I don’t know if there is any interest for that such of thing, but here is the air, second part of the 3rd orchestral suite, that sounds to me nicely when played on wooden flute, and which is interesting also for key practising:
Thank you for the transcription! I’ll give it a go. In an attempt to force improvement in my wooden-flute accidentals I played bits of the first movement of Bach’s Suite in B Minor for a while, but my college technique is so far in the past and tunes were so much more fun (And less painful!). This looks more do-able.
yes , that could be it . but , phcook , give us some more .
i can see it now , a bunch of guys and gals , in the back room at Glyndbourne , after Kiri does Schubert , ( albeit vocally) ripping into a few fugues .
and while i’m here , does anyone know if that book of pipe friendly tunes , by the , possibly , Chicago Pipers Club , is available as an abc collection ?
loaded with dodgy bits , but a good guide to flutable stuff
the F in m. 3 before end is already Fnat (see the sign = before F), check your abc software, which perhaps doesn’t accept that way, there is unfortunately no standard abc notation;
Gsharp m.16: can’t see it, it might be your software, please control;
G transcription
m.3 Fnat is Fnat, see the ‘=’ before F
m.8: it’s Fsharp
m.16 and 17: can’t see.
I use abcEdit, that accepts some abcPlus notation, that can explain the differences.
If you’re using windows, give abcEdit a try, it’s in English and is very useful to control the printing with layout commands that are beyond abc standard notation.
If somebody is interested, I can send you the score with the four voices, so you may verify and modify some patterns that aren’t accepted by your software.
perhaps the more skilled players could record and let the others hear how it can sound?
Here’s a Telemann sonata for alto recorder that I’ve transposed down to D. The original goes up to the high G, this up to the somewhat more manageable E. I prefer the sound in F, possibly just because that’s how I started playing it.
X:2
T:Sonata in F Magg
T:second movement
M:3/4
L:1/4
C:Telemann
V:Largo
K:F
P:Largo
a {b}a3/g/ | f/e/d z | b g e | ^c2 z | d {d}e3/f/ | e3/g/ f/e/ |
f/g/(g3/a/) | a2z :||: (a/b//c’//) (^f3/g//a//)| d3/_e’/d’ | c’{b}a3/d’/|
b3/a/g|{f}e/f//g// (^c3/d//e//)| A3/e/(f|f/)g/ (e3/d/) | d2z:|
Ah the Telemann that takes me back, I can remember this was the first serious bit of recorder music I learnt. A well known recorder player used to refer to it as the recorder players “Stairway to Heaven” I should try it on the flute though I find music I know well on the recorder strangely awkward on the flute. I also tend to read up recorder stuff as if I was playing on an alto recorder other wise things get a bit stratospheric.
It’s really a great piece of music. I’ve been playing it as written – in F, going all the way up to the high G. It’s challenging, but I’m definitely developing my chops. I just finished keying it into abc, so just transposed it. I’ll try it in D, but I think that I’ve gotten so used to it in F that it just won’t sound the same. Maybe if I play it with an A440 center joint it will be so alien I won’t recognize it.
This looks more do-able.
