in some "flute" parts from the period. Fourth Brandenburg Concerto BWV 1049 The concertino group of Bach's fourth Brandenburg Concerto in G major, BWV 1049, consists of a , and , with ripieno strings. His later harpsichord transcription of this concerto, BWV 1057, lowers the key by a tone, as in all of Bach's harpsichord transcriptions, and is scored for solo harpsichord, two and ripieno strings. The desired instrument for the parts in BWV 1049 has been a matter of perennial musicological and organological debate for two primary reasons: first, the term is not mentioned in dictionaries or tutors of the period; and second, the first part uses F#6, a note which is difficult to produce on a Baroque alto recorder in F4. The instrumentation of BWV 1057 is uncontroversial: unambiguously specifies recorders, and both parts have been modified to fit comfortably on altos in F4, avoiding, for example, an unplayable Eb4 in the second that would have resulted from a simple transposition of a tone. For the first and last movements of the concerto, two opinions predominate: first, that both recorder parts should be played on alto recorders in F4; and second, that the first part should be played on an alto recorder in G and the second part on an alto in F. Tushaar Power has argued for the alto in G4 on the basis that Bach uses the high F#6, which can be easily played on an alto in G4, but not the low F4, a note not playable on the alto in G4. He corroborates this with other alto recorder parts in Bach's cantatas. Michael Marissen reads the repertoire differently, demonstrating that in other recorder parts, Bach used both the low F4 and F#6, as well as higher notes. Marissen argues that Bach was not as consistent as Power asserts, and that Bach would have almost certainly had access to only altos in F. He corroborates this with examinations of pitch standards and notation in Bach's cantatas, in which the recorder parts are sometimes written as transposing instruments to play with organs that sounded as much as a minor third above written pitch. Marissen also reads Bach's revisions to the recorder parts in BWV 1057 as indicative of his avoidance of F#6 in BWV 1049, a sign that he only used the difficult note when necessary in designing the part for an alto recorder in F4.