Spagnoletta This piece, taken from an Italian manuscript source by the nineteenth-century musi- cologist Oscar Chilesotti, is an example of the popular tune Espafioleta, or “Little Spanish Tune.” An orchestrated version of the tune may be heard in Joachin Rodrigo’s Fantasia para un gentilhombre for guitar and orchestra. The tempo should be moderate, about 4 = 116, but with a lilt and no heaviness. 1D A slight stress on the first beat here till help to establish the changed pattern of phrase. ‘Anonymous tr.Wilson’s Wilde This piece is from the Dowland lute book. Although easy to play, it is a very effective composition because of the amount of variety in a simple framework. Each of three themes is followed by an ornamented repeat; if the themes are treated with a sustained quality, the repeats may be given an interesting contrast by being played with a brisk attack. Suggested tempo is d= 152. ad F._The Parlement From the Dowland manuscript, this piece seems to be based on Kemp's Jig, a popular tune of the time associated with Will Kemp, the famous English comic actor and dancer. Suggested tempo is brisk, about J = 144, © Its important to release the third finger from the low C at this point to avoid an ugly clash with the upper C# . The change of key is somewhat sudden, but it is helped by stressing the C# . 6thtoD. ‘AnonymousVolt This very popular piece was untitled in the Dowland manuscript but appears elsewhere under the title of Volt or La volta, It appears frequently in Italian lute sources and was probably originally Italian. Si xgested tempo is d= 116. The only technical problem lies in the first two measures, where the change from the second to fifth position should be made evenly and without hurry.Fantasia This piece (originally untitled) was transcribed by Oscar Chilesotti from a Sixteenth- century manuscript lute book. It is chosen here as a straightforward example of a com- mon style of piece which was purely instrumental and unrelated to dance forms. The aim of the player is to bring out the contrapuntal (multiline) quality of the piece by carefully sustaining tied and held notes for their full value. It is important to recognize the original tune as it reoccurs in other voices. The “Fantasia” seems to sound well at a stately d = 76. ad doy Wa ap OP TP ow ad 1 ap oP OP os @ ® : id op 2p 2 id ,J@id adThe Cobbler anonymous ay gy See I td dil de , 5 2 | rr por re Te 4 Dry eogg 2 wyy VIS y ya, shy 2 P 7 - G isGo From My Window This song is from the Dowland manuscript. Like"The Cobbler,” it was a popular folk song. In Francis Beaumont’s Knight of the Burning Pestle, old Merrythought sings: Go from my window, love, go; Go frum my window, my dear; The wind and the rain Will drive you back again, ‘You cannot be lodged here. Chappell’s book, mentioned in the note on p. 52, gives further information about this song on p. 140. Technically the piece should not present too much difficulty provided that care is taken to notice where the fingering indicates a change from first to second position or the reverse. ‘There is considerable variety in the variations, and the rhythmic differences should be emphasized for contrast. Suggested tempo is J = 96. ‘AnonymousAs I Went To Walsingham Walsingham was a popular folk song arranged by almost all the Elizabethan composers. ‘The song, from the Cambridge lute book (D.D.2.11), relates to the traditional pilgrimage “to the Church of Our Lady at Walsingham, Norfolk, which was a shrine fonous foe miracles, Since the priory there was dissolved in 1538, the tune is clearly a very old one. In Popular Music of the Olden Time William Chappell gives the following words-— AsIwent to Walsingham, To the shrine with speed, Met I with a jolly palmer Ina pilgrim’s weed. A palmer was a monk who went from shrine to shrine. Suggested tempo is J = 