5 pp.

from:

Showing 1–16 of 47 results

  • Mozart K. 245

    5 pp.
    $0.50
  • Recorder parts for all 3 mvmts.

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

    5 pp.
    $0.75
  • Scarlatti547InCmajor

    5 pp.
    $0.50
  • Version in C major

    5 pp.
    $0.50
  • London Sketchbook K. 15p

    5 pp.
    $0.50
  • Concerto for Clarinet and Orchestra, K. 622, 1st mvmt.

    Recorder parts only. Using different recorders, all 3 movements can sound at original pitch, which can then be played with an orchestral reduction (e. g. by B?renreiter). The 1st and 3rd mvmts. require 4th flute @415, the 3rd mvmt. switching to soprano @440 for a short time. The 2nd mvmt. is for tenor or soprano @440. Alternate versions are sometimes given, including suggested embellishment of fermatas. Minor revision made 8.6.12. Significant revision of 2nd mvmt.?making it more recorderistic?done 10.9.12. Note that we now offer a version for alto and full keyboard accompaniment transposed to F major in the Recorder & Keyboard section.

    Recorder part, 5 pp.
    $0.50
  • StMattAusLiebe

    5 pp.
    $0.50
  • Easy Winners

    Originally for piano, in Ab major, transposed here to C.

    Recorder & Keyboard part, 5 pp.
    $0.50
  • Bach Tempo di Borea & Double from Partita No. 1 BWV 1002

    5 pp.
    $1.00
  • 1st Movement

    Recorder part, 5 pp.
    $0.50
  • K. 219 Turkish episode for C instrument

    5 pp.
    $0.50
  • Solace a Mexican Serenade

    In original key of C major.

    Recorder & Keyboard part, 5 pp.
    $0.50
  • Test name

    5 pp.
    $1.00
  • Recorder parts for all 3 Mvmts

    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.”

    5 pp.
    $1.00
  • K. 219 Turkish episode for alto

    5 pp.
    $0.50
  • Version in G major

    5 pp.
    $0.50
Add to Cart