Sarah Jeffery My Favourite Melodies: 14 Selected Pieces For Descant (Soprano) or Tenor Recorder and Piano

Sarah Jeffery
My favourite melodies
14 selected pieces
for descant (soprano)
or tenor recorder and piano
medieval to modern
intermediate
with online material (audio and video)
ED 23555D
ISMN 979-0-001-21771-2
Cover photo of Sarah Jeffery by Claudia Hansen
www.schott-music.com Mainz · London · Madrid · Paris · New York · Tokyo · Beijing

© 2023 Schott Music GmbH & Co. KG, Mainz · Printed in Germany
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Dear musicians,
Welcome to ‘My favourite melodies’, for descant (soprano) or tenor recorder with keyboard accom-
paniment!
This compendium is a collection of fond favourites from my repertoire that I would love to share with
you. It includes both recorder classics and pieces I have greatly enjoyed listening to over the years:
I had a fun challenge in arranging these pieces for intermediate level players of our instrument and
making them suitable and enjoyable to perform. It’s a joy to be able to play the music I have listened
to so many times! I find that by including more unusual sources into a recorder programme, it both
broadens our horizons, and gives us a different outlook on our familiar favourites when we come back
to them.
We have music here from a range of eras: medieval dances and folk songs, Renaissance divisions and
popular tunes. Baroque sonatas and arias, and pensive Romantic songs alongside showstoppers. The
book is rounded off with two modern pieces in very different styles. I arranged repertoire from a range
of instruments: voice, viols, flute, violin, and even harpsichord, alongside original recorder music. This
gives a varied programme that you could enjoy on stage as well as in your practice room at home.
I have published this volume arranged for recorders in C – soprano, or tenor if you wish. If you have
the urge to try the music on a great bass, or a garklein, I can only encourage you to experiment! The
same goes for the accompaniment; the book is scored for piano, but as you can hear on the backing
tracks I have included harp and harpsichord, as I felt they fit the atmosphere and the period nicely. Do
play with whatever instruments you have available, and that fuel your creativity!
So, I hope you enjoy these pieces as much as I have. Listen to the demo versions I recorded with dif-
ferent accompaniments and play along with the accompanying audio files. Feel free to record yourself
performing, and share. Each piece also has an accompanying video where I chat about what drew me
to the music, and I share a couple of tips for approaching practice. I wish to extend my grateful thanks
to Mollenhauer Recorders, who kindly supported the audio and video recordings.
Musical greetings,
Sarah Jeffery
With kind support of Mollenhauer Recorders
Impressum:
ED 23555D
ISMN 979-0-001-21771-2
ISBN 978-3-7957-3066-6
Audio Recording: Sarah Jeffery, Recorder (Denner-Edition soprano recorder in C [a’ = 442 Hz], stained satinwood, handmade
by MOLLENHAUER / Denner tenor recorder in C [a = 442 Hz], castello-boxwood, with double key, made by MOLLENHAUER),
Anne Veinberg, Piano (Nos. 2, 10–14), Robin Bigwood, Harpsichord and Recording (Nos. 5–9), Andrea Voets, Harp (Nos. 1,
3, 4), Recording and Mastering: Hayden Hook
Videos: Sarah Jeffery
p 2023 Schott Music & Media GmbH, Mainz
© 2023 Schott Music GmbH & Co. KG, Mainz
Printed in Germany · BSS 60 096
Contents
Page Track
1. Anon. (Irish Traditional) Dear Irish Boy 4 1/2

2. Anon. (Sea Shanty from New Zealand) The Wellerman (Variations) 6 3/4/5*
3. Anon. (14 Century)
th
Estampie 12 6/7
4. Jacob van Eyck (ca. 1590 – 1657) Doen Daphne (Variations) 14 8/9
5. John Dowland (1563–1623) The Earl of Essex Gaillard 19 10/11
6. Henry Purcell (1659–1695) Rondeau (No. 2 from Abdelazar) 22 12/13
7. Michel Blavet (1700–1768) Sonata seconda, 1 and 3 movements:
st rd
Andante 24 14/15
Minuetto 26 16/17
8. George Frideric Handel (1685–1759) Voli per l’aria chi può volare
(Aria from Tra le fiamme HWV 170) 28 18/19
9. Joseph Bologne, Chevalier
de Saint-Georges (1745–1799) Rondo (from: Harpsichord Quartet) 32 20/21
10. Samuel Dushkin (1891–1976) /
Maria Theresia von Paradis (1759–1824) Sicilienne 36 22/23
11. Clara Schumann (1819–1896) Ich stand in dunklen Träumen 38 24/25
12. Vittorio Monti (1868–1922) Czárdás 41 26/27/28**
13. Barbara Heller (*1936) Water Lily (from: Musical Flowers) 48 29/30
14. Victor Alcantára (*1975) Invisible Poem (extracts) 50 31/32
a’=442 Hz
The 1st track number refers to the full version, the 2nd (and 3rd) number to the play-along version.
*) Track 5 is an easier version in the order: Theme – Var. 1 – Var. 2 – Var. 4 – Var. 3 – Coda
**) Track 28 is a play-along for practice purposes, with the Allegro sections in a slower tempo
Please visit www.schott-music.com/online-material to download all audio files for

free using the following voucher code: ea5GfVwm
The recordings are also available on leading streaming portals such as Apple Music,
Spotify or YouTube.
At www.schott-music.com/shop/450247 you find 14 videos with Sarah Jeffery, giving

an introduction and tips on each piece. Enjoy!
4
Track 1/2 1. Dear Irish Boy

Anon. (Irish Traditional)
Recorder Arrangement: Sarah Jeffery
Piano Arrangement: Anne Melzer
Play-along: 4 bars Intro
D‹ C D‹
3  
  4   
        
      
3
 4  
         

         
 3 
     

4
     
 
B¨ C D‹ C

6
      
     
    
  
             

        

           
     
1. 2.
12 B¨ C D‹ D‹

       
     



1. 2.
         

