Century Spain. Par KOONCE FRANK. Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open first string as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing thetranscription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576. As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar. * A 188-page anthology, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576. * A companion volume to The Baroque Guitar in Spain and the New World (MB21122). * Intended to help bridge the gap between scholarly editions and performance editions. * An introduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar. Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open firststring as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing thetranscription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuelathat were published in Spain between 1536 and 1576. As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions byproviding a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar. A 188-page anthology, edited for modern guitar, from the seven books forvihuela that were published in Spain between 1536 and 1576 A companion volume to The Baroque Guitar in Spain and the New World (MB21122) Intended to help bridge the gap between scholarly editions and performance editions Anintroduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar. / Niveau : Intermédiaire / Tablatures / Guitare Tablatures

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 Fâ?¯. 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.

Intended for both working guitarists and those who play strictly for the enjoyment of great music, this collection of Renaissance favorites transcribed for guitar will add something special to any party or social gathering. Including popular pieces such as John Dowland's 'Orlando Sleepeth,' 'Tarleton's Riserrectione,' and 'Mrs. Winter's Jump,' Luis de Milán's 'Pavan I' and 'Pavan III,' and Luis de Narváez's 'Diferencias sobre 'Guárdame las Vacas,'' this edition will provide a repertoire of crowd-pleasing Renaissance tunes for any event. A special section about plucked instruments of the Renaissance is included to make this book more useful and enjoyable to own. / Guitare

and Renaissance Music For Guitar. Par RENBOURN JOHN. A collection of 28 fingerstyle guitar solos and duets by fingerstyle guitarist John Renbourn. These solos are drawn from Medieval and Renaissance lute dance tunes and solos. All solos are in notation and tablature. The online audio contains 17 of the solos from the book. / Niveau : Intermédiaire / Tablatures / Guitare Tablatures

Century Spain-Scholarly editions which serve different purposes than performance editions are not often designed with the modern guitarist in mind. For instance Renaissance vihuela tablatures are usually transcribed with the open firststring as G not E. Most are presented in double-staff notation a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore these editions sometimes give idealized but not realistic solutions for voicing note duration and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing thetranscription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections edited for modern guitar from the seven books for vihuelathat were published in Spain between 1536 and 1576.As well as being fun and entertaining music for all to enjoy these collections are intended to help bridge the gap between scholarly editions and performance editions byproviding a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar. A 188-page anthology edited for modern guitar from the seven books forvihuela that were published in Spain between 1536 and 1576 A companion volume to The Baroque Guitar in Spain and the New World (MB21122) Intended to help bridge the gap between scholarly editions and performance editions Anintroduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar.

Playing classical guitar duets has never been so convenient. Two copies of the music are included - one in the book and another in an easily removable insert. The accompanying CD is mixed with the first guitar panned right and the other panned left enabling you to play along with either part. Includes beautiful transcriptions and arrangements of Renaissance pieces originally composed for two lutes. The music begins at an easy level and gradually becomes more challenging as you progress through the book. Grade level: easy to early intermediate.

Renaissance Duets is one of a series of books that provides classical guitarists with transcriptions arrangements and works which were originally written for two lutes. Two copies of the duets are included in this book so that they can be used in a real duo situation. As on progresses through the book each of the pieces become more challenging.

6 Pièces Anonymes Pour Guitare Choisies et Revues Par Marc Bataïni D'Après La Transcription Du Manuscrit Pour Luth De Oscar Chilesotti. Par BATAINI MARC. Les 6 pièces présentées dans ce recueil sont tirées d'un manuscrit pour luth, aujourd'hui disparu, datant du XVIe siècle et transcrit en notation moderne par le musicologue italien Oscar Chilesotti (1848-1916). Nous avons révisé la transcription pour guitare en transposant notamment à l'octave supérieure certaines basses et notes intermédiaires et en complétant librement certains accords, de façon à proposer une version guitaristique, qui tombe sous les doigts, tout en respectant les règles et usages harmoniques en vigueur durant la période Renaissance (accords parfaits assez peu renversés, absence de septièmes de dominante, accords sans tierce...). Les indications métronomiques et les nuances que nous suggérons, permettront sûrement une meilleure compréhension du caractère de chacune des pièces du recueil. Nous espérons donc, par ce travail de révision, redonner une deuxième jeunesse, un nouveau lustre, à ces petits chefs d'oeuvre musicaux de très haute inspiration. La réunion de ces pièces en une petite suite pourrait constituer une introduction idéale lors d'une prestation de soliste en concert. Pour finir, nous dédions ce travail à Oscar Cacérès qui nous a fait découvrir ces petites merveilles musicales. Presse C'est à partir d'un manuscrit pour luth aujourd'hui disparu mais heureusement copié par un musicologue italien que Marc Baïtani a réalisé ses transcriptions. Il ne s'agit d'ailleurs pas d'une simple transcription mais d'une adaptation à la guitare de ces pièces fort intéressantes. Le tout a été fait avec beaucoup de goût et en respectant le style de l'époque. Ces six courts morceaux peuvent très facilement constituer une suite bien agréable pour commencer un concert./ Répertoire / Guitare Classique

Idéale pour les musiciens pratiquant Guitare et ayant un niveau proche de Cycle 1, cette pièce se classe dans la catégorie Classique sous la référence PENT02475.Ce sont les éditions françaises Robert Martin qui ont eu le privilège d'éditer la partition Classiques de la Renaissance (les), 2 Gu de Pentasuglia. / Guitare / niveau : Cycle 1 / Partition

Autour de l'année 1550, alors que, parmi les instruments à cordes pincées, le luth et la vihuela règnent en maîtres, la petite guitare se fait une place non négligeable. Instrument soprano, de petite taille donc, elle possède quatre Choeurs de cordes accordés comme les quatre premières cordes de notre guitare mais en général une quarte plus haut. Le répertoire relativement restreint est donc facilement adaptable à l'instrument actuel. Les compositeurs, luthistes ou vihuelistes, nous ont laissé quelques petits livres comportant des danses ou des fantaisies sous forme de tablature comme on le voit sur ce début d'un prélude d'Adrian Le Roy. Le plus prolixe des compositeurs pour cet instrument est, sans conteste, Adrian Le Roy. Luthiste, guitariste, chanteur et éditeur de musique, Le Roy nous propose des danses (Branle, pavane, gaillarde) et des oeuvres au contrepoint raffiné (Fantaisie). Quelques compositeurs augmentent le répertoire de la petite guitare dont ils aiment la puissance et la délicatesse : Simon Gorlier, Grégoire Braysing, Guillaumes Morlaye, Melchior de Barberis, Alonso Mudarra et Miguel de Fuenllana. / Guitare Renaissance

Transcrit par Benkő Dániel Instrument: Mixed Chamber Duo Série: Early Chamber Music Genre: Renaissance Langue: Hungarian, English, German Pages: 32 pp Date du parution: Janvier 1982