Barenreiter Schickhardt J.C. Sechs Konzerte Fur Vier Altblockfloten Und BC Heft 2
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Summary of This Sheet Music
This edition is a flute 2 part designed for use in an ensemble context (orchestra, accompaniment, educational project, or production). It focuses on "section" reading: you have only the flute 2 line, which makes sight-reading smoother, annotation simpler, and page turns more natural than with a full score.
The content brings together concerto pages identified by their keys, with the original terminology. You will find exactly the following references, presented as in the source:
Flute 2 part
Concerto in F major
Concerto in E minor
Concerto in C minor
For the musician, this is a particularly relevant resource when needing to quickly integrate a program: working on attacks, rhythmic precision, intonation in exposed passages, and preparing entrances after rests. In rehearsal, this part also promotes effective marking (breaths, tonguing, fingerings, structural cues), while maintaining a clear reading focused on your role within the flute section.
Technical specifications
| Musical Genre | Classical | ||
| Instrumentation | flute 2 (part) | ||
Questions frequently asked
Does this score include the full conductor's score?
This edition provides only the separate flute 2 part. No full conductor's score or other instrumental parts are indicated in the description.
Which concertos are included in Schickhardt's Heft 2?
The pages compile the concertos in F major, E minor, and C minor. These keys are presented according to the original terminology of the source.
Is the part intended for alto recorders?
The title indicates six concertos for four alto recorders and basso continuo. The score sold is specifically identified as the flute 2 line.
Schickhardt Heft 2 score: which voice is provided?
The voice provided corresponds to flute 2, in the form of a separate part.
Is this flute 2 part suitable for ensemble work?
Designed for stand reading, this part allows following only the flute 2 line. The format facilitates marking breaths, fingerings, and structural cues. Entries after rests, attacks, and rhythmic precision can thus be prepared directly on the part.