 

     

 
    
 
      
Das widerrechtliche Kopieren von Noten ist gesetzlich
verboten und kann privat- und strafrechtlich verfolgt werden.
© 2023 Schott Music GmbH & Co. KG, Mainz Unauthorised copying of music is forbidden by law,
and may result in criminal or civil action.
5
D‹ B¨ F

17
   
           
  
           
        

  
       
        
 
21 D‹ B¨ F C
  
    
     
        
   
  
      
 

 
  

    
 
25 B¨ C
     
          

   
         

         

           
   
1. 2.
29 B¨ C D‹ D‹

    
     


1. 2.
         



    

     

          
   
6
Track 3/4/5 2. The Wellerman

Variations
Anon. (Sea Shanty from New Zealand)
Recorder Arrangement and Variations: Sarah Jeffery
Play-along: 1 bar Intro Piano Arrangement: Anne Melzer
Theme Cm
%
Gm Gm Gm Gm D7 Gm
           
G
 4        
  4       
4    
 4
   4  
4 
 
 
 
 
  
  
  
  
   
   
E¨ B¨ Cm Gm E¨ B¨ Gm D Gm
                      
5
         

    

   

   

  
 


  
    






 



 
  



     
      
Variation 1
Gm Cm Gm Gm D7 Gm
 
9
                
              
 
    

 
 

   

 




 
   
       
If Variations 5 seems too virtuoso, play in the following order:
Theme - Var. 1 - Var. 2 - Var. 4 - Var. 3 - Coda. Track 5 is a play-along in this order.
7
       B¨
E¨ B¨ Cm Gm E¨ Gm D7 Gm
    
13
            
      
       
             

   
  
  



Variation 2
Gm Cm Gm Gm
              
17
              

        
            
                    
  
  
 
   

Gm
%
D7 Gm E¨ B¨ Cm Gm
                          
20 D
       
   
              
                
   
 
 

  
E¨ B¨ Gm D7 Gm
          
23
  
   






     
         
         
   
  





8
Variation 3
Gm

   
Gm Cm Gm
 
25
      
    
 

                               
  
           
Gm
%
D Gm E¨ B¨ Cm Gm
                      
28 D
      
         
 
                              
 

 
       
     
Gm
%
  B¨ D D Gm
    
E¨
      
31
             12
       8
 12
         



   
     8


      12
    8

Variation 4
q = q. Gm D Gm Cm Gm
        
33
 12              
  8       
 12               

  8  
   12
 8  
     
9
Gm
%
Gm D D Gm

35
            
                 
                

 
  
   
 
 

E¨ B¨ Cm Gm   
                      
37
  
  
    
           
    
          
E¨ B¨ Gm D Gm
39
         
   
    4
      
         4
                 4

  4
   
    

 
4
4
Variation 5
41 q. = q Gm F E¨ Gm
 4
  4      
 
legato
4  
  4    
  4
 4   
10
43 Gm F B¨ D Gm
 
                                                          
     

    
  
   

E¨
B¨
    
Cm
  
Gm
45
                            
      
articulated
    
   
   
  
allarg.
E¨ B¨ Gm D E¨ Cm7
47
    
         
     
 
   
allarg.
    
       
   

(allarg.)
    
Gm
% Gm
% Gm
% Gm
%
D D7 D D7 Gm Coda D D7 D D Gm
           
49
           
   
       

  
 
 

(allarg.) rubato
 
   

           




  

  rubato  
  

         

11
How I became a recorder player
How did I become a recorder player? Like a lot of us, my journey to the recorder largely rested on
two important pillars: the recorder playing community, and an intrinsic feeling that this was the right
instrument for me. I’ve been a recorder player for most of my life, and I feel as if I’ve only scraped the
surface of what this wonderful instrument it capable of – there’s always so much more to discover!
My mother is an enthusiastic music maker, and as a child she started a small recorder club during
lunchtimes at my school. I loved the music, but like many children, I did not love having my parents
teach me … so somewhere around ‘F# ’ in the book I told my mum to go away and that I would learn
on my own. Luckily she didn’t take it personally, and encouraged my love for music through enrolling
me in a local recorder consort as well as piano and later flute lessons.
It was through these activities that we cobbled my musical education together: a love for ensemble
playing, an ear for rhythm and an eye for sight reading at my weekly recorder group; music theory
through my piano lessons, and wind technique through my flute lessons. Most importantly, I grew to
absolutely love making music. But like many of us, I had no idea that a career in music was an option,
or that other recorder players existed outside of my tiny bubble.
During my last years of high school I had the huge good fortune to follow my A level exams with two
brilliant music teachers at my school. Miss Jackson opened my eyes to the fact you could study music
at a conservatory, and gave me the encouragement I needed to apply. Mrs. Morse (an avid recorder
enthusiast) supplied me with piles of sheet music, and got me through the grade 8 qualification I
needed. Without these two teachers my music career would never have started.
I finally arrived at conservatory, happily clueless but with an open mind and eager desire to learn
more. I knew nothing, but wanted to learn everything! In the years to come, I became a professional
musician and started a YouTube channel about the recorder, in order to connect recorder players with
each other, in a way that I would have loved to have when I was starting out.
Along the way, I’ve never forgotten the compositions that made me fall in love with music. And I
won’t forget the teachers that made it possible for me to grow into a musician. Maybe you have such
people in your life, who have encouraged you. And I hope you come into contact with lots and lots
more pieces of music with which you can really play and sing.
This volume is dedicated to the teachers who have shaped my musical life. Throughout childhood:
Jane Bowler, Brenda Spray, Dominique Memmory, Marie Jackson, Eileen Morse. And later at con-
servatory: Ross Winters, Annabel Knight, Joe Broughton, Jorge Isaac, Walter van Hauwe. And my
mum, Eirene Palmer.
Sarah Jeffery
12
Track 6/7 3. Estampie Anon. (14th Century)

Play-along: 2 bars Intro Piano Arrangement: Anne Melzer
    
6                          
 8     
6    
8
       
   
  6               
8       
      
  
        
7
       
1. 2.
                  
