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

Par DEHNHARD TILMANN. This workbook and DVD will galvanize anyone into action who wants to learn and apply contemporary flute techniques. Everything from beatboxing on the flute to high speed trills is included. Tilmann Dehnhard\'s confidence-building approach and helpful, practical advice will ensure good progress in this exciting genre and enhance the self-assurance to improvise and experiment. Each chapter is complete in itself and working through the book from the beginning is not required. Specific skills can be worked on in any order - just as you please. All of the exercises in the book are demonstrated on the DVD which is invaluable as they are bringing to life the techniques explained in the book. / Pédagogie / Méthode / Flûte Traversière

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

The Flex-Ability series is ideal for solos, duets, trios, quartets, or any size ensembles, including woodwinds, brass, strings and percussion. Players of various abilities, levels 1'3, can play together. An optional play-along CD is available separately. The 11 'classical' themes come from opera, symphony, piano and lute compositions, but are arranged in rock, jazz, swing and other contemporary styles. Here is a fun way to learn about these classics. Composer biographies and program notes are included.Titles: Overture from the opera The Barber of Seville * Bourée from Lute Suite No. 1 * Habañera from the opera Carmen * Theme from Hungarian Dance No. 5 * Minuet from Anna Magdalena Bach Notebook * Theme from The New World Symphony * Ode to Joy from Symphony No. 9 * Theme from Pomp and Circumstance * Prince of Denmark's March * Toreador from the opera Carmen * Overture from the opera William Tell.

Following on from Jessica's hugely successful book Celtic Music for Flute, she has produced a Volume 2 which contains 46 pieces ranging from lovely portraits to lively jigs. They come from traditions including Irish, Scottish, Welsh, and Manx, and were gathered from various sources: among others, manuscripts written for Bagpipe, Lute, Mandora, Fiddle, and Voice. The unique personality and sound of the Flute complements them all. A few of the tunes are more than 400 years old; some are new. All have that inexplicable but necessary magic, the quality which draws the flutist to begin the tune again, just one more time. . . Whether a march, lilt, love song, or lament, eachmelody in this collection is a gem; many are sure to become cherished favorites. The accompanying Play-Along CD includes all the tunes in the same order in which they appear in the book. This CD features separate channels for Flute and Guitar so that the flutist can play along with the Guitar accompaniment. Allan Alexander artfully renders the chords on Guitar, providing a harmonic tapestry over which the melodies float./ Recueil / Flûte Traversière

Par . Graded books for Flute exams from 2023. Each book contains a selection of 12 accompanied and unaccompanied pieces for the grade, covering a range of styles and periods, with duets up to Grade 3. Performance notes for all pieces in the book give valuable insights, tips and suggestions. Downloadable demo and backing audio is included. / Date parution : 2022-11-29/ Recueil / Flûte Traversière

Par OLECHOWSKI JOZEF. Elena Durán and Józef Olechowski, one of the world's most successful partnerships, present a delightful and unique compilation of specially composed pieces for flute and piano. Listen to the enchanting and inspiring performances on the CD, then play along to the piano accompaniments. Elena and Józef play the pieces regularly in rehearsal and concerts and so will you! It's music from the heart and not to be missed!/ Répertoire / Flûte Traversière et Piano

The Essence of Bebop est la nouvelle série du saxophoniste new-yorkais Jim Snidero, acclamé par la critique. The Essence of Bebop révèle le cœur et l'âme de ce style de jazz révolutionnaire et constitue le premier véritable « manuel » pour maîtriser le bebop. Les 10 études bien jouables sont inspirées de Miles Davis, Charlie Parker, John Coltrane, Sonny Rollins et bien d'autres et offrent une base unique d'étude et d'analyse. Des aperçus historiques ainsi que des recommandations d'écoute et de lecture font de cette édition un élément indispensable de la formation en jazz. Le soliste Anders Bostrom est connu, entre autres, comme un flûtiste polyvalent dans de nombreuses productions de Broadway. / Partitions jazz&blues / Bois / Flute traversiere / ADVANCE MUSIC

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)

This quartet collection of 13 keyboard, vocal and instrumental pieces covering the Baroque to the 20th Century periods can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings and percussion can play in like-instrument or mixed instrumentation. It's an all-purpose folio that makes classical music fun! Contains: Calm Sea, Opus 3, No. 2 (Schubert) * Dedication, Opus 14, No. 1 (Franz) * Frolicher Landmann (Schumann) * March (Mozart) * Minuet (Mozart) * Music For Queen Mary (Purcell) * Prayer (Humperdink) * Promenade (Mussorgsky) * Salute (Byrd) * Spanish Dance No. 1 (Granados) * Stoptime Rag (Joplin) * Waltz (Schubert).

Par PEARCE J. / GUNNING C.. This collection introduces players at beginner level to an unusually wide range of music. All 27 pieces have been chosen to encourage attention to the basic technical aspects of flute-playing. The book is arranged in approximate order of difficulty and special attention is paid to good sound production. It is hoped that the pieces will also prove to be a pleasure to play, encouraging the young flautist to develop their own naturally expressive style alongside good technique. / Niveau : Débutant / Recueil / Flûte Traversière et Piano

Tilmann Dehnhard: A String of Thoughts for flute and piano UE36747 'A String of Thoughts' by Tilmann Dehnhard is a challenging new work for students of the flute interested in mastering modern playing techniques. Tilmann Dehnhard's 'A String of Thoughts' is a challenging new work for flute and piano. It makes use of several modern playing techniques covered in Dehnhard's book 'The New Flute' and also those touched upon in his previous publication 'Flutebeatboxing'. Glissandi, sing-and-play, bisbigliandi and reverse sound are all included, along with some thought-provoking ideas for the pianist! Students with a good grasp of conventional technique will relish the chance to get to grips with these new ideas or perhaps use the piece for college entry audition.

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.