Inexpensive music scores

This is a very charming piece of music, which was composed by J.S.Bach for organ’s pedal. Here it is arranged for the treble recorder in two versions: the original and a simplified one.

This is a very beautiful solo music piece with a latent second voice. It is arranged for the treble recorder. This piece offers you aplenty of opportunities if you want to practise your thumb techniques.

This is a romantic Caprice with a very lovely sound. Originally it was composed in E flat minor for the newly developed flutes which were equipped with the Boehm key mechanism. It is also the ideal excercise to practise a greater dexterity on the recorder.

Here you get 16 lovely melodies from eastern, southern, western and northern Europe, which are easy to play on the treble recorder.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. The etude's second voice can be found below at the "recorder duets".

Wilhelm Friedemann Bach, Johann Sebastian Bach's eldest son, posthumous several artistically duos. One of them is presented here. Originally this duet was composed for two violas, but in the version on hand it is arranged for the treble and the tenor recorder. It consists of three movements: Allegro, Amoroso and Alla breve.
By the way, 2010 is a year of Wilhelm Friedemann Bach. His 300th birthday is november 22!

This lively duet for two treble recorders is an extract of the collection "Deuxième Recueil des Pièces" by Michel Blavet, in which he called it "Piece d'Handel". It is written for two Flutes. The higher part is a little bit more ambitious than the lower part because it requires a good thumb technique.

This beautiful and graceful gavotte with its virtuous variations is originally out of suite nr.5 for harpsichord. It was taken over by Michel Blavat in his collection "Deuxième Recueil des Pièces", in which he called it "gavotte de M.Handel". Blavet arranged this gavotte for two Flutes; here it is in a version for two treble recorders.

Michel Blavet once collected the "baroque-hits" of his time in form of flute duets and called his collection "Recueil des Pièces". This wonderful Air d'Handel out of the second book is presented here as an arrangement for two treble recorders.

This composition is originally planed as a solo-tune, but it brings about the greatest effect when it is played as a duet. Thereby, the "echo" is played invisibly to the audienve. A nice surprise!

This spirited duet for two treble recorders is a version of Sammartini's trio-sonata op. 1 nr. 6. It is perfectly suited as an exercise to practise double tonguing as well as it can be the addition to a duet-program.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. As a second part for treble recorder is added, the exercise is more fun to play. The range is F4 to A6 flat without F6 sharp. Apply a variety of articulations!

This duets for two treble recorders with a melodious bass, generated by combination tones, are designed especially for practising the perfect intonation. For advancers there is a second part of duets with songs generated by combination tones while playing atonal recorder parts. A manual is included in the first part of duets containing dances.

Adolphe Adam composed, like Mozart, some variations about the French children's song "Ah, vous dirai-je, maman" which has the same melody as the nursery rhyme "Twinkle Twinkle Little Star". The variations are very virtuous and Adam composed them for soprano, solo flute and orchestra. Here the variations are arranged for two treble recorders and a bass recorder. A simple tune with sophisticated variations in romantic style.

It is assumed that G. Ph. Telemann composed this music piece while the organ arrangement is attributed to J.S. Bach. This lovely trio is presented here as a recorder-trio. It is relatively easy to play because the organ version was transformed by a minor third upwards.

The cheerful Canzonetta for three voices, as well as the canon (a result of a spontaneously toast to a good friend of D. Buxtehude) are arranged for treble, tenor- and bass recorder. All in all they are nice music pieces in a simple degree of difficulty.

Puzzle-canons were very common in the renaissance. This melodic puzzle of Fayrfax, the rhythmical one of Lloyd as well as the combined of Dunstable are some of the loveliest and niftiest examples of this time. The versions you can find here are arranged for a recorder ensemble.

These fine fugues for three voices are simple examples out of the composition-teaching-book "Gradus ad Parnassum", which was written in the baroque era. A lot of old master like Haydn, Mozart, Beethoven and Schubert learned from this book. The fugues can be played with the soprano- and treble recorder as well as with the tenor recorder; however they sound better played on recorders which are an octave lower.
By the way, 2010 is a year of Fux with his 350th birthday!

To the 200th birthday of the baroque poet Ludvig Holberg in 1884, Grieg composed a suite in "the old style". Two movements of this suite are arranged for the recorder quartet: the instrumentation like it was known in times of Holberg.

The herdsman-music out of Handel's "Messiah" is presented for 3-4 Recorders (2 Treble, 1-2 Bass).

In the oratorio "Solomon" are only two instrumental music pieces. The sinfonia, which is a musical description of queen Saba's arrival, was once promoted to a hit of the baroque era. The arrangement for recorder-ensemble is kept flexibly: the overture is arranged for the treble-, tenor flute as well as for the basso flute. The sinfonia can be played by a recorder-quartet. Ad libitum, a contrabass or a sub-bass-flute is joining. This arrangement is also suited for a setting of six flutes and one contrabass.

