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binations of recorders. Moreover, Bach Chorales can be found in any good modern hymnal; these provide excellent practice. It may be necessary to rewrite the alto and tenor parts for playing on the treble and tenor instruments respectively, but it is also good practice for the treble player to play the alto part an octave higher at sight without rewriting it, and also for the tenor player to read music in the bass clef.
Those players who have a keyboard instrument available will find much music for recorders and piano or harpsichord, but any pianist who wishes to accompany the solo recorder will have to learn to play sympathetically with the instrument, otherwise the two instruments will not blend. The genera tendency is for a pianist to play much too loudly when accompanying the recorder.
If string players are available, the violin can play the tenor recorder's part and the 'cello the bass. Here again, the string players will have to learn to play understandingly with the recorders or they will tend to drown these soft-voiced instruments.
To spur on the intelligent player, he should keep in mind such facts as that Bach wrote the Fourth Brandenburg Concerto for solo violin, two recorders and strings and also adapted it as a Concerto in F for solo harpsichord, two recorders and strings. The Second Brandenburg Concerto was scored for solo trumpet, recorder, oboe, violin and strings. Here is a level of music at which the recorder player should aim.
The voice blends exceedingly well with the recorder and there is a fair amount of music available for recorder and voice with other combinations of instruments. A number of Bach's Church Cantatas, as well as pieces by Purcell and Handel, use the recorder with the voice. But in addition to all this difficult