ISBN 9781610659406. By Carlo Aonzo, with Clara Ponzoni and Giorgio Borsani. Ticino is a small area at the southernmost tip of Switzerland on the border with Italy. The Ticino region was actually part of Italy until a few centuries ago. The mandolin arrived in Ticino through immigrants and their music, and put down important cultural roots there. The mandolin style in Ticino is a link to the old Italian folk music tradition, which has been largely lost in Italy and throughout other parts of the world. This book is a collection of some of the most famous pieces from this vast historical repertoire. The collection includes lots of popular folk songs, virtuosic pieces by original mandolin composers, as well as an original Aonzo composition. The book is presented in English and in Italian while the music is in standard notation and mandolin tablature. Audio available for download online.

ISBN 9781619119512.

The octave mandolin is valued for its rich tone and wide range of potential use in a variety of musical settings. This book contains 27 easy to intermediate pieces from the Baroque era that have been carefully chosen and arranged to benefit from the longer scale and deeper voice of the big mandolin. The music is presented in both standard notation and tablature, making it easily playable on the mandocello, mandola or standard mandolin. Thirteen composers are represented, including six pieces by J. S. Bach, four by G. F. Handel and three by G. P. Telemann.

ISBN 9781609742959. Most of the music in this book comes from editions or manuscripts from England in the late 1500ICOs. There are also a few French pieces. The cittern was popular in Italy, England and France. Aside from various tunings, there were two 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 chosen for 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 the instrument. 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 court dances 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 vocal settings. 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, the voicing of the harmonies have been changed so as to fit on the mandolin.