Partition parties complètes, Sacro-profanus concentus musicus fidium aliorumque instrumentorum par Johann Heinrich Schmelzer

Descant Recorder 1.1
Sonata a Otto, Due Cori, (SPCM No.2)
Johann Heinrich Schmelzer (c.1620–23 –1680)
                     
8
                       
13
                      
17
                       
22
                
27
                     
32
                           
35
                                    
38
                       
47
         Descant Recorder 1.1 3
55
          
60
         
68 Allegro
              
76
                
84
            
93
               
98
                            
102
                        
109
                       
113
              Tenor Recorder 1.2
Sonata a Otto, Due Cori, (SPCM No.2)
Johann Heinrich Schmelzer (c.1620–23 –1680)
                   
10                      
16                     
21
               
27        
45          
50         
58
         
64
             
Allegro70                        Tenor Recorder 1.2 3
75                
86 
                         
92
    
                
98               
106                         
112                 Bass Recorder 1.3
Sonata a Otto, Due Cori, (SPCM No.2)
Johann Heinrich Schmelzer (c.1620–23 –1680)

                
9
                      
15
                     
20
                    
26  
        
44
           
49
           
55 
         
63
         
Allegro68
                 Bass Recorder 1.3 3
73  
               
81 
                  
89
                  
95
             
102 
                     
110
                 
114           Great Bass Recorder 1.4
Sonata a Otto, Due Cori, (SPCM No.2)
Johann Heinrich Schmelzer (c.1620–23 –1680)

           
9
                 
15
              
20
               
26 
       
41
          
46
           
51 
        
59 
         
Allegro67
            Great Bass Recorder 1.4 3
73 
                 
82 
        
92
              
99 
            
107
                 
112
          Descant Recorder 2.1
Sonata a Otto, Due Cori, (SPCM No.2)
Johann Heinrich Schmelzer (c.1620–23 –1680)
                          
6
                       
12
                        
16
               
20
                      
25
  
            
31
                             
35
                        
38
                          
41
          Descant Recorder 2.1 3
51
         
59
          
64
          
70 Allegro
                    
79
               
86
                    
93
                        
98
                        
103
                 
109
                    
113
             