80. Although some of the chord changes need practice, the leisurely tempo should make this piece not too difficult technically. © The high B can be held over on the lute, but it is unfortunately not possible to do so on the guitar.'A crescendo up to this point is effective. Anonymous wa q ToadMinuet In E This minuet from the lute book mentioned in the note on p. 18, was chosen for its Pleasing balance of the melodic and broken styles of composition. The lyrical opening ‘suggests a moderate tempo, about J = 96. OD This sequence of chords should be practiced separately to achieve clarity in each of the three voices. ©) This measure and the two which follow are slightly more difficult on the guitar than on the lute. The changes of position should be practiced until they are smooth and unhurried. @ Note the typical repeat in echo of these two measures. ‘Anonymous (18th Century) => of 4] 4) 3) 4] 0 z gis 36PARTIE Praéludium anonymARIOSO Cantabile AUP Le wi lie JardiBime -12-Allemande mes ; _ " —tpsddo dd add do St — GPF F - _ 2 Tn = dye tT) fy pd DU dL dy ae : rrMenuett anonym ' um 1700) en ea =4 2 Fantasien anonym aus ,Phalése* T ad t tab) ted dt5 Pavane des bouffons t t anonym aus ,Phalése* a0 os S t os Gagliarde td. Lt) anonym Passamezzo aus Phaleger6 2 Gagliarden anonym aus ,Phalése I ’ dt Leg7 3 Branles anonym I aus ,Phalese™ idd Jedd, ddd fe8 9 Branles de Bourgogne anonym I aus ,Phalése® tig dtd. ty ty . tdVIIL2 4 Allemanden I anonym aus ,PhaléseFolie d@’ Espagne anonym (sm 4700) |at22 Ciacona \Suite anonym IIT Ouverture (Praha) t Allegro Hs par 7 iT air Adagio daid a aCourante GavotteBourrée i arais tats dB Trp ttre F r tua dtd yd tM A Ss Menuett that ad dd AF tidy A Ly a r RTP FP T u od bdo id a 5 ar t F 2 idl id ) 41 4 | Gavotte Vibr. adie6 Stiicke anonym IIT Canarie (Praha) 4 7 - F FOF r r RF rr | y W TVW"I Fy Bourrée Bourrée MenuettMenuett4 Stiicke anonym IV Gavotte en Rondeau (Praha) BourréeMenuettOuverture anonym (Andante) (Schwerin) ad dig d vid. id aP 2 1 ap — TT (Allegro) ed ddd ys te ep OF OTK fied J sy, add wT * hal: Fr ad 2), 4 aa a ay 4 s Te etanonym Sarabande (Schwerin) 1 m Mir 2 ali (POF Mtr f TF Double Cr ree Tae a Sitdig aie T GT gg. 9, ? Ur Cir * mI 4, ro F T Tr RR 4 ay 4" F GavottePartie Prelude ae MenuettSarabande GavottePartie anonym Allemande (Schwerin) fe 7 Jd bps. d 7 Courante J Jy . Dogs dd ae ad De S|Sarabande td sd GavotteMenuett proper Pete or wl Menuett 4“ Tv Z 2 2 aS ¢ Trp pur ris ¢Tr ror fp OF Ain 5 adap dude ad ade Dd ade sd) F ? i Tat 0 wdiidib do - = ar %Partie Allemande Schwerin) Courante sae?Sarabande 7 aq 4 Pe fap FP Gavotte GavotteP Da capo al fineRondeauSuite anonym Allemande Genweris) t 4 Fatt. t 4 a7 Orr F 4 FETS po stil, flag ior nn 3 Tooter ts CouranteSarabande Vie ro? Gavotte& dist 4 did, jt — oor eT ee et Suite AllemandeCourante 4 Tor pr f r "F dd 4, Tr tT F ? ed adv edysl +! rT tr wr ed) r T r r F F F - Sarabande 3 w— = = Fat ag 5 pile, SST TTGavotte 1 Menuett Menuett 1) - 7Gavotte en Rondeauanonym Echo (Sehwezis) ari rr ro F fo oF FP Sarabande und Rondeau anonym Sarabande 7 (Schwerin) reee Prt ts 2. ror Ttr fe TP Prope Fl oP FF ? rrr pte f : ro te Ff Rondeau tdadtd od bd J) He ie: TP ; id oT, - vr PF ai ao T #7 Menuett und Air Menuett anonymfr pr ort rrr ey F ae £4 STS ? ? rT Tre F a oa rrr rrr Fr Ff Pr ad Jf oJ Ss) A or Trt re rf rT Partie Air (Entrée) Gehwer'n) rare rt POR P fs F - 7 fltr? ? F —« +-*- — FoF FF T ssCourante sd tide Ded Sarabande waded dy od bh ore Ter Da capo al &MenuettGavotteChaconne al: sl re F F slid: ror ror, ft or rere, fty. r Suite Prelude anonym os (Schwerin)Courante SarabandeSarabandeGigue Partie anonym Air (Entrée) (Schwerin) adeSarabande a al ats of eT Bourrée v ad J. | bdo db ys hs Da capo al finePartie Entrée (Schwerin)ChaconnePassacaille anonym (Schwerin)2 Gavotten und Rondeau ro Gavotte (Brno) RondeauDa capo at fine Gavotte 2 Menuette anonym I Brno)Tournée und Entrée : anonym Tournée (Berlin) 4s anonym aad Al a (Berlin) pvem azoos10 Stiicke v Menuett ee aie t rr r OTT FT 4 yy 4 Sarabande DveM 32060 ‘© VEB Deutscher Verlag fiir Musik Leipzig -1975MenuettMenuett Sarabande BourréeMenuett ido did ds , fad F Menuett a fd a 4or afl dl 4] @J..4,Gavotte und 3 Passepieds anonym I Gavotte (Praha) rr" 7 oF rer ae rrr et Passepieds I = . oO t od sd hdd 1 7 thi a Si14 Menuette anonym I I (Praha) dd dtd tides td as 5 F tort Ad Jad do - vr 4Il Aad ibddid jp ditd od re - rT v 104 wfay tFree eelerr fF OT VIII Menuett en Rondeau r F da capo al finex pfs yd aa, 7 = == = + = oy J pee 4 ro oOUPFlUOUMPlUlUP TU tXIII t14 anonym I Rondeau =x (Praha) ty tod leafy x tek P "A dg yO dg tad dy! “fine ad 44! Ty - TT & ° . - capo al fine . I Plainte pour Madame an prana) lentement ae t \ at . LfSuite Entrée anonym IV alla breve (Praha) tee od Fd hy CouranteSg th pep hat sd edd it F we i re tt tie T= FF stig Higgep Hind ddd Beet ala, Ta rr TF uf Aria Menuett pa S : = a rs a ae, Feat i dd dS Jd raat dd 7 SeeGavotte rrr eS Bf pay | rod fm === py lapaa-yd ey fo Sot 7 FF ge ay aa yr’. re ort tI 7Suite anonym III Allemande ; = (Praha) LPP OP ts CouranteSarabande Bourrée Sta 5 ==. i ated aeetpeaR:Gigue Angloise t L id te th sed add ud ted | del tS ae — eee eee t pR—T pT ‘4 2 4. BourréeCiacona a 4 ad td. db A + ~5 Stiicke anonym IV Courante y! (Praha)Bourlesca = t t tL OSs ap ht 7 r Menuett wit3 Stiicke anonym IT Courante (Praha) a Sarabande aa iMenuett3 Sticke anonym II Menuett (Praha) i F 7S 1 TF r Sarabande Luxurieuse baie Gavotte 7 TP. ? 3 °F - F loPartie : anonym IV Entrée ' (Praha) MenuettBourrée t J4D id yy po, de J Fie ir lane, t] 4 wf] rrr’ tf ? Vibr. dt ree th. Sarabande t t Gavotte A wl Fu fl presi GavotteMenuett. 1 i fi F ; td. z Gavotte , ty Jad, 7 \ pp Be ° f ,r rrefre T~7 Tr ti P gedee ip city3 Stiicke anonym IL Gavotte (Praha) t Gavotte = Sarabande wr OF rt oy. ob ty 4.SUITE 1, PRAELUDIO Passaggio BWV 996 [Presto] 7.8309BAB te se + aay rere FESeaS= thee rr @ pi P Ae 77 >Uf a = le # iu og : ie CIF fa a2 ra ges a t SJ= ape 59 a br Fe e Tr id J + sa" = CS} t [JT vere 7% or = y v '2. ALLEMANDE3. COURANTE4, SARABANDE 3) cs) Fray oF 2.83096. GIGUECIOMTA I° H.C. BAX NPEJWOLMA Tonampnocte opuruiana e-mollIl---------------Johann Sebastian Bach (1685-1750) = Ry cowie = pF BEER Fb ac aad 4SUITE (Orig.: c-Moll) 1. PRELUDE BWV 997 oP :Ja, 2 peda 2 eld 2 is Ss = eae : ee 2 pial # TT PR 4 2")ae pasa on oP eD. rer ? i a eee De aD EE ET -Is aS 5 LE 229 Er f 4 4 ft 1 DER fs - Bae re nl 30 » =, 6 ® ¥ cer7 > fo tees SSS Rota Y Cre ref =262B 3. SARABANDE4, GIGUE [Tempo di. siciliano] ©) FRI pot) Ar arh 2 ott = Ey ; eh 7 eQ, 4 fi fi he fia 2 hd 22 = =5. DOUBLE [Tempo di giga] ©-> AS r Qo32o= a el a ll . I } a tens "Ax es6 uj bartéban ‘The Ist finger in baeré Der 1. Finger in BarréCIOHTA II" NPEMOMMACAPABAHJIA == —— SAAT eS ema aetha _, 2? sm — SS y = SS a erga ~ = 222 L SSS]AYBJIb i] iMPEJION us Bropoit croutst AH MOTH Andante [He cnewa]fl . , (AA 43 Bropok conta! [ia T0THH CAPABAH Moderato [ Ymepenno }AA 43 Bropok conta! [ia T0THH CAPABAH Moderato [ Ymepenno }pr 9}-*Lautensuite Nr. II Originaltonart c- Moll Praludium Ausfithrung des TrillersTa | — + te i A Pte pe to Lt ol ys) T71 — ee .eS eae ee | t a mA {| \ 2 *)ae ee pe oo Po ah " rites ae ro ele Fae ew ree 5 a MI c a) a a Ausfahrung:oe et — Ys 1 ———— a A ee *) Bruger schlagt vor, die Fuge mit dem d-Moll Akkord hier zu beenden. Dal % af [A]Sarabande 1 \Giguefithrung Aus! so)er L ea Po cod dE erecrencllicaaaaee ee eo) |aa tla Tag al al Pa re er o pa ee oT 7 eee ree pre, ie 1 —"* rg Ua a ee eo ee Se eo ‘STUDY NOTES FOR ALLEMAND [A] The jump of the second finger from the Eto by J. & Bach the B requires practice. Try to avoid giving short