This beautiful andante was composed by Mozart for a "flute-clock" (a mechanic pipe system within a clock). On hand you can find an arrangement for a recorder-ensemble. The sound is very similar to such a "flute-clock".

The famous canon in D-major for three violins and a basso continuo is here arranged in f-major for a recorder-quartet (three treble recorder, one bass recorder) as well as contrabass ad libitum.

The template for this quartet-arranging (3 treble recorders and a bass recorder) was the first movement of Pergolesi's last and most famous work, "Stabat mater", which is also used in the cantata «Tilge, Höchster, meine Sünden» BWV 1083 by Johann Sebastian Bach.
By the way, 2010 is a year of Pergolesi. His 300th birthday is january 4th!

This elegiac composition for a string quartet was composed in 1890 "in thoughts of Amadeo of Savoyen, Earl of Aosta". It is one of a very few instrumental pieces of music, which the opera composer G. Puccini composed at all. If you are a friend of romantic recorder music, you will be surprised how well this composition sounds when it is played by a recorder ensemble. The arrangement is for five recorders: one treble-, one tenor- and two bass recorders as well as a sub-bass recorder in f.

This beautiful chaconne for two treble recorders and basso continuo is composed by Purcell as a very artful canon. It is taken from the third act of the opera "the prophetess, or the history of dioclesian". If you take a bass recorder for the "chacony-ground", the result is a nice recorder-trio. For better use, the bass part is figured with basso continuo instruments. Also accord symbols are added.

This well done Sonata is easy to play and originally composed for three treble recorders and figured bass. Here you can get a version for recorder quartet (3 treble, bass).
By the way, 2010 is a year of Alessandro Scarlatti. His 350th birthday is mai 2nd!

The wonderful "goldfinch-imitation" is out of Vivaldi's recorder-concerts op.10. It is arranged for 4-6 recorders, whereas the arrangement is flexible in its setting-variations; it depends on the available recorders in the ensemble.

In the middle of the 16th century, a series of artful ricercari were created by Adrian Willaert and set standards. Here are two of the most beautiful fantasies out of the collection "Fantasie recercari contrapunti a tre voci" arranged for three recorders (treble, tenor, bass).

The presented "herdsman-music" is written by Zipoli (*1688) for solo organ. In this version, the plain composition in three movements is freely arranged for a recorder-trio (2 tenor, bass). You can find a higher version (two treble- and one tenor recorder) at the score.

The original trio-sonata for viola, bass recorder and basso continuo Wq 163 is here arranged as a sonata for bass recorder and obligated harpsichord - modelled on historical examples. If you use modern Instruments, you won't have balance problems in this version. Moreover, this arrangement is well suited for lessons in which a baroque viola is at disposal.

This beautiful Madrigal is composed by Palestrina in 1566. It consists of two parts: (1: the two four-liners of the sonnet / 2: the two tierces). In the early 17th century, many diminutions resulted from this famous spring-love-song. Bartolomeo de Selma y Salverde composed the version on hand, which contains besides the discant variation an ornate bass as especialness. The "Prima Parte" is here arranged for soprano recorder and harpsichord or organ.

This delightful baroque hit is composed by Uccellini in 1642 for two violins and a basso ostinato. The arrangement is in c-major for soprano recorder and organ. Optional you can choose a setting of two recorders and a basso continuo.

A musically charming exercise composed by J.S.Bach for organ's pedal. Here it is arranged for the Flute in its original key.

Here you can find Rondeau, Giga and Minuetto, which are taken from a collection of notable flute-soli which are composed in the France baroque era. These little pieces of music are fascinating because of their latent polyphony and their remain of the solo-compositions of Quantz.

It is told about Mozart that he was passionate about games. That's why he is described to the invention of a musically game of dice, in which a waltz-theme may be composed. The version on hand is arranged to be played on the Flute.

Here you get 16 lovely melodies from eastern, southern, western and northern Europe, which are easy to play on the flute.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. The etude's second voice can be found below at the "flute duets".

This lively duet for two concert flutes is an extract of the collection "Deuxième Recueil des Pièces" by Michel Blavet, where it is called "Piece d'Handel". It is a very nice music piece with a latent second voice in the higher part.

This beautiful and graceful gavotte with its virtuous variations is originally out of the suite nr.5 for harpsichord. It was taken over by Michel Blavat in his collection named "Deuxième Recueil des Pièces", in which he called it "gavotte de M.Handel". Blavet arranged this gavotte for two Flutes; here it is in a modern version of notation where you don't need to turn the page.

