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HARPSICHORD
Lute
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Dowland J. - John Dowland's Lute Songs, Third And Fourth Book With Original Tablature
Lute
Dover Publications
Unsurpassed in his day as a lute virtuoso, John Dowland (1563–1626) today cont...
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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
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Damiani Andrea - Method For Renaissance Lute (english Version)
Lute
Ut Orpheus
Traduction Doc Rossi Compositeur : Damiani Andrea Instrumentation : Luth Public...
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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
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Dowland J. - Lute Song Of John Dowland Vol.1 And Vol.2
Lute
Dover Publications
The Original First and Second Books Including Dowland’s Original Lute Tablatur...
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The Original First and Second Books Including Dowland’s Original Lute Tablature. THE FIRST BOOK OF SONGS I. Unquiet thoughts II. Who ever thinks or hopes of love III. My thoughts are wing'd with hopes IV. If my complaints could passions move V. Can she excuse my wrongs? VI. Now, O now, I needs must part VII. Dear, if you change VIII. Burst forth, my tears IX. Go crystal tears X. Think'st thou then by thy feigning XI. Come away, come sweet love XII. Rest awhile you cruel cares XIII. Sleep, wayward thoughts XIV. All ye, whom Love or Fortune XIVa. All ye, whom Love or Fortune XV. Wilt thou, unkind, thus reave me XVI. Would my conceit XVII. Come again XVIII. His golden locks XIX. Awake, sweet love, thou art return'd XX. Come, heavy Sleep XXI. Away with these self-loving lads ------ My Lord Chamberlain his Galliard (For two to play...) THE SECOND BOOK OF SONGS I. I saw my Lady weep II. Flow my tears III. Sorrow, stay IV. Die not before thy day V. Mourn, day is with darkness fled VI. Time's eldest son, Old Age (The first part) VII. Then sit thee down (The second part) VIII. When others sing Venite (The third part) IX. Praise blindness eyes X. O sweet woods XI. If floods of tears XII. Fine knacks for ladies XIII. Now cease my wand'ring eyes XIV. Come ye heavy states of night XV. White as lilies was her face XVI. Woeful heart XVII. A shepherd in a shade XVIII. Faction that ever dwells XIX. Shall I sue XX. Toss not my soul XXI. Clear or cloudy XXIa. Clear or cloudy XXII. Humour say what mak'st thou here (a Dialogue)
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Yisrael (serdoura) Miguel - Methode De Luth Baroque, Guide Pratique Pour Luthiste Debutant Et Avance
Français
Lute
Ut Orpheus
Cette Méthode de Luth Baroque peut vous donner les bases techniques et musicale...
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Cette Méthode de Luth Baroque peut vous donner les bases techniques et musicales nécessaires à l’obtention d’une structure assez solide et complète du jeu du luth baroque. Et c’est là tout l’enjeu et le défi de l’écriture de cet ouvrage : donner, au plus grand nombre de passionnés, l’opportunité de s’exprimer à travers le luth baroque, et ce, indépendamment de leur niveau d’apprentissage. Notre livre est destiné non seulement à celui qui n’a jamais joué d’un instrument de musique, mais aussi au guitariste avisé qui veut s’initier aux mystères du luth baroque ! Mode d’emploi Notre Méthode de Luth Baroque est divisée en trois parties. La première partie, plutôt théorique, aidera à mieux comprendre la façon de jouer la musique écrite pour le luth baroque. Nous avons jugé indispensable d’avoir des connaissances élémentaires de solfège occidental mais aussi de la tablature (forme de notation musicale spécifique au luth). Ces connaissances, insuffisantes si étudiées de manière isolée, ont été enrichies d’un lexique des pièces instrumentales ainsi que de biographies de la plupart des compositeurs de musique pour luth baroque à 11 et 13 chœurs. En deuxième partie, nous avons dédié tout un chapitre à l’étude de la technique et de la production sonore du luth. Riche en photos et détails de toutes les étapes techniques que nous devrons franchir, ce chapitre est, sans aucun doute, le plus important de toute notre Méthode pour bien comprendre l’univers sonore du luth baroque ! Ensuite, nous vous proposons 21 exercices, tous d’un niveau élémentaire, mais progressifs, accompagnés de plusieurs pièces de musique. Vous allez d’abord jouer des mélodies pour ensuite ajouter les basses, et seulement après commencer à jouer les ornements. En troisième partie, nous avons choisi près de 250 pièces pour luth baroque à 11 et 13 chœurs. Ces pièces, divisées en trois niveaux, sont d’un degré de difficulté qui s’échelonne du niveau « débutant », « moyen » à « avancé ». Nous avons, tout