value to the E. ‘The famous Suite in E minor, BWV 996, is usually ‘The placement of,the fourth finger on the F assumed to be intended for the lute from its texture sharp requires caré: and resemblance to other lute compositions by [G] The movement of the third finger up to the Bach. Unfortunately, no autograph manuscript re high B must be carefully practiced, mains to give final authority to the supposition. {B] A slight emphasis on the open B and the ‘This allemand, which transcribes well to the fourth-finger F sharp gives attention to the guitar, should present no undue difficulty. “upper voice and helps to balance this passage. ALLEMAND J. 8. Bach (1685-1750)SUITE (Orig. : g-Moll) 1, PRELUDE(3) (8) (8) 0 @ 6 3 Bas i ze =aBe 2 (BWV 1011) lapjan 3WY 1011) 2.8309beers ie: jo Se EET Cr SN | y wy sy ter & ¢ FF f jeg ee Rl eee aay 41 t I Tass, fers, @) faa) 2.83909)A coellovatozat (BWY 1011) alapjéo Based on the cello variant (BWV 1011) ‘Aufgrund der Cellovariante (BWV 1011) 2.83092. ALLEMANDE 4 2.33093. COURANTE 1011) \ufgrund der ce (BWY 1011) 2.939092.83095. GAVOTTE! se 2A pad, ps, F ’ r = * a + : J ZL:6. GAVOTTE II en RONDEAU = raf a) 6) 4 4 for tes Zee7. GIGUE y - , w. PalaCIOMTA III” NPEMOAMAAJIIEMAHAKYPAHTACAPABAHJIA 1 ®@_ = ® +4 3 4= a= ann TL +a Te p TY fT errs KUTASUITE 1, PRELUDE BWV 1006: 4 fin *o (peo ~~52 85 De ae ® 7 g . pe PEED Been ee ED, ee Z : Q * ‘ae SEED SRE Ah TA Q 91 ? \o rf aes! D_islen @= fax = = < rae 9 I a =" 7, $3092. LOURE fh Q di Mala fof PY tha —— + —— ae > a Pit é ae s She eS Sa = ®@ antes 81 yond3. GAVOTTE en RONDEAU oy37 +) A hegedavalrozac (BWV 1006) ‘The violin variant (BWV 1006): y Die Violinenvariance (BWV 1006) 2. 830958 4, MENUETI 5.MENUET II 7.3309CAs ee J fa) @ 4 re uy Sais E a \ tt SMeLPT fey t ro 9 Be TT, ate fo fi fw {67 2.8308= Sees : ea rors 7 " , | otha a Je,61CIOHTA IV* NPEMONMAMEHY9T 1MEHY9T II eS ——= — r FortPRELUDE, FUGUE, AND ALLEGRO Edited and fingered by J. 8, BACH Hector Quine (BWY 998) PRELUDE i———" 5 fide anikgl “ey ete Pp md imp im ite . i ; Pp Halts Cit eae Ty el ST te? 5 ; i aeiom 2 ue i4 j , ly aqzmpip p im . ; m i maim ; | eet ae ere ae Ca For Editorial Note see back page © Copyright, 1974, by the Oxford University Press, London. Printed in Great Britain OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, WALTON STREET, OXFORD OX2 6DP Photocopying this copyright material is ILLEGALVi 1 . ix mia pimp, im separa =F f ve ar xh oe —FUGUEcul tty ——_, x cIx 7, L ¥cvI—— CllALLEGRO a Te A teu cv Cit10 CVIL 1 2 CVII 7 eae Fr a ~ll Reproduced and printed by Halstan & Co. Ltd, Amersham, Bucks., EnglandPRALUDIUM, FUGE UND ALLEGRO FUR LAUTE ODER CEMBALO (Orig.; Es-Dur) 1. PRELUDE mew 4 BWV 998 2.830925aM “E 4 tt& 3. ALLEGRO () Yo» ee es 5 3 - e) ‘) at Ta ey = irr ti?NPEJIONUA OYTA NPEJWOANA3 hp r oT’ TE EIT THE ~ LN pt alae®YTAa 4 a sl AAJIJIETPO*PRALUDIUM (Orig.: c-Moll) BWV 999 2.8309PRALUDIUM. (Originaltonart. Coil Job. Seb. Bact Satins Zwitiers Verlag, Wolleabuttel USpyriehe 991 by Sadins Bofors Vorkag, Meipemsatie!NPENO ANA H. C. BAX Tepenoxenne A, CeropHn [Ymepenuo] Moderato“ VIN------ === == Yor- rrr creer cece esc eee Tornoe nn nn none ne ne nn ee eee cee IL -----------FUGE” (Orig.: g-Moll) BWV 1000 z. 8309! WH8 [Adagio] 2.830947 rae [0 [ww tf fo y c Ke =® 2. 8309— = (Ol ie It i 2 Jee ae ie P 44} f Pant PLL vas nat ies ; r a 9 ay a ee artes — * ) 14 7 Stes i joy + tan gi eo ———— Ty fo fo Te r gi J rotr t ate tt = To a = FTA Fy rs Lg. Cour i PB! , GE see oR f fe45 J. S, Bach FUGA Allegro 3He 1 4 | ~ | on ss \ It ® BVI By $81V¥4811———____, d, JAE fk ® ren —— mart Eo. fo’ BI: BIS _ © }Bv— ——_ oe? ferry 2 in’ j31———. }n1 | a 4 ) afd gl 7 @ © - @ © o— BIK Dae sw Sas te 3 dou tft aly Q—_—_—— prey 5BIX——— BVIINBVII— BIX—,, — 148 O— Ors fm a®@ 4| By———_—__, BY- BO uMLEG o> o rihees Ss; Fo— 0D 6 t © Q,BVIL- aa zi © oly > Oo 2) O—_, 9o—__,_90— a ,481v-——___, Bis Smeg. ot ; j Ea t= ¥ 8 3 oo * oFFUGE. (Originaitonart: 6 moll)i gee SpasAllegro (Buctpo)@..