A collection of 32 pieces for the solo classical Guitar that capture the stately spirit and elegance of the Renaissance. The music has been carefully selected from authentic sources and the book includes plenty of historical detail and performance notes.Pieces include many ancient melodies from Ireland and Scotland ideal for the repertoire of the intermediate guitarist with their simple rhythms and modal tonalities. A CD of demonstrations is included performed by Allan Alexander to help you achieve and accurate and authentic performance.

Une collection de 32 pièces pour guitare classique solo qui capture l'esprit majestueux et l'élégance de la Renaissance. La musique a été soigneusement sélectionnée des sources authentiques, et le livre comprend beaucoup de notes historiques de détail et de la performance. Pièces comprennent plusieurs mélodies antiques de l'Irlande et l'Ecosse, idéal pour le répertoire du guitariste intermédiaire avec leurs rythmes simples et les tonalités modales. Un CD de manifestations est inclus, interprétée par Allan Alexander, pour vous aider à atteindre et de rendement précis et authentique. / Guitare / 72 pages / Partition Cd

Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the

Traduction Doc Rossi Compositeur : Damiani Andrea Instrumentation : Luth Publication Date: 1999 Series: Teoria e Didattica della Musica (Theoretical and Educational Texts) Pages: pp. 208 CONTENTS * Preface * Introduction * CHAPTER 1. TUNING AND TABLATURE Tuning - Tablature (French tablature - Italian tablature - Rhythm symbols - Fingering and other symbols) - Stringing and doubling - Tuning practice (Practical advice on tuning - Tuning problems) - Strings * CHAPTER 2. BASIC TECHNIQUES Posture and position of the lute - Right-hand position - Right-hand functions - Sound production (Positioning p - Forearm movement - Attack - Positioning i) - Alternating p and i - Finger articulation for polyphonic passages (Positioning p - Positioning i) - Preparatory exercises - Differences from guitar technique - Body control * CHAPTER 3. THE RIGHT HAND Forearm and accentuation - Fingering * CHAPTER 4. THE LEFT HAND General principals - Preparatory exercises - Avoiding stiffness - Differences from guitar technique - Hand coordination * CHAPTER 5. SCALES Right-hand scale technique (Forearm movement - Finger articulation - Integrating the two techniques) * CHAPTER 6. EXERCISES FOR TWO LUTES Exercises on a ground bass - Contrapuntal exercises - Articulation - Dances and ground basses * CHAPTER 7. SHIFTING LEFT-HAND POSITIONS Fundamental principals - Position changes using the same finger - Position changes by substitution - Position changes by jump * CHAPTER 8. EXERCISES FOR TWO LUTES WITH POSITION CHANGES * CHAPTER 9. RIGHT-HAND TECHNIQUE IN POLYPHONIC MUSIC p-i articulation - Positioning m - Rest stroke with p - Left-hand positions and movement - m-i articulation - Combining p, i and m - Easy pieces in two voices - Two-voice scales * CHAPTER 10. COUNTERPOINT Voice progression and intervals - The species - Florid counterpoint - Imitation - Syncopation - Suspension * CHAPTER 11. CONTRAPUNTAL PIECES IN TWO VOICES * CHAPTER 12. THREE VOICES The right hand - Combining chords and single notes - Repeated chords and monophonic passages - Arpeggios - Chords and counterpoint * CHAPTER 13. CONTRAPUNTAL PIECES IN THREE VOICES Technical aspects: three-voice scales, the barre - Contrapuntal pieces in three voices * CHAPTER 14. CHORDS OF FOUR OR MORE NOTES The ring finger (a) - Five- and six-note chords - Chords played with p * CHAPTER 15. IDIOMATIC LUTE COMPOSITIONS Chords and divisions - Characteristics of lute composition * CHAPTER 16. TRANSFORMATION OF LUTE TECHNIQUE DURING THE 16th CENTURY Evolution of right-hand position - Exercises for m-i alternation * CHAPTER 17. TECHNIQUE Scales (Full-length scales in all keys - Scales with divisions) - Speed - Left-hand legato and ornamentation - The barre (Preparatory exercises - Barre exercises) - Scales in two and more voices (Two-voice scales - Three-voice scales) - Polyphonic patterns - Right-hand exercises * CHAPTER 18. RENAISSANCE PERFORMANCE PRACTICE Interpretation (Rhetoric - Sound quality - Rhythmic inequality) - Ornamentation (16th-century sources - The first half of the 16th century - The second half of the 16th century - The first half of the 17th century - The Elizabethans) * CHAPTER 19. TEMPERAMENT Meantone temperament - Equal temperament

Lieblings duette. Easy, favourite duets from four centuries for two recorders 36 easy arrangements of favourite compositions from the Renaissance, Baroque, Classical and Romantic periods Available in two volumes for flexible instrumentation: SA or ST, and SB or TB (UE38101) Ideal performance material to be enjoyed by the player and audience alike/ Recueil / 2 Flûtes à Bec (SA/ST)

