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  • Bourrée I and II From Cello Suite BWV 1009 For Flute Sheet Music

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    Troisième suite BWV 1009 Transposed to G major for Flute. There's a low B in bar 27. I will rearrange this so the last bars play an octave higher like the recording playing this Bourrée here on Spotify http://open.spotify.com/track/4WhT4MGnZTQnI0VYvjmrLT "Suite No. 3 in C major, BWV 1009 The Prelude of this suite consists of an A-B-A-C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B, where the cellist is introduced to thumb position, which is needed[citation needed] to reach the demanding chords. It then returns to the scale theme, and ends with a powerful and surprising chord movement. The Allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The second Bourrée, though in C minor, has a 2-flat (or G minor) key-signature. This notation, common in pre-Classical music, is sometimes known as a partial key-signature. The first and second Bourrée of the 3rd suite is sometimes used as solo material for other bass instruments such as tuba, euphonium, and trombone." - wikipedia

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    Bourrée I and II From Cello Suite BWV 1009 for Flute Sheet Music

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    Troisième suite BWV 1009 Transposed to G major for Flute. There's a low B in bar 27. I will rearrange this so the last bars play an octave higher like the recording playing this Bourrée here on Spotify http://open.spotify.com/track/4WhT4MGnZTQnI0VYvjmrLT "Suite No. 3 in C major, BWV 1009 The Prelude of this suite consists of an A-B-A-C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B, where the cellist is introduced to thumb position, which is needed[citation needed] to reach the demanding chords. It then returns to the scale theme, and ends with a powerful and surprising chord movement. The Allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The second Bourrée, though in C minor, has a 2-flat (or G minor) key-signature. This notation, common in pre-Classical music, is sometimes known as a partial key-signature. The first and second Bourrée of the 3rd suite is sometimes used as solo material for other bass instruments such as tuba, euphonium, and trombone." - wikipedia

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    Public Domain
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    3K views1 page

    Bourrée I and II From Cello Suite BWV 1009 For Flute Sheet Music

    Uploaded by

    PublicDomainSheets
    Troisième suite BWV 1009 Transposed to G major for Flute. There's a low B in bar 27. I will rearrange this so the last bars play an octave higher like the recording playing this Bourrée here on Spotify http://open.spotify.com/track/4WhT4MGnZTQnI0VYvjmrLT "Suite No. 3 in C major, BWV 1009 The Prelude of this suite consists of an A-B-A-C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B, where the cellist is introduced to thumb position, which is needed[citation needed] to reach the demanding chords. It then returns to the scale theme, and ends with a powerful and surprising chord movement. The Allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The second Bourrée, though in C minor, has a 2-flat (or G minor) key-signature. This notation, common in pre-Classical music, is sometimes known as a partial key-signature. The first and second Bourrée of the 3rd suite is sometimes used as solo material for other bass instruments such as tuba, euphonium, and trombone." - wikipedia

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    Cello Suite 3, BWV 1009: Bourree I & II

        
    Bourree I q = 76
                 
    J. S. Bach

          
       
          
    mf cresc.

           
              
    7
        
               
    f
     mf
     
                                  
    13

     
    mp cresc.

     
                 
    17

            
      
    mf

       
    22

           
      

      
    26

        
                       
          

              
    Bourree II q = 62

                    
    31

     
    p

      
                            
    36

      
    mp

                              
         
    p mp

                               
       
    
    p

       
                            
     
    
    Menuet I da capo

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