Easy Classical Alto Recorder Solos: Featuring Music of Bach, Mozart, Beethoven, Wagner and Others. 1463776918, 9781463776916

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Easy Classical Alto Recorder Solos Featuring music of Bach, Mozart, Beethoven, Wagner and others

Easy Classical Alto Recorder Solos Revised Edition © Javier Marcó ISBN-13:978-1463776916 ISBN-10:1463776918

Contents

Playing guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

1812 Overture, Op. 49. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 An der schönen blauen Donau, Op. 314 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Bourrée, BWV 996 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Dance of the Flowers, Op. 71a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Eine kleine Nachtmusik, K.525 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Für Elise, WoO 59 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Greensleeves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Guten Abend, gut’ Nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 I Dovregubbens hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Jesus bleibet meine Freude, BWV 147 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Kanon in D-Dur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 La Donna è Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 la Primavera, RV. 269 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Menuett, BWV Anh 114 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Ode an die Freude, Op. 125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Pomp and Circumstance March Nº1, Op. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Treulich geführt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Water Music, HWV 349 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Playing guide Standard notation Notes are written on a Staff. Staff The staff consists of five lines and four spaces, on which notes symbols are placed.

Clef A clef assigns an individual note to a certain line. The Treble Clef or G Clef is used for the alto recorder.

This clef indicates the position of the note G which is on the second line from the bottom.

Note A note is a sign used to represent the relative pitch of a sound. There are seven notes: A, B, C, D, E, F and G.

Ledger lines The ledger lines are used to inscribe notes outside the lines and spaces of the staff.

5

Accidentals An accidental is a symbol to raise or lower the pitch of a note. sharp

Next note up half step.

flat

Next note down half step.

natural

Cancels a flat or a sharp.

Note values A note value is used to indicate the duration of a note. A rest is an interval of silence, marked by a sign indicating the length of the pause. Each rest corresponds to a particular note value.

Whole note

Whole rest

Half note

Half rest

Quarter note

Quarter rest

Eighth note

Eighth rest

Sixteenth note

Sixteenth rest

Dotted note A dotted note is a note with a small dot written after it. The dot adds half as much again to the basic note's duration.

Tie A tie is a curved line connecting the heads of two notes of the same pitch, indicating that they are to be played as a single note with a duration equal to the sum of the individual notes' note values.

6

Bars or Measures The staff is divided into equal segments of time consisting of the same number of beats, called bar or measures. Measure

Measure

Measure

Measure

Bar line Time signature Time signature consists of two numbers, the upper number specifies how many beats (or counts) are in each measure, and the lower number tells us the note value which represents one beat.

Example: 4/4 means four quarters, or four beats per measure with a quarter note receiving one beat or count. Key signature A Key signature is a group of accidentals, generally written at the beginning of a score immediately after the clef, and shows which notes always get sharps or flats. Accidentals on the lines and spaces in the key signature affect those notes throughout the piece unless there is a natural sign.

Repeat sign The repeat sign indicates a section should be repeated from the beginning, and then continue on. A corresponding sign facing the other way indicates where the repeat is to begin.

Repeat Sign 7

First and second endings The section should be repeated from the beginning, and number brackets above the bars indicate which to played the first time (1), which to play the second time (2).

Dynamics Dynamics refers to the volume of the notes. p mp mf f

(piano), meaning soft. (mezzo-piano), meaning "moderately soft". (mezzo-forte), meaning "moderately loud". (forte), meaning loud. Crescendo. A gradual increase in volume. Decrescendo. A gradual decrease in volume.

Tempo Markings Tempo is written at the beginning of a piece of music and indicates how slow or fast this piece should be played. Lento — very slow (40–60 bpm) Adagio — slow and stately (66–76 bpm) Andate — at a walking pace (76–108 bpm) Moderato — moderately (101-110 bpm) Allegretto — moderately fast (but less so than allegro) Allegro — fast, quickly and bright (120–139 bpm) Presto — extremely fast (180–200 bpm) Alla marcia — in the manner of a march In tempo di valse — in tempo of vals rallentando — gradual slowing down a tempo — returns to the base tempo after a rallentando 8

Articulation Legato. Notes are played smoothly and connected. Stacatto. Notes are played separated or detached from its neighbours by a silence.