Le livre jeu est tout simplement la construction méthodique de Altblockflötenschule adapté, mais il convient aussi comme un compagnon dans une autre école et travaille comme un trésor pour ceux qui veulent jouer avec d'autres dans l'ensemble. Le livre contient plus de 50 pièces de la période baroque, Renaissance et classique à l'époque moderne, dans les choix d'occupation diverses et souples: duos de nombreux, trios et quatuors de lumière, mais aussi, des morceaux de piano, dont certaines avec accompagnement de guitare. Une magnifique sélection d'oeuvres de Susato, Gervaise, Playford, Pez, Chedeville, Barsanti, Telemann à Scott Joplin, Harald Genzmer et Mátyás Seiber. / 1 A 3 Flûtes A Bec Aigues Et Piano / 94 pages / Partition

Most of the music in this book comes from editions or manuscripts from England in the late 1500’s. There are also a few French pieces. The cittern was popular in Italy England and France. Aside from various tunings there weretwo main kinds of instruments being played during the 16th and 17th centuries: the 4 course (four sets of doubled strings) and the 6 course cittern with several editions of music to go along with both. The pieces I have chosenfor this book were all written for the 4 course instrument and fall into three main categories: dance music song arrangements and free pieces. The free pieces are basically preludes that explore the melodic range of theinstrument. As the title suggests these pieces can be played very freely and need not have a very strict tempo. The dance pieces are not really meant to be danced to but rather take their form and rhythm from the popular courtdances of the time. These can be played with a wide range of overall tempo but once a tempo is chosen should be strictly adhered to. The song arrangements are settings of popular songs of the time as well as more formal vocalsettings. Care should be taken in making the melody clear and singing. Since the range of the cittern and mandolin are the same John Holenko has kept the melodies intact. Because of the difference in tuning however thevoicing of the harmonies have been changed so as to fit on the mandolin.

Lupacchino, Bernardino - Tasso, Ioan Maria Il primo libro a due voci (Venezia 1559) Two-Part Music In the Renaissance and post-Renaissance period, two-part compositions were one of the main subjects in musical teaching and therefore played an important role in preparing both professional and amateur musicians. This series means to publish, in modern edition, all the existing collections of two-part music from the past centuries.

Par BARNES JAMES. Risoluto is a music term of Italian derivation, first appearing in the mid 1700s. A great many musical terms such as this are in Italian, because many of the important composers from the Renaissance to the Baroque were from the geographic area known today as Italy and spoke some form of Italian. Consequently, performance markings in their published music, widely disseminated through the rest of Europe, were in the language that they best understood. Music marked in this manner is to be played firmly and decisively with firm resolve and little variance from the marked tempo. It can be seen that while there are several stylistic changes in this piece, the tempo varies not a bit, holding firm at Allegro vivo, quarter note at 120, from first measure to last. / Date parution : 2022-09-20/ Répertoire / Concert Band

These four dances are written in a kind of neo renaissance style. Because of the fact that little technical demands are required from its performing artists these dances are mainly meant for beginning groups youth ensembles and also for bands in all kinds of small strengths. Jan Van der Roost originally had pedagogical intentions with this piece.

A collection of 5 short works in pop style which can be performed by any kind of compilation. The titles can be presented on the programme as separate works but the Universal Band Collection can also be performed as a complete suite. From a didactic point of view it is a suitable work to teach musicians something about the structure in music. For this purpose not only the big structure but also the small structure was kept very clear.Western Girl : A girl from the west of the USA rides her horse across the prairie dreaming of her future. The rough structure: introduction - theme in a blues scale - the same thing in a different instrumentation - finale.Just a ballad : A balladin pop style with a rough A-B-A form. First there is the introduction of the main theme (A) then follows a tenor melody in minor with a rhythmical reference to the main theme (B). Finally there is the main melody performed tutti with a different rhythm in the drums (A').Play the Game : An English saying meaning: play fairly. Playful music in up-tempo with a wink to China where almost all games are manufactured nowadays. Once again an A-B-A structure here.San Diego : A Mexican fugitive enjoys his freedom in America but also remembers his place of birth with melancholy. A sad minor melody with a straight trendy beat appears twice. The second time it has a slightly different instrumentation in which the muted trumpets represent the Mexican feeling.Final Dance : Eventually there is a dance with an introduction in renaissance style followed by a fast dance in rock style. All this composed in a classical song structure: introduction verse bridge chorus shortened verse bridge chorus chorus.

Almost 40 compositions half of which written for accompanied and unaccompanied choir can currently be found in the catalogue of works by the young Polish composer Katarzyna Danel (born in 1992). After winning several national composition prizes she was awarded the 1st prize of the 13th International Composition Competition 'Musica Sacra Nova' 2016 for Misericordias Domini for eight-part mixed a cappella choir. The complex sacred a cappella choral work is based on the eponymous Gregorian chorale (Psalm 89:2). This Latin choral piece is characterized by three main structures: by aleatoric sound clouds in major pentatonic scales which are emphasized by sustained organum-like notesfrom the Gregorian chorale melody on the one hand by Renaissance-style polyphony combined with modern harmony on the other hand and finally by long static chords merging in space and harmony. A wonderfully mystical spherical composition which by means of ad libitum passages marked in the musical text even gives the performer the opportunity to interpret the piece individually.