The guitar part for the whole sonata was done in a special way:  Since only a 'cello-type bass line was given, with no figures for the keyboard continuo, this collection of pieces had a somewhat "thin" tone.  To fix that problem, the harmony was determined from the two upper (recorder & flute) parts.  Once the figures were extracted, the third part was completely rewritten in a complementary method.

Some classical music "puritans" may scoff at this, but judging by the writings of Baroque musicians, this would have been not only completely acceptable to the composer, but encouraged.

Anyway, suffice it to say that the guitar part was almost entirely written by Nathan Griffith.  This movement forms 2 pages of music in full score.

This movement is the hardest to play for the guitarist.  It is forceful and commanding in the concert hall.  It forms 3 pages of music in full score.

A very lyrical piece, the Largo movement is easy to play, but quite hard to make sound correctly.  The reason is because the oboe part is supposed to stand out as the principal melody, despite the somewhat dominating character of the "statement & answer" form between the flute and guitar parts.  They tend to distract the ear from the soloist, while at the same time providing its very necessary harmonic foundation.  This movement forms 2 pages of music in full score.

This tune sounds like some kind of folk music in the upper (wind) parts, with their parallel unisons and octaves in several places.  Except for the guitar part, this movement is deceptively easy to play.

The whole sonata was written originally in G minor, which is playable on the guitar, with some extra care.  But in order to make use of certain powerful "open" string notes, the guitar part has also been re-written in E minor, so that a capo (capotasto, cejilla, cejuela) can be used at the third fret.  Since the notes don't rise above the guitar's 11th fret, nothing is lost in terms of range, and much is gained from the aspect of sonority.