Fermata (pause) The note is to be prolonged at the pleasure of the performer.

Fingering Baroque recorder fingerings for Recorders in F (Alto or Treble).

9

10

1 8 1 2 ГОД, Op. 49 (1812 Overture)

Andante

Piotr Ilyich Tchaikovsky

                            F

mf

 F                         

3

Bb

                         

5

F

7

Fº7

    



 



  

sf

9

    

  



 



f



   p

   p 11

An der schönen blauen Donau, Op. 314 Johann Strauss II

In Tempo di Valse

Bb F7/C                              

mf

 F9    F7   Bb6                    

9

Bb/D Eb6                            

17

      

25

F9/C

f

12

Bb

    

      

Bb/D

Eb6



F7



Bb

      

Bourrée, BWV 996 Johann Sebastian Bach

Moderato

Gm F7 Bb D D7 Gm   D7   Gm D7 Gm                       

mf

 

6

    

F7 Bb F7 Bb    D7   Gm D7 Gm                

Gm

F7 Bb  Cm/Eb G7 Cm G7 Cm G7 Cm                    

 F7

Cm/Eb G7 Cm C7 A7   F C#º7 Dm               

 

11

15

Bb

Dm

  

G7 C7 F7 Bb7 Eb D A7 D                          

19

                     

23

Cm

F7

Bb(#5) Cm

D7

Gm

D7

Gm

D7

Gm



 G7 





 13

Щелкунчик, Op. 71a (Dance of the Flowers)

Tempo di Valse C

          



G



Piotr Ilyich Tchaikovsky G7







f



F/A

6



          

Dm7

5



Em/G





           

C

G7





5

C

10







G





           

Dm7



G7



5

1. F

14









F(5#)



Bb





 

G7/B

    

sf

18

2. Am/E







Am7(5b)/Eb





G7/D

      

sf 14

ff

C

   





Eine kleine Nachtmusik, K.525 Wolfgang Amadeus Mozart

Allegro

 G7                             C

f

5

  

C

   

    

8

G7

11

C



15



19





F

 

F

  

  

C

  

C G7 C G7 C C  G7                                

 G7 

    

p

C

   

G7

Am

               

Dm

 

G7

C

G7

C



Dm G7 C      Am                   

G7

sf



G7 C              

G7

C

     15

Für Elise, WoO 59 Ludwig van Beethoven

Poco Moto



 

A7 Dm           Dm               

mp

      

6

10

2. Dm

 

Dm



   

     

 



F

  



     

    



 

   

A7

C

  

mf

1. Dm



Dm

Dm                                  

14

A7

 

19

A7

22

Dm

 

16



   

   



Dm



A7

     

    

1. Dm



     



2. Dm

      

Greensleeves Traditional English Folk Song

Andante

Dm A7      C                          Dm

mf

1. Dm

                       

6

11

Dm

  

15



F 

F 

C

  

  

Dm



C



C

A7

    

Dm

    

Dm





     

     

A7

2. Dm

       

A7

   

Dm







 

17

Guten Abend, gut’ Nacht Johannes Brahms

Adagio F

     

 





 



C

 



   

mp

6

Gm

10

F7

 





  

14

18

F7



 

    Bb

    Bb

 

C

  

F

Gm



F



Gm

 







 



C

1. F





  





F



F

  



2. F

    

I Dovregubbens hall Edvard Grieg

Alla marcia e molto marcato

                                  Fm7

p

                      

5

Fm7

                  

          

     

      

   

             

       

        

     

9

13

C7

C7









                  

           

                      

                

17

21

Fm7

Fm7

19

Jesus bleibet meine Freude, BWV 147 Johann Sebastian Bach

Lento

Eb /G Bb/D Cm Bb/D Cm/Eb F F7  Gm                                     Bb

3

3

3

mf

                       

5

Bb

Gm7

Bb

 

14

Bb/D





Gm7

Gm7/F



F/A Eb /G





Bb/D



Gm



Eb

C7/E

F



Bb

        

Bb F/A Eb /G F/A Eb /G F Eb /G F/A Bb

    

9

Eb

F



Eb

F7

F

   





        

Bb

Eb /G

Cm Bb/D Cm/Eb F F7   Gm                            

18

Bb/D

1.