1.
    
2.
      
      
  

           
  
 
                  
 
       
11
         
 
            



           
       

    
            
     
    
17
            
1. 2.
                
 
 
1. 2.
           

           
                       
    
13
     
21
           
 
             



  
                


  
                      
 
    
27
          
1. 2.
                  
 
1. 2.
  
            

            
                        
 
  
        
31
           
               
     
              
   

      
       
 
 
 
 
       

     
37
      
1. 2.
                    
  
1. 2.
              

                 
       
 
 
 
  
     
 
14
Track 8/9 4. Doen Daphne

Variations Jacob van Eyck
ca. 1590–1657
Play-along: 2 bars Intro Recorder Arrangement: Sarah Jeffery
A
3        
  4              

3
 4  
 
  
      
        

     
   
 3        
4      

  
8
        
             

  
   
     

 
 


   

     
 
       
  

B
 
14
          
              
 


          
           

     
   
     
      

 
21

                    
     
          

      
  
     
     
15
27
 
    

        
           
    
 
          

           
     
    
C
  
33
    
             
  
       
        
          

 
      
   
 
 
40
           
             

           
    
   
   

       
        
 
     

       
47

                     
     
   
       

  
    

  
          
    
16
52
            
  
        

            

         
 


    
      

A
      
57
                         


        
       

      

   
        
63
   
                            



   






 

     


    

   
     
 
      
68
         
                       
  
      



        

       
  
    
     
 
17
B
 
74
        
                 
  
              
        

 
    
    
  
79
  
                
   
   
   

  
            


   
  


       
   
85
 
            
     
      
                

         
   
     
C
     
90

             
    
         
    
             

           
       
    
 
  
18
96

             
         
        

          
  

    
       
 
   
100
   
           

 
   

       


     
 

        

       
   
   
105
                        
    
      



 



    
 

      
       
    


110
                  
    
               

        
 
  
   
           
19
Track 10/11 5. The Earl of Essex Galliard

“Can she excuse my wrongs”
John Dowland
1563–1623
Recorder Arrangement and
Ornamentation: Sarah Jeffery
A 
3      
 2     

3        
2         


3        
2 
5
      
              
 
     
         
 

 
         
  
10
                  
     
       
           
 
       
 
20
B

14
             
  
       
   
  



 
    
        
    
    
19
      

     
   
      
   


    
       
        
24
        
 
  
   
  
   
 
 


    
     
  
   
 
29
             
   
       
       

 
      
  
21
33 C
       
             
       
                   
 
       
   
37
          
         
   
                

 

       
41
               
         
         
               
 
       
          
45

               
  
   
               

 

       
22
Track 12/13 6. Rondeau

(No. 2 from "Abdelazar") Henry Purcell
1659–1695
Arrangement: Sarah Jeffery
     
3           
   
 

  4   
3      
  4      
     



     
 3      
4  
6 # 6 6 6
                      
6

           
 

 
         
          
      
     
   
6


6
5
 
# 6

5 6 5 7
# 4 #

    
6
 
11
               
      
                          
   
 
     
  
 
6
  
6

6
 
6
  
6
   
     
           
16
      
 
     
            
  




   
            
  
3 4 3 6 # 6 6
23
                          
21
  
         

           
    
        
   

 
    

  
     
6 6 6 # 6 5 6 5 7

5 # 4 #
    
                  
26
                     


                




 
 


    
  
   
# # 4 7 3 #
         
             
 
 
31
  
   
 

        

    
            
   



 
     
  
    
  
6 6 # 6 # 6
36
                   
       

      

    
  
        

  
       

 
     
     
   
6 6 6 6 # 6 5 6 5 7

5 # 4 #
24
Track 14/15 7. Sonata seconda

A minor
1 and 3rd movements
st
Michel Blavet
1700–1768
Andante
       
 c        
   
 c                 
  
    


c            
    
5 7 ´
     
3
                  
  
     
              
             
 
    
4 # ï


4
 

3

7

4
   
3 5
 
 
n 5 4#

5  
                            
 
   
           
           

      
   
           
   
6# #
5# 6
25

       
7
                        

        
           
 
       
   

   
6
  
6
5

6

4#
   
5 6
    
4# 5 6

9  
 
       
           
 
                      

   
      

     
  
                 
4# 6 5 # § 7 7 5 7!
   
    
11
            

     
 
                    

  
  
      
6 # 6 5 6 #
4 5
26
Track 16/17
Minuetto
3     
 4              
 
3   
 4           
        

 

   
3    
4         
6 6 # 6 5 5 6 6 6
5 5
9
              
   
1. 2.
     
      
1. 2.
     