comme à l’époque baroque, séparé ces pièces selon leurs tonalités et leur nom. Aussi, nous n’avons choisi que très peu de tonalités différentes, afin que le luthiste débutant puisse travailler l’essentiel de son instrument, au lieu de perdre son temps à essayer de s’accorder tout le temps et de jouer des morceaux bien trop complexes pour son niveau. Il n’y a pas de mauvaise musique mais, parfois, il y a de mauvais musiciens ! Faire de la musique n’est simplement pas jouer des notes et réaliser quelques acrobaties, souvent sans intérêt. Un musicien « mûr » se plaît le plus souvent à jouer une simple mélodie et à jouir des merveilles sonores de son instrument ! Nous espérons que cette méthode pourra aider ceux qui n’ont pas accès à un professeur (même si nous leur conseillons d’aller en voir un le plus régulièrement possible), mais aussi tous les professeurs n’ayant pas suffisamment de matériel pour faire travailler, d’une manière systématique, leurs élèves. Bon courage à tous ! Miguel Yisrael - formerly Miguel Serdoura, now carrying the surname of his mother - was born in Lisbon, where he began his musical and artistic career, earning his Diploma in Classical Guitar in 1994. In 1995, he moved to Paris, where he studied the lute with Claire Antonini in the Early Music Department of the Conservatoire Supérieur de Paris - CNR. He also took part in several master classes in his discipline, with Rolf Lislevand and other prestigious artists. From 1999 to 2004, he completed his musical education at the Schola Cantorum Basiliensis in Basel, Switzerland with the grand maestro Hopkinson Smith. As a soloist, Miguel Yisrael has given recitals in France, Portugal, United-Kingdom, Germany, Belgium, Switzerland, China and USA. In 2000, he took part in a television documentary devoted to the lutenist Hopkinson Smith, broadcast by Arte, Mezzo, Classica, RTBF and TSR. He currently lives and teaches baroque and renaissance lute in Paris, where he gives frequent concerts/lectures in the framework of the “Musicien au Musée” program of the Musée de la Musique - Cité de la Musique in Paris. Miguel Yisrael performs on lutes built by Cezar Mateus, Princeton, USA, and with strings from Mimmo Peruffo, Vicenza, Italy. He recorded his first solo CD for the Dutch Label Brilliant Classics in 2008.
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The Flûte Audition
Flute
Universal Edition
The New Essential Companion. Henrik Wiese, the internationally renowned orchestr...
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The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière
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Giles Swayne: Groundwork Op.80: Lute: Instrumental Work
Lute
[Sheet music]
Novello & Co Ltd.
A rare work for the Lute-based Theorbo. Below is the programme note from the com...
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A rare work for the Lute-based Theorbo. Below is the programme note from the composer.In July 1998 I decided that I would use a theorbo in Havoc a piece I was writing for the 1999 Proms (premiere September 8th 1999). Since my knowledge of the instrument was negligible I contacted David (The Orbo) Miller and appealed for help since I knew he would be playing in the Proms piece. He kindly and with admirable patience showed me how the instrument worked and I began writing groundwork as a technical exercise - hence one meaning of the title. The other is that it is a set of variations over a ground bass.Since the theorbo possesses eight diapason bass strings - whichare plucked like those of a harp not stopped with the left and - it seemed sensible to use these for the ground bass which consists simply of a rising eight-note scale using all diapason strings in turn. This ground is stated at the beginning and developed through 16 variations. Nos 1 to 7 are straightforward except that some of them compress the ground into itself. Nos 8 to 16 are in stretto: they are gradually overlapped with each other the new ground beginning one note earlier each time. The climax of the piece comes at variations 10 to 11; variations 12 to 14 bring it gradually down to earth; no. 15 is quiet and puts the decorated ground in relaxed canon with itself (in octaves using the top and bottom strings of the instrument). Variation 16 strips the ground of decoration putting tight scrunchy chords over it and the piece ends with the lowest diapason string (G) a quiet raspberry ripple of the other seven diapason strings and a final harmonic G to tell us that our little journey is over. I hope you enjoy the scenery.Giles Swayne
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Ultra Smooth Jazz Grooves: Flute: Instrumental Album
Flute
[Sheet music + CD]
-
Intermediate
ADG productions
Internationally renowned authors musicians and recording artists Frank Villafr...
