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  • 3rd mvmt.

    Originally in g minor, transposed here to d. The violin concerto BWV 1041 in a minor was also used as a source for this arrangement. Care has been taken on the page turns. For movements 1 & 2, which have odd numbers of pages, the page turns were optimized so that it is best to begin with page 1 on the right side?i.e., the best page turns are between pp. 1 and 2, between 3 and 4, etc. Film buffs take note that the ending of the 1991 movie ?Truly, Madly, Deeply? features music from the slow movement of this concerto. Third movement revised May 12, 2015, and Jan. 5, 2016. First movement revised Sept. 4, 2015.

    Recorder part, 2 pp.
    $0.50
  • 1st 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.
    $0.50
  • 3rd Mvmt., Vivace

    Originally in f minor, transposed here to g.

    2 pp.
    $0.50
  • ThirdD946RecPt.

    2 pp.
    $0.50
  • 1. Fantasia

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

    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
  • GymnopĂ©die No. 1

    There is no separate recorder part, since both players can usually read from the same score. (If this is unworkable, another score must be printed out.) Originally for piano solo. This arrangement at original pitch. The 1st and 3rd Gymnop?dies call for tenor recorder, the 2nd for alto. Since the guitar part of the 2nd is more difficult than the others, Nos. 1 and 3 may be performed alone, or rather perhaps in the order of the famous Debussy arrangement for orchestra, 3 followed by 1.

    2 pp.
    $0.50
  • (Harder) version at original pitch

    2 pp.
    $0.50
  • ChabrierPaysageRecPtInC

    2 pp.
    $0.50
  • 1st Mvmt.

    Originally in d minor, transposed here to g.

    Recorder part, 2 pp.
    $0.50
  • 3rd mvmt.

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

    Recorder part, 2 pp.
    $0.50
  • F minor version

    Originally in c# minor, transposed here to g.

    2 pp.
    $0.50
  • -2

    2 pp.
    $0.50
  • TEST123TEsT

    2 pp.
    $1.00
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