                  


        
   
5 5 6 6 6
5

        
15
     
      
 
                      

    
   
               
   
6 6 # 6 5 6 5 6 #
! 5 5
            
           
23
   
   

     
 
   
 
      
 


   
    
    
    
6 #
 
# 6 # 6 6 #
5
27
A variety of Sopranos
The right soprano recorder for every playing style
Magnificent Sound
• Solo or Ensemble
• Brilliant or blending in harmony
• Made from precious woods

Adri‘s Dream soprano in pearwood: Order-No. 4119
• Traditional or with keys for playing a wider range

Kynseker soprano in plumwood: Order-No. 4108
Modern soprano in grenadilla: Order-No. 5914H

Canta soprano in pearwood: Order-No. 2106
Denner soprano in olive: Order-No. 5123
Mollenhauer recorders
Weichselstraße 27
36043 Fulda /Germany
[email protected]
www.mollenhauer.com
28
Track 18/19 8. Voli per l’aria chi può volare

Aria from “Tra le ﬁamme” George Frideric Handel
1685–1759
 c   
 
            2     4
c 
2
 c 
 
             
  
 

 
 




3 2 1 1 1 1
4 3 2 2
5 4 5 4
4 only in Da Capo section
              

   
 3  
3 5
                       
5
  

  
    
                
            
1 1
 2
3- 4 1 3
1

7
           
         
  
          
 

  
       
      4                      
1 3 1
2
  
10
   
           
  
 3
1 3
                
      

2  3 
                  

         
 
   3 1   1
29
  
13
            
   
   
        
   
         
 
5
 
3
1
 
16

        
  
      
  
   
            
  
5 1 4 2

3

1
  
                     
3
       
19
                  

    
  


     
              

1 4 1 2 1 3
  
22
     
                       
   
         

 

   
                              
               
3 2 4 1 1
1 4
30

25
         
    
          

    
    
                                      
 
4 1 2 3
2 3 3
2 1 3
28
   
         

    
          
2
 
   

4 1
           
3 1

2

1 3
    
              
4
5
31
             
 
    
 
  
3 5
                  
4 2 3


        
    
   

 





1 1 1 1 1
3 2 2 3 4
4 5 4
34     
                             
    

                
5
    

    
  
                                    
 
5  4   
1 4 3
Fine
31
                   
37
        

   4 
4
           

2
 
2
    

3 3 1

  
    
                 

1 2 4 1
1 2
40
                             

                        
   
1 4
   
 
                      
42
  

                
        
5
     
4
2    
2
1
   

                  
       
44
     
          
   
1 2 1 1 3 2 3
 
1
  

  
 

      
D. C. al Fine
32
Track 20/21 9. Rondo

Joseph Bologne,
Chevalier de Saint-Georges
1745–1799
Maggiore
 2      
 4                  
p
 2
 4             
    
        

 
p
 2        



 
   
4
ossia:
    
     
p
    
       
7
       
    
p
mf
   
mf
   
          
        
      

f
   




p


f
 
     

14
         
      
p

            
            

    

p
    
       
from: J. Bologne, Chevalier de Saint-Georges, Harpsichord Quartet in G minor (2nd movement)
33
     
          


           
         

   
      
    
ossia:
        
       
  
26
                
       
pp p
      
           
  
     
        
pp p
     
  
 

    
34 *)

                    
  
          
   
           

    
              



   

Fine
*) Audio: Da capo section without repeat
34
Minore
40
   
        
       
p f
    
    


 

 


     

 
f
p
       
 
 
46
       
        
  
   
p

   
   

  

     
p 
     
      
 
52      
               
   
p p
 
    
        

      



 


mf p p
         
    
   
58
    
             
  
    


    

     

   
    
    
  
D. C. al Fine
35
Why I love the recorder
1. The recorder isn’t just one instrument – it’s a whole family! If you can play one, you have the princi-
ples for playing them all. There may be extra challenges, such as reading a new transposition or grap-
pling with keys … but that just gives us more to discover. Even the difference between the soprano
and alto recorders enables us to sound vibrant and agile, soft and sweet, or hauntingly melancholy.
2. There is a huge range of repertoire to choose from. Recorders (and other fipple flute instruments)
have been around for millennia, found in musical cultures all over the world. So whatever style of
music you enjoy listening to, you can usually find a recorder-like instrument at home there! In this
volume I have included repertoire from the 14th century to the present day, from Western classical
traditions and Irish folk music.
3. Recorders are extremely flexible instruments. We don’t have anything ‘in the way’, such as a reed,
embouchure, or lots of keys, so the instrument enjoys a fast response that gives me a great feeling of
connection to the instrument. Recorders react to the tiniest changes in breathing, finger movements,
articulation … this can make them feel ‘vulnerable’ and even ‘dangerous’, but to me that is what
makes it so exciting to play!
4. The design of the recorder is deceptively complex. Upon first sight we may see a stick with some
holes in it, but it’s deceptively complex with a carefully shaped bore, angled finger holes, and a prop-
erly voiced block giving a good sound. Recorders are precisely built by master crafters, who have
spent their lives honing their skills and build these recorders with love and care. The ways in which the
recorder has developed makes it an object of interest in terms of physics and craftsmanship as well as
musical composition. To play a recorder is to come into contact with centuries of history.
5. Today there are so many professional recorder players to be inspired by. The instrument has rightful-
ly become extremely popular, and there is a plethora of soloists, ensembles, recorder orchestras, com-
posers, recorder builders, teachers, communities, and other professionals and amateurs worldwide.
Recorder players tend to be an open minded and creative bunch, and I never tire of seeing what our
community will come up with next!
Sarah Jeffery
Why do you love the recorder?
36
Track 22/23 10. Sicilienne

Samuel Dushkin (1891–1976)/
Maria Theresia von Paradis (1759–1824)*
Andantino

6           
  8            
p
     
mf
6       

 8          
   
   

     

     
p mf
  6                  
8 
          
            
5
            
       
p

f

  

                 
        
  
       

   
             
f p
             
 
10
  2.         
 
1.
          
       
f p

 
         
      
1. 2.