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Internationally renowned authors musicians and recording artists Frank Villafranca and Andrew D. Gordon of The Super Groovers have composed a collection of grooves and melodies in the Smooth Jazz Genre creating an exciting supplemental jazz study series for beginner intermediate and advanced jazz students and musicians. After releasing their first CD Supergroovin which received world wide airplay they recognized a need in the music publishing business for a series of books on contemporary improvising within the 'Smooth Jazz' genre. Andrew composed and recorded all the rhythm tracks used in thisbook. In their opinion the melodies were so catchy they couldn't resist developing them into completed songs. Mainline Connection Villefranche?sur-Mer and You're The Only One In My Life are a few featured on their second CD Mainline Connection. The smooth jazz grooves in this 50 page book feature a variety of contemporary rhythm section styles including R
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Essential Jazz Lines In The Style Of John Coltrane (CHRISTIANSEN COREY)
Flute
[Sheet music + CD]
-
Intermediate
Mel Bay
Par CHRISTIANSEN COREY. Saxophonist John Coltrane was one of the most innovative...
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Par CHRISTIANSEN COREY. Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltrane's career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltrane's bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques. Then the text presents numerous one-, two-, and three-measure jazz lines in Coltrane's style grouped by the harmony over which they can be used. The accompanying play-along CD provides the rhythm parts for each section, including a track for each section that modulates through the cycle of fourths, helping you master the phrases in all keys. By combining various lines, musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions, turnarounds, and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and you will be able to create your own lines in the style of John Coltrane / Niveau : Intermédiaire / Jazz - Improvisation / Recueil / Flûte Traversière
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Rob MacKillop: Introduction to the Lute: Guitar: Instrumental Tutor
Lute
[Sheet music + Audio access]
Mel Bay
This book is aimed at beginner lute and guitar players interested in playing Ren...
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This book is aimed at beginner lute and guitar players interested in playing Renaissance lutemusic on either instrument. Lute and guitar tablature are included along with notes on technique biographies of lute composers from the 16th century and general advice on buying stringing and tuning a lute. The book startswith single-line melodies before progressing to two-part and full repertoire pieces. Selections include works by great Renaissance composers such as John Dowland Francesco da Milano Alonso Mudarra Francesco Spinacino andothers with music from England Scotland Italy France and Germany. A useful chord chart is also included. Every piece in the book has been recorded for download by Rob MacKillop--in itself an album worth owning. Includesaccess to online audio.
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Renaissance Lute Repertoire
Lute
-
Intermediate
Mel Bay
Guitar Tablature Edition. Renaissance Lute Repertoire-Guitar Tablature Edition c...