Michel Blavet once collected the "baroque-hits" of his time in form of flute duets and called his collection "Recueil des Pièces". This wonderful Air d'Handel is out of the second book. Here it is presented an arrangement for the modern Flute, whereas the range is extended. Each legato bow is original.

"La Follia": This famous baroque theme was used by the viol-virtuoso Marais as the basis for his solo composition in 1701. He noted that his composition of variations can be played on other instruments too. The presented version is arranged for two flutes in its original key.

This exercise includes every scale and triad of the 12 major - and the 12 minor-modes. As a second part for flute is added, the exercise is more fun to play. The range is C4 to B6. Apply a variety of articulations!

This duets for two flutes with a melodious bass, generated by combination tones, are designed especially for practising the perfect intonation. For advancers there is a second part of duets with songs generated by combination tones while playing atonal flute parts. A manual is included in the first part of duets containing dances.

Adolphe Adam composed, like Mozart, some variations about the French children's song "Ah, vous dirai-je, maman" which has the same melody as the nursery rhyme "Twinkle Twinkle Little Star". The variations are very virtuous and Adam composed them for soprano, solo flute and orchestra. Here the variations are arranged in its original key for two flutes and a G alto flute. A simple tune with sophisticated variations in romantic style.

The most beautiful and most polyphonic canon of Bach is here presented as an arrangement for 8 flutes. The degree of difficulty is low.

The cheerful Canzonetta for three voices as well as the canon (a result of a spontaneously toast to a good friend of D. Buxtehude) are arranged for two concert flutes and one alto flute in G. Nice pieces of music in a simple degree of difficulty.

These fine fugues for three voices are simple examples out of the composition-teaching-book "Gradus ad Parnassum" which was written in the baroque era. A lot of old masters like Haydn, Mozart, Beethoven and Schubert learned from this book. Four of these fugues are arranged for three concert flutes and two of them are arranged for two concert flutes and one alto flute.
By the way, 2010 is a year of Fux with his 350th birthday!

This beautiful andante was composed by Mozart for a "flute-clock" (a mechanic pipe system within a clock). Here it is presented as an arrangement in g-major for a Flute ensemble (three concert flutes and one alto flute in G). The sound is very similar to such a "flute-clock".

The famous canon in d-major for three violins and a basso continuo is here arranged for three concert flutes, an alto flute in G as well as contrabass ad libitum.

This spirited duet for three flutes is a version of Sammartini's trio-sonata op. 1 nr. 6. It is perfectly suited as an exercise to practise double tonguing as well as it can be the addition to a trio-programme.

This well done Sonata is easy to play and originally composed for three treble recorders and figured bass. Here you can get a version for flute quartet (three concert flutes and a alto flute in G).
By the way, 2010 is a year of Alessandro Scarlatti. His 350th birthday is mai 2nd!

The presented "herdsman-music" is written by Zipoli (*1688) for the organ (solo). In this version, the plain composition in three parts is freely arranged for a Flute trio (2 concert flutes, 1 alto flute).

The original trio-sonata in F-major for viola, bass recorder and basso continuo is here arranged as a sonata for an alto flute and (obligated) a harpsichord. Tonal, it is very charming and it is a supplement to the spare alto flute literature.

This delightful baroque hit is composed by Uccellini for two violins and a basso ostinato in 1642. The arrangement on hand is in Its original key for a flute and a harpsichord (organ)

Adolphe Adam composed, like Mozart, some variations about the French children's song "Ah, vous dirai-je, maman" which has the same melody as the nursery rhyme "Twinkle Twinkle Little Star". The variations are very virtuous and Adam composed them for soprano, solo flute and orchestra. Here the variations are arranged in its original key for two flutes and cello. A simple tune with sophisticated variations in romantic style.

It is assumed, that G. Ph. Telemann composed this music piece, while the organ arrangement is attributed to J. S. Bach. This lovely trio is presented here as a version for 2 flutes and cello. Therefore, the organ version was transformed by a minor third upwards.

This delightful jewel of music from the Bach family appears in the original in the rare scoring 2 flutes and viola. Wilhelm Friedrich Ernst is the grandson and the last male descendant of Johann Sebastian Bach.

The herdsman-music out of Handel's "Messiah" is presented here in its original key. It is arranged for two Flutes and a cello.

The setting "two flutes and cello" is a very charming instrumentation for chamber music. On the one hand the sound is beautiful; on the other hand the combination of instruments is balanced. As it was so famous, J. Haydn, C. Stamnitz, F. A. Hoffmeister, Joh. Chr. Bach, C. F. Abel, F. Devienne (and more) were composing trio music pieces for this instrumentation at the end of the 18th century. The "Trio classique", which is presented here, was composed in 1981. It should tie on the golden age of the above-mentioned instrumentation for chamber music. The composition is mostly tonal and it draws its liveliness from a rhythmical, trechant and polyphonic movement-structure.