     
           
   

    
f p
             
  
* formely attributed to Maria Theresia von Paradis
37
14                 
    
     

     


  
mf
 
         
  
  


  
   


    
mf
        
    
   
18
       
             
     
p
   
f
          
  
                 


pp f
             
  
            
   

           
22
 
1. 2.
                 
 
p f p
       
             
1. 2.
             

       
   
p p pp
                     
          
 
rit.
26
          
       
pp
     
rit.
                

        
pp
            
         
 
38
Track 24/25 11. Ich stand in dunklen Träumen

Clara Schumann
1819–1896
Ziemlich langsam
3
  4    
      
5
3 
  4                      
    

         
p
     
  3                   
4
rit. a tempo

5
       
          
rit. a tempo
  

    
        
          
                 
  

 


                
 
 
   
9
    
       
            
             
                        

        

cresc.
         
             
   
  
39
13
           

      

     
 
 
       

mf

     
                   
    
              
         

 
17
    
           
               
              

     

  
  
      



             
       
  
21
   
     
    

 
    
            
         
        
                   
 
    
40
     
25
       
     
  
       
                   
     
            
            
           
   
29 rit. a tempo
          
   
a tempo
 
rit.
         
                         

  

         
                     
    
33 rit.
      
rit.
    
5
              
        
        
   
        
 
mf
 







41
Track 26/27/28 12. Czárdás

Vittorio Monti
1868–1922
Piano Arrangement: Wolfgang Birtel
Largo molto rubato
 

3 a tempo
2           c     
 4     
f p p
 
      
a tempo
2 

 4       c   




p

p

f

2     

4        c
   
 
   
6
                 
   

    
cresc.

                
    










    
cresc.
        
   
 
10 molto rall.
                
   

  
f
  
molto rall.
   
   
 


 

   









f
             
      
Track 28 is a play-along for practice purposes, with the Allegro sections in a slower tempo.
42
   
                
14
  
       

mf 3 3
3 3
     
        
  








mf
             
   
poco rall.
                      
a piacere

         
17
 


3
poco rall.
    
         
   


 





   
     
 
Allegro vivace

a tempo

rall. molto
              
 
20


            42        

  
f p
a tempo

rall. molto
2      
 
        4    
          
  
     
  

   

f

p staccatissimo
     42     
  
      
  
 
          
25
                         

p
           
f
 
                  
 
    
  
    
       
   
  
  
f



     


    
p
43
            
                       
31
       
   
 
  







                    
   
  

             

cresc. molto
      



 
                   
36
       
     
             
f mf
           
 
              
             
  
    
 
     

f


mf

    

   
 
         
   
                 
42
           
 
   
        
p pp
        




 

            
               
   
   
p
        
pp
      

            
    
                     
48
      
  
    
f
           
  
  
  
  
                
   
 

         

      


cresc. molto


  
   
  
f
44
Molto meno
   
               
54
       
  
f
mf grazioso
    
           
    
 
 
 
    
    




  
  
pp

f
 
      
  
   
molto rall.
61
               
           

 
        
molto rall.
        

 





 f
      
        
  
   
Meno, quasi lento

68
    

      
             
f pp
            

                













   


 
f pp
   
   
 

76 molto rall.
     
                  

molto rall.
              
            



  









   


          
45
Allegro vivace
    
               
84
    
   
   
           
 
p p
           
  
                        
       

 
  
p p
   
                         
          
                        
91
       
 
        
p
           
       
                   
  
 

    

  
  

  
p




 

       

Allegretto

             
poco rall.
         
97
           
  
cresc ff
                    
poco rall.
     
    
           
  cresc. 
       
 

    
f
        
   
   
       
 
           
104
  
                             

f p
               
                         
        
f
                            
 


p


46
 
                                         
111 rall. poco a poco
  
cresc. poco a poco stentato f
   
         
       
rall. poco a poco
                

 

f

                 
cresc. poco a poco
           
   
stentato
Allegro molto
        
117
  
   
     
              
   
f
        

   
 
   
 
   
 
    

          
    

f
  
  
  
  
  
  
  
  
  
  
Molto più vivo

                   
123
             

f


  
  

     
           
      
      
 
f

     

 


    
   

ad.lib.
   
                            
128 string. sempre
 
   

ff ff
 
      
     
string. sempre
  
        
         


ff
  
ff
            
             
   

47
A variety of Tenors
The right tenor recorder for every playing style
Charming melodious sound

• Pleasant natural pitch
Kynseker tenor in maple, dark stained, with single key: Order-No. 4417
• Mixing well in ensemble
Denner comfort knick tenor in cherrywood: Order-No. 5431KC

• Suitable for solo performances
Dream-Edition tenor in plumwood: Order-No. TE-4428
Denner tenor recorder in pearwood: Order-No. 5406
• Comfortable for small hands
Mollenhauer recorders
Weichselstraße 27
36043 Fulda /Germany
[email protected]
www.mollenhauer.com
48
Track 29/30 Dedicated to Lynn Elms

13. Water Lily
(2008) Barbara Heller
*1936
played freely and lowingly
 12q. = 96  
 8                 
   
    
mp
 12     
 8    

 

 


  12  
*) mp
     
 
8   
**) 
                
               
4
   
mf p mf
  
 
  
  

  



      
  
  
7
         
                
      
p
     
     

 



      
    
 
*) The arpeggios in the piano are to be calmly and sonorously, leading into the recorder line,
then letting the tone ring out in background.
**) Soft pedal ad libitum in the beginning.
from: B. Heller, Musical Flowers for Flute (Clarinet in Bb) and Piano (FTR 208)
49
     
           
10
   
         
mf
 
     
    


 




 mp

mf

       
 
             
     
13
           
f
   
 
  