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Guitar Tablature Edition. Renaissance Lute Repertoire-Guitar Tablature Edition can be viewed as either a supplement to the popular Introduction to the Lute: for Lute and Guitar Players or as a standalone edition of 16th-century lute tablatures reset in guitar tab. Play from beautifully-typeset scores, music by John Dowland, Francesco da Milano, Vicenzo Galilei (father of the famous astronomer), and many others, including vihuela composers, Narváez and Milán. Together, this collection provides in guitar tab a beautiful and extensive overview of music for the Renaissance lute. TUNING: To get Renaissance lute tuning on a guitar, all you need to do is tune the 3rd string, G, down one semitone to F♯.That's it. Then just read the tab as normal. This edition is in guitar tablature. There is a separate edition in lute tablature, Renaissance Lute Repertoire-Lute Tablature Edition. / Niveau : Intermédiaire / Classique / Date parution : 2019-05-27/ Tablatures / Luth
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Fantasies And Dances (HOLBORNE ANTHONY)
Lute
[Sheet music]
Ut Orpheus
Par HOLBORNE ANTHONY. Vol. I: Nos. 1-15/ Répertoire / Luth
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Method For The Baroque Lute. A Practical Guide For Beginning And Advanced Lutenists
Lute
[Sheet music]
-
Beginner
Ut Orpheus
/ Niveau : Débutant / Méthode / Luth
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Renaissance Lute Repertoire
Lute
-
Intermediate
Mel Bay
Lute Tablature Edition. Renaissance Lute Repertoire-Lute Tablature Edition can b...
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Lute Tablature Edition. Renaissance Lute Repertoire-Lute Tablature Edition can be viewed as either a supplement to the popular Introduction to the Lute: for Lute and Guitar Players or as a standalone edition of 16th-century lute tablatures. Play from beautifully-typeset scores, music by John Dowland, Francesco da Milano, Vincenzo Galilei (father of the famous astronomer) and many others, including vihuela composers Narváez and Milán. Together, this collection provides a beautiful and extensive overview of music for the renaissance lute. This edition is in French lute tablature. There is a separate edition in guitar tablature, Renaissance Lute Repertoire-Guitar Tablature Edition. / Niveau : Intermédiaire / Classique / Date parution : 2019-05-27/ Tablatures / Luth
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Method For Renaissance Lute - English Version
Lute
[Sheet music]
Ut Orpheus
/ Méthode / Luth
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Paul Taffanel Philippe Gaubert: Complete Flute Method (Flute): Flute
Flute
[Sheet music]
Leduc, Alphonse
Considered as the practical guide for Flute Complete Flute Method was co-writte...
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Considered as the practical guide for Flute Complete Flute Method was co-written by Paul Taffanel (1844-1908) and Philippe Gaubert (1879-1941). Published in 1923 this method is strongly progressive: helping the beginner from the very start it should develop and help them to master the necessary theory technique and tone of this instrument. The 227 pages all contain descriptions and comments written in French English German and Spanish which stand out by their precision and detail.Recognised worldwide thanks to Marcel Moyse Emmanuel Pahud and Pierre-Yves Arthaud among others Complete Flute Method demonstrates and confirms the quality and professionalism of these French flautists and their methods.Paul Taffanel (1844-1908) and Philippe Gaubert (1879-1941) are both professional flautists who collaborated on different projects together including this method and the '17 Grands Exercices Journaliers de Mécanisme'.
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Cinema Classics
Flute
[Sheet music + CD]
Alfred Publishing
Movie themes have their own special appeal. Their role is to convey and amplify ...
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Movie themes have their own special appeal. Their role is to convey and amplify the atmosphere and emotions of moving pictures. In many cases they take on a life of their own and it is such titles as these, classics in their own right, which we selected for this book.With a lot of effort and patience in both arranging this broad musical palette and recording the play-along CD, Alfred Music Publishing have been able to create play-alongs that are live studio recordings. Through this we can make a broad spectrum of styles accessible to the player, be it a classical orchestra, a jazz orchestra, a jazz combo, a rock and pop band or any of the possible line-ups in between.We are especially proud to have top-class musicians of the contemporary European music scene on our recordings. Their unique interpretations make it a worthwhile experience to just listen to the tracks, let alone having yourself accompanied by top notch musicians. The chord symbols are meant for accompaniment by a teacher or duet partner so that the themes can be played independently from the CD. This is why the symbols are shown in concert pitch, even in the editions for transposed instruments (i.e. clarinet, alto and tenor saxophone). The chord symbols also make it possible to perform tunes from 'Cinema Classics' live with a duet partner or band. / Flûte
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Rob MacKillop: Renaissance Lute Repetoire: Lute: Instrumental Collection
Lute
Mel Bay
Renaissance Lute Repertoire-Lute Tablature Edition can be viewed as either a sup...