---.---a I i I A a f { i i | a H i { if 1 1 a>“ ge rzAdagio [ Meazenno] 42124ae 1B. Lautenfuge (Originaltonart g- Mel} i. ee a, Se aw Leer nese anata recent ene ecseneneeesss imimamia (oe ——~Toag-_}— ii? (Bynverecetee nsec seen cee4) fn 4Vile? te 14 ee 1 ' : 1 3 3 5 > 3 3 a : 1 1 : ' : ‘ ‘ ' ' H¢ : : i :1 2 Fantasien I Melchiore de BarberisMonsiers Almaine Transcribed from tablature and freely arranged for guitar Daniell Batchelar by Siegfried Behrend (ca. 1600) ail tre fre por? [Recorded: DGG 253 0079] ©Copyright 1970 by Bote & Bock, Berlin/Wiesbaden P Fey+ — a | + all > I ~ al= FI] LT Ln iF tee eo C. Ut Ue one efter Ur! Le ZL Ul od £ rs 7 kd Uz) ie Ue} en Ee ae Le — Le) atEntrée De Luth ‘This French lute piece is from Diverses pieces mises sur le luth (Premier livre, Paris, 1611), Although not easy to play, it has great intensity of feeling and-is well worth the. effort. In spite of the title it sounds very much like a tombeau or lament. . Suggested tempo is J = 63. ( Some practice is needed here, but it is worth it to hold the A. twas necessary to simplify this measure to make it playable on the guitar. The original was 2 = OD) This is a stretch, but itis preferable to a complete change of position. © The half bar seven has to be changed from four strings to five, hence is shown twice. Robert Ballard 17 oF16 2 Sarabanden Giovanni Marino Bellony t F e Fogr FF day 2D) day. hp dy Menuett anonym + om 1700)Branle Gay Besard was a highly respected French lutenist who was also trained as a lawyer. His large collection of his own and other composers’ music was published in Cologne in 1603. The branle was a lively country dance, often characterized by an unchanging or “drone” bass. Like the preceding piece, this dance depends for its effectiveness on a fast tempo, preferably about d= 144. LD) The third finger is important here to release the second finger for the E bass. Gl Notice the small minus sign by the first finger indication. This means that the first ‘finger travels from the GH to the A without losing contact with the string. It does not ‘mean that the slide should be audible, 6th oD. Jean Baptiste Besard1 Folies d’Espagne Bethune (Paris) a = i uF —— alte ©) Umstinmen der E-Saite nach D - Tune E string to D BA 7997 © VEB Deutscher Verlag fir Musik Leipzig - 1972val PEPER £e 4 OTs Fr Tr he fF Gavotte Bethune 4H “Hl —! PI | THI E-D3 Suite Allemande Bethune4 Sarabande 1 Gavotte MenuettGavotte dd hid dod pr PT Pe Pp Pre pS . 2. 1——_]AllemandeCourantePassacalie43 Giuseppe Antonio Brescianello —~ = jaf 444 Menuett A z= Pe Menuett da capo aH46 Partita _. Giuseppe Antonio Brescianello Entrée = J tte 7qII ~Siciliana48 Partita 4 Giuseppe Antonio Brescianello Entrée ide Marcia, , f-? Qs #7 tre d opt u c c [ a [ GavotteMenuett50 Sonate Allegro Giuseppe Antonio Brescianello Tt oF Porat ) alee) aH = Ns er AndanteSt s Adagio Allegro ? 1] Adagio Allegro 8.8 Fa “SET ifrSonate Allegro Giuseppe Antonio Brescianello53Ww ay > + 4a Mer muett da capo mm ~ ~ = WW WW56STPartita Aria Giuseppe Antonio Brescianello Sy 3 SS pSBourrée60 Menuett7 FT TPH BS ys63 Partita Entrée Giuseppe Antonio Brescianello64 Scherzo id ebded ub ad65 r FP rediat nomeDUOI Antonio de Cabez6n 5 (15002—1566) (2: 76) Edited by Miklés Moséczi+0DUO IIIDUO IV 1342 dad oy hone tp rr cee 22027 421 2542 T t i402 2.242 2 > 30 2430 1 2, 4) ij F cv} le, ras maar AVE MARIS STELLA IAVE MARIS STELLA IIAVE MARIS STELLA IIImoll Suite in d- Francisco Campion Transcription de Siegfried Behrend I. Prelude Il. TombeauV. Sarabande @ we PI ROP ET rarer? SER AES ie cana hk adThird Suite in E Minor (Dritte Suite) Arranged and edited Francesco (Francois) Campion by Siegfried Behrend (1680-1748) Prelude mots