Recorder part

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Showing 1–16 of 237 results

  • 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 part, 2 pp.
    $0.50
  • Fugue

    Originally in C# major, transposed here to F.

    Recorder part, 2 pp.
    $0.50
  • Fugue No. 15—version in C

    Originally in G major, transposed here to C, with another version in Bb. If one has an alto @ 392, it is possible to mix and match. My opinion is that the recorder part for the prelude is more doable in Bb, and that the part for the fugue is easier in C. Thus one could use a version all in Bb, but using the alto @ 392 to play the fugue, playing from the C major recorder part, but sounding in Bb.

    Recorder part, 1 pp.
    $0.50
  • Sinfonia from Partita No. 2 BWV 826

    Originally in c minor, transposed here to g. In three sections: Grave adagio, Andante, and a two-part fugue, at an unspecified but clearly much faster tempo.

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

    Originally in C major, transposed here to F.

    Recorder part, 2 pp.
    $0.50
  • Andante moderato from Symphony No. 6 for Bass recorder doubling Alto Tenor and Soprano

    Recorder part, 3 pp.
    $0.50
  • Transposed for Alto Recorder

    Originally for four-part viol consort. Two choices: 1) at original pitch for tenor (or [up an 8ve] soprano), 2) transposed up a 4th/down a fifth for alto. Minor revisions made Aug. 22, 2014.

    Recorder part, 1 pp.
    $0.50
  • 2-part Invention No. 14

    Originally in Bb major, transposed here to F.

    Recorder part, 1 pp.
    $0.50
  • Contrapunctus 13 Inversus

    Originally in d minor, transposed here to g. The dotted eighth-16th note rhythm should be assimilated to the prevailing triplets (i. e. the 16th should co?ncide with the 3rd eighth of the triplet). But the occasional groups of two or four 16ths should be as written. Contains 2 optional high A’s, either of which may be smoothly avoided.

    Recorder part, 2 pp.
    $0.50
  • Bourrée I & II—d minor version

    Originally in a minor, transposed here to d. Note that these same four movements are also available in the catalogue in the key of c. Bourr?e I and II require a change to either tenor or voice flute. To avoid this, one could use the version of this piece in c. To avoid the change of key, one could mix and match between the two versions which would necessitate using recorders either one whole tone down (in Eb) or one whole tone up (in G), in alternation with the familiar recorder in F.

    Recorder part, 1 pp.
    $0.50
  • 1st Mvmt.

    Originally in G major, transposed here to C. If played on tenor or soprano, with F fingering, will be in the same key as original continuo part. (Our keyboard part, when done, will be in C major, to work with recorder part played by alto.) N.B.: This is the original of which BWV 1038 (q. v.) for flute, violin and continuo is an arrangement?possibly not by Bach. As for the present work, doubt exists about where the bass part originated.

    Recorder part, 1 pp.
    $0.50
  • Chorale Prelude “Wachet auf ruft uns die Stimme” BWV 645

    Originally in Eb major, transposed here to F. The source of BWV 645 was the chorale of the same name from Cantata 140, which was also consulted for this arrangement. See also a version for recorder duet. Title means, “Awake, the voice calls us.”

    Recorder part, 1 pp.
    $0.50
  • testing

    testing

    Recorder part, 23
    $23.00
  • Contrapunctus 8

    Originally in d minor, transposed here to g. This arrangement is dedicated to Larry Zukoff, the teacher with whom I first played this fugue in a recorder arrangement (a different one, I believe by him).

    Recorder part, 2 pp.
    $1.00
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