Sheep May Safely Graze: 2 Flutes & Keyboard Part(s)

Marlatt's arrangement preserves the serene character of Bach's original while making it accessible to flutists at a medium level. The keyboard part supports without overwhelming, allowing the two flute lines to sing with the transparency and grace the melody demands. It's a work that sounds far more complex than it is to prepare, giving your students the confidence that comes from performing recognizable, beautifully written material.

Tranquil and pastoral, with an almost hymn-like simplicity that belies Bach's contrapuntal sophistication. The flute lines float gently over steady harmonic support, evoking the imagery of safety and repose embedded in the cantata's text.

Intermediate to advanced young flutists who are ready for duo literature that demands ensemble listening and stylistic awareness, as well as established flute duos seeking Baroque repertoire that works in both liturgical and concert settings. Church musicians will find this especially valuable for preludes, offertories, or postludes.

• Balance the flute lines so that the first flute carries the primary melodic weight while the second flute's supporting voice remains audible but subordinate. This requires both players to listen closely throughout.
• Coordinate the keyboard entry with the flutists; if using piano, ensure the left hand establishes a steady harmonic foundation before the right hand embellishes. The accompaniment should feel like a single, cohesive support rather than two independent parts.
• Shape the line with gentle, long-line phrasing rather than choppy articulation. The text-painting in the original suggests pastoral calm, which translates to sustained musical breathing across phrases.
• Take time during rehearsal to discuss how the original cantata text might inform the emotional coloring of each section. Even instrumentalists benefit from understanding the narrative behind the notes.

Include it as an elegant opener for a recital featuring Baroque woodwind music, or pair it with other Bach arrangements to create a short thematic set. In a church setting, it works beautifully as a quiet interlude between hymn and sermon, offering both spiritual substance and musical substance.

• Baroque ornamentation and phrasing conventions
• Balancing melody and accompaniment in a duet texture
• Ensemble intonation in sustained, unaccompanied passages
• Correlation between original vocal text and instrumental interpretation
• Collaboration with keyboard players and attention to harmonic support