2.

rall.

Eb Bb/D Gm7 Bb   Gm7/F Eb  C7/E F  Eb  C7/E F                         

21

20

Bb

Gm7

Kanon in D-Dur Johann Pachelbel

Adagio

Bm  G D/F#  Em      

       G

D/F# Em

Bm

C

mp

    

G D/F# Em Bm

5

G

D/F#

 

9

11



13

 G



 

Em





C

D



Bm



G

D/F#

G

Em

Bm

C

C

        

C



Em



D/F#

Bm

G







G

G



C

C

D

D

     

C



Em



 

C





G



Bm

D/F# Bm C    Em              

15

    

D

D





 

           D/F#



G

G

C

   







C

G

C

G



G



C

D

C





D





        G 

C

D

21

La Donna è Mobile Giuseppe Verdi

Allegretto

     



Bb

F 



 

F7





 

Bb



 



mf

Bb

  





   





5

9

Bb

Bb

  

13





 

F

  

F 

 

F

 

  

F7



F7



F7



Bb







 

  

 

Bb



 

Bb





 

  

F Bb6 Cm Bb/F F7 Bb  D7/F#   Gm  F7/A                                                  3

17

C7/E

f

22







Allegro - la Primavera, RV. 269 Antonio Lucio Vivaldi

Allegro

                                         Bb

F7

f

Bb

p

F7 Bb                                        

6

f

          

F7

10

                         

Bb

p

F7 Bb D7  Gm                                       

14

f

D7 Gm   Gm                                

18

Gm

p

f

F7 Bb                                        

22

Bb

p

    

26

      

  

    

 

Bb       F7

23

Menuett, BWV Anh 114 Johann Sebastian Bach

Allegretto

    G



   

mf

 

5

C

 

9

G

   

G

 

13

24

C









   

   



C

   

G

p



   

C





D



   

D





   

   







G









G

   



G







Ode an die Freude, Op. 125 Ludwig van Beethoven

Allegro

       

   

Bb

F

Bb

  

F



Bb

  



C7

F



   



f

Bb

 

5

F







Bb

     

9



F



Bb

    

F

F





Bb









Bb

    

  

p

Bb

 

13

f

 





F

 



Bb



 





F

F



Bb

  

25

Pomp and Circumstance March Nº1, Op. 39 Edward Elgar

Molto Maestoso

F    

  

C/E

Dm



Dm7/C



 Bb  

F/A

  

G7

C





 

mf

9

F

17

2. Bb

 

 

       G7

C7

(alargando)

25

Bb

 

26

  

C



F

Fmaj7 F7

  

 

 

1. Dm

Am



     

G7

 Bb  a tempo

Am



C7

 

C

  

C7





   F

F





C7

 





Dm



 

Treulich geführt Richard Wagner

Molto Vivace C

  











G





C









mf

5

 

9

C

 

13

 

















F



Em











F f



C









G









G

G

C







G7







C









dim.

27

Alla Hornpipe - Water Music, HWV 349 George Frideric Handel

Alla Hornpipe C

  

 





     G

     C/E

  

G

C/E

f

Am7 Dm G7 C/E  C/E     F9   Dm                     

5

G

p

9







G7



C







G





1. C





f

12

2. C

 

C/E   

      

G7/D

C

C/E        G

p

C       

15 G7/D



        G

C/E

    Dm   

Am7

f

18



C/E F9 Dm G7               

G7

p 28

 C    G 

C

 

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