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 ch?urs.

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 ch?urs. 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

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

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.  

Par GOSS STEPHEN. / Date parution : 2023-06-01/ Répertoire / Théorbe et Marimba

Par DOWLAND JOHN. 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 keyboard notation and Lute tablature. / Niveau : Intermédiaire à Avancé / Répertoire / Luth

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