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Renaissance Lute Repertoire-Lute Tablature Edition can be viewed as either a supplement to the popular Introduction to the Lute: for Lute and Guitar Players or as a standalone edition of 16th-century lute tablatures. Play from beautifully-typeset scores, music by John Dowland, Francesco da Milano, Vincenzo Galilei (father of the famous astronomer) and many others, including vihuela composers Narváez and Milán. Together, this collection provides a beautiful and extensive overview of music for the renaissance lute. This edition is in French lute tablature. There is a separate edition in guitar tablature, Renaissance Lute Repertoire-Guitar Tablature Edition.
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Diana Poulton: Renaissance Luit Method: Lute: Instrumental Tutor
Lute
[Sheet music]
Schott
Diana Poulton: A Tutor For The Renaissance Lute - With the benefit of her many y...
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Diana Poulton: A Tutor For The Renaissance Lute - With the benefit of her many years study of the repertoire and teaching of the instrument Diana Poulton has completely re-cast her earlier book (An Introduction to Lute Playing 1961) to produce in A Tutor for the Renaissance Lute the most comprehensive method for the lute based on Renaissance precepts. The book will be found equally useful to students working alone - giving clear instructions on all technical matters progressively introduced according to their difficulty - and to teacher (providing a source of some seventy-fivepieces from which to structure their pupils' progress). The advanced student too will find that much of the music is suitable for recital programmes.
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Berceuse with seven variations (MUHLY NICO)
Lute
[Sheet music]
St Rose Music Publishing
Par MUHLY NICO. Berceuse with seven variations is constructed around a cycle of ...
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Par MUHLY NICO. Berceuse with seven variations is constructed around a cycle of twenty-four chords, spaced with maximum distance between the lowest and highest notes. Each variation explores various paths through this cycle, but always keeping the idea of a cradle-song, a berceuse, in the background. Some of the variations treat this music subtly and calmly, and other times, exploding the chords into fast-moving notes found at the extremes of the instruments. The piece ends with the chords dispersed, inverted, and made gentle again. ? NICO MUHLY / Date parution : 2022-09-20/ Répertoire / Théorbe
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John Dowland: The Collected Lute Music Of John Dowland: Lute: Instrumental Album
Lute
-
Intermediate/advanced
Faber Music Limited
During his lifetime John Dowland was one of the few English composers whose fame...
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During his lifetime John Dowland was one of the few English composers whose fame spread throughout Europe. He has never been entirely forgotten although his music was almost completely ignored during the whole of the eighteenth century and most of the nineteenth. The early twentieth century saw a dawning recognition among scholars and specialists of the rare quality of his work.This is a comprehensive and exhaustive collection of Dowland’s compositions for the Lute with critical commentaries lists of sources and biographical notes as thoroughly compiled and edited by Diana Poulton and Basil Lam.The music is presented in both keyboardnotation and Lute tablature.
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Fantasies And Dances (HOLBORNE ANTHONY)
Lute
[Sheet music]
Ut Orpheus
Par HOLBORNE ANTHONY. Vol. Ii: Nos. 16-30/ Répertoire / Luth
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Trevor Wye: Trevor Wye Practice Book For The Flute - 1-6 +CD: Flute:
Flute
Novello & Co Ltd.
Trevor Wye's renowned Practice Books For The Flute have been invaluable for flau...