   
 


  



f
    
    

   
16
    
           
  
mp
 


 
    




mf
 
 
 

18
         
         

f
   
 
  
  
 



   
 
  


  


50
Track 31/32 14. Invisible Poem

opus 3 (1996) Victor Alcántara
(Extracts) *1975
 4     
 4
4  
 4      

   


   
mp
4 
4          
sempre legato
    
4
         

mf mf
 
          
    

 
   mf 
           
    
  
    
8
       


          

     

 

           
      
   
 
12
                   
   
  
               



      
        

  
                 
        
© 1998 Musikverlag Möseler GmbH, Mainz
from: V. Alcántara, Invisible Poem for Descant (Soprano) Recorder and Piano (Möseler MOS 22603)
51

16
                
    

  
          


   



 
                
   
         

            
20
      
mf
        
  


       
   
       
   
   
 

      

      
  

 
f




espressivo
   


   simile

    
                    
24
     
 
  
           
  

 

 


      
 


   



   


   



    
                     
28
 
 
             
                


  
   

 
  
            
     
    
52
 
32 rall. e dim.
   
  
      
rall. e dim.
     
     

        
        
        
   
Più mosso q = 132


36
  

        
      

       

    
  
    
     
    
sf
  
   

   
38
           
 
f
   
         
        

  
        
       
   
   

          
40

           

mf
  
                    


                
          
     
  
   
53

43
             
   cresc.

     
   
     

               
         
 cresc.


mf
          
          

   
45
         3
  4
ff p

  
 3
    
                   4
  

 ff
   
           3
     4
       
 3
48 (109)
  
               
 4  
cresc. e string.
3 3 3 3 3 3 3 3 3
     
3 3 3
 4                       


p 3
 
cresc. e string.
  3 
   
        
4
   
  
52
    4  2
  4 4
     
 
   
     4       2
    
     4 4

3 3 3 3 3
3 3 3 3
 
3 f
 
   
   
4  
       2
 
4 4
  3
54
 2   2 
55 3
4 4
3
 
3
 4    4           4 4
 
 
f 3 3
 2   24  4

3 3 3 3
 4  
         4 4   4

   

  4    
 2       
 2  4
4  4    
 4  4
3 3
3  3
3 
58
 4          6
 4       4

          
3 3 3
  
3
 4              
         46
 4

3 3 3 3 3 3 ff
3
4                    6
3 3
 4            4

 
  3
3 3 3
3 3
 6
61
  3
 4 4
     
    
6      3 3 3
   
   3
 4         4

3 3 3      
3 3 3 3 3 3
 6      
3 3 3
     3
3 3 3 3 3 3
 4           4
               
3 3 3
 
 3    
 
63
  4    3
 4 4   
 
  4 
3 3
  
3
3
  3  
3
   
3

4 
    4 

3 3
3
 3    4 
4    4  
 
  
 
55
 
  
66 3
           
3 3 3 3
             
 
      
mp cresc. 3 3 3
     
3
  
3
       

3
3
 cresc.  
3


3
f mp
     
    
  
   simile
 q = 112
                        
69 rall.
   

3 3 3 3 3 ff
       

3 3
 rall.           

    
  
  

  
 
  ff
   
3 3
  
    
        
      
   
sempre legato
      
73
     

   


                  
       

   
                  
      
 
   
77
               


mf
         
            
     

         
       
mf

               
      
56
 
81
         
3
4     44     



      
p
  3
      4    44    

        
        

 3 4 

     
   
 4      4 

       
  
85
     
   
 
3
  
   
 
  
  
        
 

  
    
     
   

  
simile
     
88
    
 
 
f
     
      
        
 f

    
             
     
  
91 rall.
      
  


 
rall.
             

      
    
          
    
  
Schott Music, Mainz 60 096
Sarah Jeffery
My favourite melodies
14 selected pieces
for descant (soprano)
or tenor recorder and piano
medieval to modern
intermediate
with online material (audio and video)
ED 23555D
ISMN 979-0-001-21771-2
Descant (Soprano) or Tenor Recorder
www.schott-music.com Mainz · London · Madrid · Paris · New York · Tokyo · Beijing

© 2023 Schott Music GmbH & Co. KG, Mainz · Printed in Germany
Contents
Page Track
1. Anon. (Irish Traditional) Dear Irish Boy 3 1/2

2. Anon. (Sea Shanty from New Zealand) The Wellerman (Variations) 3 3/4/5*
3. Anon. (14 Century)
th
Estampie 5 6/7
4. Jacob van Eyck (ca. 1590 – 1657) Doen Daphne (Variations) 6 8/9
5. John Dowland (1563–1623) The Earl of Essex Gaillard 8 10/11
6. Henry Purcell (1659–1695) Rondeau (No. 2 from Abdelazar) 9 12/13
7. Michel Blavet (1700–1768) Sonata seconda, 1 and 3 movements:
st rd
Andante 10 14/15
Minuetto 10 16/17
8. George Frideric Handel (1685–1759) Voli per l’aria chi può volare
(Aria from Tra le fiamme HWV 170) 11 18/19
9. Joseph Bologne, Chevalier
de Saint-Georges (1745–1799) Rondo (from: Harpsichord Quartet) 12 20/21
10. Samuel Dushkin (1891–1976) /
Maria Theresia von Paradis (1759–1824) Sicilienne 13 22/23
11. Clara Schumann (1819–1896) Ich stand in dunklen Träumen 14 24/25
12. Vittorio Monti (1868–1922) Czárdás 14 26/27/28**
13. Barbara Heller (*1936) Water Lily (from: Musical Flowers) 15 29/30
14. Victor Alcantára (*1975) Invisible Poem (extracts) 15 31/32
a’=442 Hz
The 1st track number refers to the full version, the 2nd (and 3rd) number to the play-along version.
*) Track 5 is an easier version in the order: Theme – Var. 1 – Var. 2 – Var. 4 – Var. 3 – Coda
**) Track 28 is a play-along for practice purposes, with the Allegro sections in a slower tempo
Please visit www.schott-music.com/online-material to download all audio files for

free using the following voucher code: ea5GfVwm
The recordings are also available on leading streaming portals such as Apple Music,
Spotify or YouTube.
At www.schott-music.com/shop/450247 you find 14 videos with Sarah Jeffery, giving

an introduction and tips on each piece. Enjoy!
3
Track 1/2
1. Dear Irish Boy
Anon. (Irish Traditional)
3     
 4              
     


8
   
                
       
15
1. 2.
    

