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  • 3rd Mvmt.

    Originally in Eb major, transposed here to G.

    Recorder & Keyboard part, 4+1 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 part, 2 pp.
    $0.50
  • Allemande from Suite No. 4, BWV 1010

    Originally in Eb major, transposed here to F. The keyboard parts have newly composed bass lines. Slurs are added, but due to their lack of clarity in the earliest and most important source, they should not be taken overly seriously.

    Recorder & Keyboard part, 2+1 pp.
    $2.00
  • “Pastorale” from the “Christmas” Concerto, Op. 6, No. 8

    Recorder part, 1 pp.
    $0.50
  • 3rd 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, 6+2 pp.
    $1.00
  • Prelude and Fugue BWV 541

    Originally in G major, transposed here to Bb. There are optional low notes below ?cello C? if the keyboard can play them. Revised May 26, 2015.

    Recorder part, 3 pp.
    $0.50
  • Prelude No. 15—version in Bb

    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
  • Contrapunctus 13 Inversus

    Recorder & Keyboard part, 5+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 part, 2 pp.
    $0.50
  • Double

    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, 1 pp.
    $0.50
  • BWV 1011, Gavottes I & II, version based entirely on the cello suite

    Recorder & Keyboard part, 3+1 pp.
    $0.50
  • All 4 parts

    For SATB recorders. Originally in c minor, transposed here to g. Based on a piece for string quartet and/or string orchestra. The fugue was an arrangement of an earlier piece for two pianos, K. 426, which was also used as a source for this arrangement. There is an alternate version of mm. 106-109 of the fugue, based on K. 426.

    2+2+2+2 pp.
    $2.00
  • Four Mvmts. from English Suite No. 5, BWV 810

    Recorder & Keyboard part, 16+5 pp.
    $0.50
  • Morley: Two Canzonets to Three Voices

    Recorder & Keyboard part, 2+1 pp.
    $0.50
  • Opening “Es ist euch gut dass ich hin gehe” from Cantata 108

    Recorder & Keyboard part, 5+2 pp.
    $0.50
  • 1st Mvmt., Allegro ma non troppo

    Originally in G major, transposed here to Bb.

    3 pp.
    $0.50
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