • 1st Mvmt.

    Originally in C major, transposed here to F. Keyboard part has very good page-turns.

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • 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 & Keyboard part, 8+2 pp.
    $0.50
  • 3rd Mvmt.

    Originally in A major, transposed here to F. Thought to have been based on a lost concerto for oboe d’amore. In almost all cases, recorder plays main theme in tutti sections.

    Recorder & Keyboard part, 8+2 pp.
    $1.00
  • Fugue for Violin and Continuo BWV 1026

    Same key and mode as in original—g dorian.

    Recorder & Keyboard part, 8+2 pp.
    $0.50
  • Chorus, “Was Gott thut, das ist wohlgethan,” from Cantata 99/100

    Recorder & Keyboard part, 8+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 & Keyboard part, 8+2 pp.
    $0.50
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