      

21
        
          
27
 
     
1. 2.

          

Track 3/4/5 2. The Wellerman

Play-along: 1 bar Intro Anon. (Sea Shanty from New Zealand)
           
Recorder Arrangement and Variations: Sarah Jeffery
4
Theme
         
 4       
                          
5
  
Variation 1
       
9
         
     

13
      
   
Das widerrechtliche Kopieren von Noten ist gesetzlich
verboten und kann privat- und strafrechtlich verfolgt werden.
© 2023 Schott Music GmbH & Co. KG, Mainz Unauthorised copying of music is forbidden by law,
and may result in criminal or civil action.
4
  
Variation 2
    
17
                  
      
                                          
  
20
   

       
Variation 3
 
24
 
           
          
        
27
           
   
 
      
           
                
30
12
  
 8
Variation 4
 12                                    
33

q = q.

 8       
   


                                      
36
      
39
         
   
            4
   4

 
Variation 5
q. = q
4
41
  4  
legato
 
43
    
        

45
      

   
articulated
5

  
 
allarg.

47
              

        
(allarg.)
49
  
Coda
          
 
               
   
rubato
Track 6/7 3. Estampie Anon. (14th Century)

6                       
    
 
8      
          
7
              
1. 2.
     
  

        
  
  
   
13
               
1.
        
2.
      
  
                   


21
           



    1.          
26
          
            
2.
 



           

         
 
    
  1.        2.        
37
          
6
Track 8/9
4. Doen Daphne
Jacob van Eyck
Variations ca. 1590–1657
3         
A
 4            
       
9

                 
  
     
15 B
        
            
           
22
    
        
     
 
C
       
30
              
 

37
                 
      
        
45
      
            
 
 
51
                   
           
         
57 A
            
          
7
63
  
                       
      

     
68
   
                           
B
    
73
                       
   
   
79
                    
  
 
85
         
              
 
 
C

90
             
      
        
96

            
       
 
        
100
        
      
   
105
                   
     
110
 
    
            
   
8
Track 10/11
5. The Earl of Essex Galliard
“Can she excuse my wrongs” John Dowland
1563–1623
Recorder Arrangement and
3       
Ornamentation: Sarah Jeffery
    
A
   
2 
6
        
             

               
11
    
 

B
       
15
     
 
     
       
20


               
25
 
    
            
29
  
C

33
           
        
             
37

       
         
41
              
                 
45
 
        
9
Track 12/13
6. Rondeau
(No. 2 from “Abdelazar”) Henry Purcell
1659–1695
    
        
3
 4   
     
                 
5
           
            

9
         
            

13
        
 
   
          
 
17
 
   
                 
21
          
     
    
25
                    
     
      
                     
29  

 

   
           
 
33
     
                 
37
           
10
Track 14/15
7. Sonata seconda
A minor Michel Blavet
1st and 3rd movements 1700–1768
                
Andante

 c          
     

   
4

                       
6
       
          
            
   

  
8
                     
   
  

   
                    
10
       
Track 16/17

Minuetto
3            
4  
         
8
         

      
16
 
        
                   
24
      
11
Track 18/19
8. Voli per l’aria chi può volare
Aria from “Tra le ﬁamme”
George Frideric Handel
1685–1759
Pno.
        

    
c
       
  
      
only in Da Capo section

5
                       


       
9
              

          
13
                 
  
                          
18
  
21
 
                         
    
24
                
    
28
   Pno.
    
    
          
        
  
   
33

                                  
   
Fine
            
36
       
      
12
                               
39
41
                                   
  

    
  

44
   
D. C. al Fine
Track 20/21 9. Rondo Joseph Bologne,

Chevalier de Saint-Georges
1745–1799
Maggiore
2   
 4                         
p
ossia:
    
     
 
p
    
9
           
   p
   p
mf mf
  
17
        
            

ossia:
   
            
    
    
26
    
   
pp p
  
34
 
                    
*)
Fine
from: J. Bologne, Chevalier de Saint-Georges, Harpsichord Quartet in G minor (2nd movement)
*) Audio: Da capo section without repeat
13
    
Minore

40
          
          
p f
  
     

48
             


 
  
p
p
             
56
          
   
p
D. C. al Fine
Track 22/23 10. Sicilienne

Samuel Dushkin (1891–1976)/
Maria Theresia von Paradis (1759–1824)*

Andantino Arrangement: Sarah Jeffery
6                 
 8                 
p

mf
                  
6
    
1. 2.
    
      

f p f
             

12

  
            
 


p mf
 
    
16
             

p
 
                2.   
20 1.
             
 f p
p f
 
rit.

25
    
            
          



 
pp
* formely attributed to Maria Theresia von Paradis
14
Track 24/25
11. Ich stand in dunklen Träumen Clara Schumann
1819—1896
Ziemlich langsam

       
5
3         
Pno.