WConyrieht 1958 by Bote & Bock, Berin/ Wiesbaden rst “AMP.7293.cr tae r Fo err Courante ®46 Suite Prélude Frangois CampionGavottedd typ dats bd dl ro f r Sarabande t t rr pre Wr Rs4950 Frangois Campion nt B Allemande r rrr G = ie ‘ t 4 trv 4 Gigue Frangois Campion ti dd, ; P) Por F odd didds idSuite Prélude Frangois Campion my 2m 1 re Symphonie lentement ny 7 aan trCourante Sarabande t adad ee 7 ar oaGavotte en Rondeau F da capo al fine Gavotte en Rondeau t T da capo al fineGigue51 Suite Prélude Frangois Campion 452 CouranteMenuet GavotteSuite Allemande Frangois Campion tCourante56 Menuet en Rondeau = a _/ Les guitaristes Francais du XVIT¢ siecle T 10592 SARABANDE Transcription do MILIO PUJOL F. CAMPION (1680-1748) Lentement 1 of. : dof. rT TF ¥ | : _ ; i 4 Z. hol Stor et zh of J =e eee lg Dot. id ti, i ate 7 z r zt ao 3 of a doo. op Bila = ore = eebe stapes2 1059> GIGUE Transoription do MILIO PUJOL F. CAMPION (1680-1748) vir Bu —__ nw 2aFolie Francesco Corbetta te23mr Corbetta Did ty, idas oi esr ear UT rr ee26 Suite Prélude Francesco Corbetta saaCourante S th td. 4 Sarabande ty. 2 dd ty, a TT t = td db be dryd od td | 7 th dy28 Menuet da LS Chaconne tSuite Prélude Francesco Corbetta 4 Allemande ,oaeaee Sarabande 1 + (Mt u rr tt “oTaera I rrr ty ty tot 4) 1 oot otPassacaglia Vibr. ut t Iv a | Suite Prélude Francesco _Corbetta id 1Allemende ' tlie tds dd dh dased dtd Jt : a :Courante + ty tale ! Sarabande ISarabande II +tMenuett fT ids tu. Passacaglia ySuite Prélude Francesco Corbetta "wine chi 2 Allemande tCourante lost ad sitedn ie yes Gavotte yds ead ST ayy tty ty! T ? Pr itt ve . + t DPassacaille “) t, i I + wer FTP Tre td th J od ed alt ‘ya ddd gy: . tyedeg tle FF OP rrree tid “ow dd ob ~ FGreensleeves Greensleevés, one of the most popular tunes in history, was already a favorite in Eli- zabethan times. It was twice mentioned in Shakespeare's Merry Wives of Windsor, and first appeared in the stationer’s register of 1580 when Richard Jones had licensed to him “A new Northern Dittye of the Lady Greene Sleeves.” There is, however, evi- dence that the tune is of much earlier origin, perhaps in Henry VIII’s time, this regis~ tration and the many that followed it being evidence of a new wave of popularity in the late sixteenth-century. In the following century it was adopted during the revolution by the cavaliers, who wrote many political songs to this tune, and in 1728 appeared again as one of the me- lodies selected for the Beggar’s Opera. One of the earliest instrumental settings occurs in William Ballet's manuscript lute book (late sixteenth-century), and a transcription of this is included in Brian Jeffery’s Elizabethan Popular Music, (Oxford University Press, 1966). The same author has transcribed a duet version from the Dowland lute book in his Elizabethan Duets (Schott and Co, Ltd., 1970). Cutting’s version lies very well on the guitar and is a pleasure to play. The manuscript of this is now in the British Museum (Add. 31392). . Suggested tempo is a lilting )= 138. © This is a common chord on the lute which makes some demand on the left hand, but it is possible with practice. © Note the fourth finger, which makes a necessary change of position for the quick move to the D chord. The first finger is necessary if the B is to sustain. It-is an awkward jump from the previous chord, which may be played staccato 'to allow for this, Francis CuttingAlmain The catchy tune and repeate Cutting’s more popular pieces. This versis script Add. 31392. Suggested tempo is alively d= 132. After the initial A the first finger forms a three-string half bar without lifting of. D There is a temptation to use the first finger, but I think the G# sounds better held for the extra half beat. The E in the original was an octave higher. D The original had an F¥ above the Di; this is possible