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

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.

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

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

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

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

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. 

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.

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

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