 4              
          
            
    
   
5
            
rit. a tempo

 
         
   
11
       
    
17
      ( )

    
                
        
23
      
    
28
   6

rit. a tempo
           
  
Track 26/27/28 12. Czárdás Vittorio Monti

1868–1922
   
Largo
    
molto rubato


a tempo

2
Pno. 3
4     c      
     


   
f p p
   
6

 
                
cresc.
   
molto rall
    
10
           
     
f
15
     
         

   
14
      
mf 3 3
3 3
poco rall.
                
a piacere
               

17
 3
   
a tempo rall. molto Allegro vivace
           
           4            
20
  2
   
f p
                          
26
        
                   
f p
                           
32
         
 
   
     
f
               
38
              
               

mf p
                   
43
           

      
pp
                         
48
   
       
 


f
54
               
Molto meno
  
      
 
f
mf grazioso
                      
62 molto rall.
          
f f
16

70 Meno, quasi lento
                
p
     
78

molto rall.
 
                  
  
                 
86 Allegro vivace
      
  
              
p p
                           
91
           

    
p
         
              
poco rall. Allegretto
 
97
        
  
cresc.
ff
                                
104
               
f p
                                      

111 rall. poco a poco

cresc. poco a poco
 
Allegro molto
                          
116
        
   
stentato f f
            
Molto più vivo
 
123
        
f
ad.lib.
128

                             
sring. sempre
  
 
    
ff ff
17
Track 29/30 Dedicated to Lynn Elms
13. Water Lily

(2008) Barbara Heller
played freely and lowingly *1936
 12q. =96              
 8    
       

mp
 
                               
4
   
mf p mf
               
7
   
       
p

                
10
   
mf

                            
13
 
f
     
16
             
   
mp
        
   
18
      

f
from: B. Heller, Musical Flowers for Flute (Clarinet in Bb) and Piano (FTR 208)
18
Track 31/32
14. Invisible Poem
opus 3 (1996) Victor Alcántara
(Extracts) *1975
4     
     
 4    
  
    
    
Pno.   mf mf
         
7
       

      
13
                 
 
17
                 
 
                      

22
 
     

mf
                               

27
  

Più mosso q = 132
    
32 rall. e dim.

Pno.
   

 

 
  
          
  
         
37
  

             
     
            f
       
40
                     

mf

       
44
               43
cresc. ff p
© 1998 Musikverlag Möseler GmbH, Mainz
from: V. Alcántara, Invisible Poem for Descant (Soprano) Recorder and Piano (Möseler MOS 22603)
19
3 
48 (109)
          4

 4                 4
cresc. e string.
4   2   4
54 3
2   4
3

3
 4  4 4           4 4 
f
 
3
     
       
Pno.
59
      6

     
          4    
3 3 3
3 3 3 3 3 3
3 3
   
  

3

62
3 4
3 3 3 3

3
          
3 3 3
 4 4
3
         
      
    
65
 4             3 3 3 3
               
3
 4
3 3   
3 mp cresc.
 q = 112
     
rall.
              
68 3
          
  
3 3 3 3 3 3 3 3 3 3 ff
      
72
             
           
78
        3
          4
mf
 
3  4             
83
 4     4     
   3 f
p
     
rall.
    
89
     
      
Schott Music, Mainz 60 096

Sarah Jeffery My Favourite Melodies: 14 Selected Pieces For Descant (Soprano) or Tenor Recorder and Piano

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Sarah Jeffery My Favourite Melodies: 14 Selected Pieces For Descant (Soprano) or Tenor Recorder and Piano

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Sarah Jeffery

with online material (audio and video)

Cover photo of Sarah Jeffery by Claudia Hansen

www.schott-music.com Mainz · London · Madrid · Paris · New York · Tokyo · Beijing

With kind support of Mollenhauer Recorders

1. Anon. (Irish Traditional) Dear Irish Boy 4 1/2

Please visit www.schott-music.com/online-material to download all audio files for

At www.schott-music.com/shop/450247 you find 14 videos with Sarah Jeffery, giving

Track 1/2 1. Dear Irish Boy

Track 3/4/5 2. The Wellerman

 12               

                

                 4

How I became a recorder player

Track 6/7 3. Estampie Anon. (14th Century)

© 2023 Schott Music GmbH & Co. KG, Mainz

Track 8/9 4. Doen Daphne

Track 10/11 5. The Earl of Essex Galliard

© 2023 Schott Music GmbH & Co. KG, Mainz

Track 12/13 6. Rondeau

© 2023 Schott Music GmbH & Co. KG, Mainz

Track 14/15 7. Sonata seconda

© 2023 Schott Music GmbH & Co. KG, Mainz

                      

• Brilliant or blending in harmony

• Made from precious woods

• Traditional or with keys for playing a wider range

Modern soprano in grenadilla: Order-No. 5914H

Denner soprano in olive: Order-No. 5123

Track 18/19 8. Voli per l’aria chi può volare

4 only in Da Capo section

              

                  

© 2023 Schott Music GmbH & Co. KG, Mainz

          

           

    

Track 20/21 9. Rondo

© 2023 Schott Music GmbH & Co. KG, Mainz

from: J. Bologne, Chevalier de Saint-Georges, Harpsichord Quartet in G minor (2nd movement)

Why I love the recorder

Why do you love the recorder?

Track 22/23 10. Sicilienne

     

                

Track 24/25 11. Ich stand in dunklen Träumen

     

Track 26/27/28 12. Czárdás

        

            

                

        

Molto più vivo

Charming melodious sound

• Mixing well in ensemble

Denner comfort knick tenor in cherrywood: Order-No. 5431KC

• Comfortable for small hands

Track 29/30 Dedicated to Lynn Elms

Track 31/32 14. Invisible Poem