but awkward. (2) Lift the end of the bar to sound the A while holding the Fi. .d versions of this allemande indicate that it was one of ion is based on the British Museum manu- Francis CuttingToy This piece is from the very large manuscript collection known as D‘D.2.11 in the Cam- bridge University Library, dating probably from the last decade of the Sixteenth-cen- tury. Little is known about Francis Cutting except the popularity and high caliber of, his music. In musical terms a toy was, logically enough, something to play with and enjoy, in much the same sense that “recreation” was a title given to later pieces. ‘Suggested tempo is J = 144. TD Remember to take a full bar here (rather than only five strings) in preparation for the following chord. . An accent here will bring out the interesting cross-rhythm. Francis CuttingDowland's First Galliard | John Dowland Transcribed by (1563 - 1626) Joseph Suryanata r i © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved.The Most Sacred Queene Elizabeth Her Galliard ansribed by John Dowland ‘Suryanata (1563 - 1626) Tr Joseph , OF | ?—__f © 1996 Anthony ‘Dossi. All its Reserved._ it fe + a tS ~ll a a Hl —! 6 * Low E, open string, could be added here.The Right Honourable Robert, Earl Of Essex His Galliard Transcribed by John Dowland Joseph Suryanata (1563 - 1626) © 1996 Anthony Doss International Copy Seu sured.f—t * Original : G natural.Master Piper's Galliard (Captain Digorie Piper's Galliard) ‘Transcribed by John Dowland Joseph Suryanata (1563 - 1626) 44 TT — oF Dre Trternattonal at Copyrait Secured. All Rights Reset* Low G in the bass is omitted.Melancholy Galliard ‘Transcribed by John Dowland Joseph Suryanata (1563 -1626) - © 1996 Anthony Dossi, International Copyright Secured. Rights ReThe Frog Galliard John Dowland (1863 - 1626) ‘Transcribed by Joseph Suryanata ny hd od yye— F r ror © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved. TNTThe Lord Viscount Lisle's Galliard (Lord d'Lisle's Galliard) ‘Transcribed by John Dowland Joseph Suryanata (1563 - 1626) 6th=D © 1996 Anthony Dossi. a6 International Copyright Secured. All Rights Reserved. * E, aperfect fifth above the bass, is deleted.Mignarda (M. Henry Noel, His Galliard) ‘Transcribed by John Dowland Joseph Suryanata (1563 - 1626) © 1996 Ai International an Copy ht Seca sured, All RightsMr. Langton's Galliard Transcribed by John Dowland Joseph Suryanata (1563 -1626) © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved.Sir John Souch's Galliard Transeibed by John Dowland Joseph Suryanata (1563 - 1626) © 1996 Anthony Doss International Copyright Secured. All Rights Reserved.25 Tarleton's Riserrectione ‘Transcribed by John Dowland Joseph Suryanata (1563 - 1626) © 1996 Anthony Dossi, Tateruational Copyright Secured, * Original : G natural.28 The Shoemakers Wife ‘Transcribed by John Dowland Joseph Suryanata (1563 - 1626) 6th=D © 1996 Anthony Dossi, International Copyright Secured. All Rights Reserved.* Original : The rhythm is not dotted.Piper's Pavan ‘Transcribed by a John Dowland Joseph Suryanata (1563 -1626) ©1996 Anthon y Dose srnational Copyright Secured. ane Rights Reserved.Solus Cum Sola Transribed Joseph Suryanata a a Dowiand © 1996 Anthony mal Co Dossi, International Copyright Secured. All Rights Reserved.ha ii J RS YF : a , * Original : E in the middle voice is G sharp.Lachrimae Pavan ‘Tr ribed by John- Sosa ata ors ans —~ 7 mn) “ay ~All — a ? © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved.38 Dr. Case's Pavan ‘Transcribed J Joseph Seealata ohn, n Dowland © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved.