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

Plus de 200 morceaux du début de la Renaissance et du Baroque aux périodes classiques et romantiques. Inclues des oeuvres de Carcassi, Bach, Tarrega et Mozart. / Guitare / Partition

editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-5 recorders (SAT/SATB/SSAT/SAATB/SATTB) Edition: performance score The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces. The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces; all are chosen for their effective realization by recorder consorts. 136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations. Anonymous: La Danse de Cleves (SAT) Anonymous: Pavana in passo e mezzo (SATB) Anonymous: Saltarello La barca del mio amore (SATB) Anonymous: Pavana La fasane (SATB) T. Susato: Bergerette Dont vient cela (SATB) J. d'Estrées: Basse danse Bernadine (SSAT) E. du Tertre: Pavane & Gaillarde (SAATB) E. du Tertre: Branle de la guerre (SATB) E. du Tertre: Branle (simple) (SATB) E. du Tertre: Branle (simple) (SATB) P. + B. Hessen: Allemande Jamais n'aymeray masson (SATTB) C. Othmayr: Ein beurisch Tanz (SSAT) Anonymous: Polish Dance (ATTB) G. Mainerio: Putta nera ballo furlano (SATB) G. Mainerio: L'arboscello ballo furlano (SATB) Anonymous: Pavan with Divisions (SSATB) A. Holborne: Pavan (SAATB) A. Holborne: (Nowell's) Galliard (SATTB) C. Negri: Barriera (SATB) C. Negri: Bianca fiore (SATB) G. Zanetti: Passo e mezzo (SATB) G. Zanetti: Ballo de colla (SATB) G. Zanetti: Pavaniglia (SATB) G. Zanetti: La bella pedrina (SATB) P.F. Caroubel: Branle gay I (SAATB) P.F. Caroubel: Branle gay II (SAATB) P.F. Caroubel: Branle gay III (SAATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet des matelotz (SATB) M. Praetorius: Volte (SAATB) W. Brade: Courante (SSATB) after Playford: Grimstock (SATB) after Playford: Goddesses (SATB) after Playford: Heart's Ease (SATB)