The Original First and Second Books including Dowland's Original Lute Tablature-Considered the greatest lute virtuoso and composer of the English school in the early 17th Century John Dowland (1563-1626) composed over 80 pieces of solo lute music. His peerless skills as an instrumentalist were hailed by poet Richard Barnfield who referred to Dowland as one '...whose heav'nly touch upon the lute doth ravish human sense.' As a composer Dowland displayed a versatility of mood with works ranging from the lighthearted to the deeply serious exquisitely melancholic vein in which he excelled.

Par MIDDLETON OWEN. Composer/arranger Owen Middleton delivers the goods in these intermediate-level, idiomatic arrangements of 21 traditional hymns and patriotic songs for solo classic guitar. The book includes optional parts for cello and flute in supporting and lead roles. Written in standard notation only, a few tunes feature altered tunings. Light left-hand fingering is provided for the more challenging passages as well as access to online audio for each piece.Middleton?s years of experience as a choral singer and composer for the guitar and piano shine through in these tasteful settings; his awareness of voice-leading concepts, inner parts, and basslines often gives these time-honored melodies a modern twist. / Date parution : 2022-07-20/ Recueil / Guitare

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

A dozen of the most beautiful traditional melodies from the British Isles and North America are arranged here as concert pieces with rich harmonies and variations. Carefully voiced and fingered for fluidity and effectiveness the collection offers a wide range of style and expression. ???Barbara Allen??? and ???The Three Ravens??? are strongly influenced by the Elizabethan lute tradition while ???John Riley??? and ???Come All Ye Fair and Tender Ladies??? have a more contemporary feel. ???Black Is the Color of My True Love???s Hair??? and ???Lament for Owen Roe O???Neill??? are studies in somber intensity the modal ???She Moved Through the Fair??? sounds the ancient connection between Arabic and Celticmusic and ???Banks of the Ohio??? provides an interlude of gentle bluegrass swing with a hint of gospel.

Unsurpassed in his day as a lute virtuoso, John Dowland (1563–1626) today continues to delight singers, musicians, and music lovers alike. This collection of 45 songs includes all the works in Dowland's original third and fourth books of lute songs, the composer's contributions to his son's anthology of 1610, and a dance for solo guitar. Content : THE THRID AND LAST BOOKE I. Farewell too fair II. Time stands still III. Behold a wonder here IV. Daphne was not so chaste V. Me, me and none but me VI. When Phoebus first did Daphne love VII. Say Love if ever thou didst find VIII. Flow not so fast ye fountains IX. What if I never speed? X. Love stood amaz'd XI. Lend your ears to my sorrow XII. By a fountain where I lay XIII. Oh what hath overwrought XIV. Farewell unkind farewell XV. Weep you no more, sad fountains XVI. Fie on this feigning XVII. I must complain XVIII It was a time when silly bees could speak XIX. The lowest trees have tops XX. What poor astronomers are they XXI. Come when I call (for two voices and two lutes) A PILGRIMES SOLACE I. Disdain me still II. Sweet stay awhile III. To ask for all thy love IV. Love those beams V. Shall I strive with words to move (Mignarda, a galliard is Dowland's title for the solo lute version of the lyre Shall I strive with words to move. VI. Were every thought an eye VII. Stay Time awhile thy flying VIII. Tel me true Love (with chorus) The next three with treble and bass viols ofr violin and cello: IX. Go nightly cares X. From silent night XI. Lasso vita mia XII. In this trembling shadow XIII. If that a sinner's sighs A three-part work: XIV. Thou mighty God XV. When David's life XVI. When the poor cripple XVII. Where sin sore wounding XVIII. My heart and tongue were twins The next with chorus: XIX. Up merry mates XX. Welcome black night XXI. Cease these false sports THREE AYRES FROM A MUSICALL BANQUET Far from triumphing Court Lady if you so spite me In darkness let me dwell GALLIART TO LACHRIMAE A lute solo from A Pilgrimes Solace, transcribed for guitar

Cet arrangement d'une chanson d'opéra de 1953 de Britten ' Gloriana ' Date de 1957. Il a été enregistré par Peter Pears et Julian Bream et souvent inclus dans leurs programmes de récital. Cet arrangement exquis est maintenant imprimé pour la première fois. Julian Bream a appliqué des révisions mineures pour la présente publication. / Voix Et Guitare

An exciting collection of songs and dances from England's rich musical heritage. All are arranged for voice and recorder penny whistle flute and other suitable C instruments. Each is complete with full lyrics chordsymbols and guitar chord diagrams.