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Trevor Wye's renowned Practice Books For The Flute have been invaluable for flautists for many years. This Omnibus Edition features books 1-6 in one bumper compendium with a CD included that accompanies the first book. Each Practice Book delves into great detail into a different aspect of playing the Flute. Having sold over 1 million copies the series as a whole is invaluable for amateur or would-be professional flautists providing in-depth tips on practising and how to overcome specific technical difficulties. The various books within this edition give hugely important information on thefollowing: Book 1: ToneBook 2: TechniqueBook 3: ArticulationBook 4: Intonation & VibratoBook 5: Breathing & ScalesBook 6: Advanced Practice When combined this Omnibus Edition of the Practice Books For Flute create a wonderfully comprehensive and well-organised way to become a serious flautist. Within each individual book Trevor Wye goes into an unparalleled level of detail laying everything out logically and honestly so that you are guided through the fine details but the practising itself must come from you. This edition represents great value for money costing a lot less than it would to buy each book individually and you also gain Trevor Wye's exceptional gift for instruction across all these concepts. The addition of the CD that accompanies Book 1 helps you to hear the exercises as well as playing them providing valuable ear-training as a bonus. For value for money when learning the Flute you can't do better than this Omnibus Edition of Trevor Wye's Practice Books For Flute. The authoritative and detailed style is perfect for beginners and
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M. Tanner: Know the Score: Flute: Instrumental Tutor
Flute
-
Advanced
Spartan Press
This long awaited book written by a seasoned performer teacher and examiner a...
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This long awaited book written by a seasoned performer teacher and examiner aims to widen the prospects for success in the important but troublesome 'Quick Study' of the diploma examination.15 freshly composed pieces to prepare you for the DipABRSM Quick StudyConcise guides to help you tackle new pieces at speed. A useful self-help tool as well as for teaching. There are no trade secrets in this book just good solid advice and plenty of practice pieces to cut your teeth on. Examiners work with their eyes and ears open measuring the quality of candidates' performances alongside the score in front of them. They are hoping to hear confident fluent (but notnecessarily note perfect) performances which demonstrate a reasonably consistent awareness of the style and character in the music. Although the Quick Study might in some ways be a logical extension of the sight-reading test there are several key differences both as regards the minimum standard of performance and underlying complexity/length of the musical text. Retaking the Quick Study is a thoroughly dispiriting experience so why go into the exam room unprepared?Get to grips with this book and your diligence will repay you.
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Méthodes Et Traités - 2 Volumes - France 1600 - 1800
Lute
Anne Fuzeau Productions
Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, trait...
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Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant le luth.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - deux volumes.Volume 1 (Réf. 5888) : BONAVENTURE des PERIERS - Oronce FINE (1-2) - Adrian LE ROY (1-2) - Pierre PHALESE.Volume 2 (Réf. 5889) : Jean-Baptiste BESARD (1-2-3) - Encyclopédie méthodique - François-Alexandre-Pierre de GARSAULT - Denis GAULTIER - - Ennemond et Denis GAULTIER - Jean-Benjamin de LABORDE - Marin MERSENNE- Charles MOUTON - PERRINNE (1-2-3) - Pierre TRICHET - Nicolas VALLET.Table des matières : Volume 1 : Fine Oronce : Très brève et familière introduction - 1529Fine Oronce : Epithoma musice instrumentalis - 1530Phalese Pierre : Des chansons reduictz en tabulature - 1545Bonaventure des Periers : Discours non plus mélancoliques que divers - 1556Le Roy Adrian : A briefe and easye instruction - 1568Le Roy Adrian : A briefe and plaine instruction - 1574Volume - 2 : Besard Jean-Baptiste : Thesaurus Harmonicus - 1603Besard Jean-Baptiste : Isagoge in artem testudinariam - 1617Besard Jean-Baptiste : Joan. Bapt Besardi Vesontini Novus Partus - 1617Vallet Nicolas : Paradisus Musicus Testudinis - 1618Mersenne Marin : Harmonie Universelle - 1636Trichet Pierre : Traité des instruments - c.1640Gaultier Denis : Pièces de luth sur trois différents modes nouveaux - 1670Gaultier Ennemond et Denis : Livre de tablature des pièces de luth - 1672Perrine : Pièces de luth en musique - 1680Perrine : Livre de musique pour le luth - 1680Mouton Charles : Pièces de luth sur trois différents modes - c.1698Perrine : Table pour apprendre. Nouvelle addition - 1698Garsault François-Alexandre-Pierre de : Notionnaire - 1761Laborde Jean-Benjamin de : Essai sur la musique ancienne et moderne - 1780Encyclopédie : Encyclopédie méthodique - 1788Téléchargez le catalogue Anne Fuzeau Classique / Luth / 392 pages / niveau : 1 / Fac-Similés - Format: 24 X 33
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