* In Farewell Unkind, from The Third Booke of Songs (1603), the vocal line suggests that these two G's be natural.My Lady Hunsdon's Puffe ‘Transcribed by John Dowland Joseph Suryanata (1563 -1626) 6th=D © 1996 Anthony Doss si. International Copyright Secured. All Rights Reserved. * Dis added.preree ee Creel 4 Por rt p Tp per CeesSir Henry Guilforde, His Almaine Transcribed by John Dowland Joseph Suryanata (1563 - 1626) © 1996 Anthony Dossi, International Copyright Secured. All Rights Reserved. * C sharp in the bass is added.* Original : F Sharp. ** D in the bass is added.Sir John Smith, His Almaine Transcribed by : John Dowland anata (1563-1626) © 1996 Antho ternational eon oye Seem ured. Right, * B in the bass is added.ar 35 30 235 34 3 32 {7374 Par os od For F ret 35> p30 235 r Vor # r 35 sl 37 moss TR vi msn SS 35 34 P r Po. FPGo From My Window ‘Transcribed Joseph Seana roti Te eo! wi © 1996 Anthony ny International vy! mht Seca red. iecoaton on 7* Original : A natural instead of A sharp.P ° . r read od 4 4 d d ee eres (Eecrey _jad ¥ e ny -EEt aIAloe Transcribed by John Dowland Joseph Suryanata (1563 - 1626) © 1996 Anthony Dossi, International Copyright Secured. Reserved.Robin (Bonny Sweet Robin ) Transcribed by John Dowland Joseph Suryanata (1563 - 1626) ie a a o_ 1 i TT I = Wi aT © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved.A Fancy ‘Transcribed by John Dowland Joseph Suryanata (1563 - 1626) cemr rp re Rr © 1996 Anthony Dossi. International Copyright Secured. ‘AI Rights Reserved.A Fancy ‘Transcribed by John Dowland (1563 -1626) Joseph Suryanata 5 © 1996 Anthony Dossi, International Copyright Secured. —_ All Rights Reserved. * Simplified from a seven-note chord with F sharp and low B undemeath the bass note.tee ee ee at + Simplified from a six-note chord with F sharp and low B undemeath the bass note.Fantasie Ineszbail by John Dowland (1563 - 1626) d ad Joseph Suryanata cl a kd J r © 1996 Anthony Dossi. International Copyright Secured. All Rights Reserved.; —— & ror * fF FP 5e ' Fantasia Although one of Dowland’s more complex works, this fantasia will not be found to be as difficult as it looks owing to the lute tuning on the guitar. It is taken from Robert Dowland’s Variety of Lute Lessons (1610). ~ In general, the music is clear in its intention, working from a majestic exposition =-“througiran exciting finale, ~~ Suggested tempo is J = 100. © This is a hard ‘trill for the third, and fourth fingers, but the tablature shows all the notes on the same (second) string. Lift the bar enough to allow the open E to sound while sustaining the G4. It is important to establish clearly the change of tempo. Possibly a slight hold here is appropriate, followed by a firm downbeat to begin the 6/8 time. 3rd to Fit John Dowland *tee Eee Ceti y of dao rns WwoF oF 4)on Tidy - or | tar por DR pT BT op re,A Fancy ‘Transcribed Joseph Suryenata re figpedaat Cort ternational Copyright Secured.* Original : E natural ahd the rhythm for the top voices on this beat is not dotted.* E in the bass is added, ** Original : G sharp.Auffihrungsrecht vorbehalten AUl rights reseroed SOLOWERKE Aus der Lautentabulatur ibertragen und Fingersites von Karl Scheit John Dowlani (1562 - 1626). Complaint (d= cn 88) daa - ds ded td 1 TT) yy = vr os *) Bei Autfahrungen it der Baarbeiter auf Programmen, Schaliplateen u.sw. anzugeben. / Verveifatigungen jeglicher Art sind gesetztich verboren. {In publle performances the name of the arranger isto be mentioned on the programe ete. / Any unsuthorized reproduction is prohibited by lowe, {Lore des exécutions publiques le nom de Iarrangeur doit ¢tre mentionné dans les programmes atc. / Toute reproduction interdite per te loi, {In ogni pubblice esecusione il nome del arrengiatore dev essere menzionata sul programme ete. / Riproduzione vietae, © Copyright 1980 by Universal Edition A.G., Wien Universal Edition Nr. 16699| Galliard | | | O=tis(FD s_|112 Dowland’s adieu for Master Oliver Cromwell wa (Capo 11) v vy z END OF EDITION4 SEMPER DOWLAND SEMPER DOLENS (Pavan)‘WALSINGHAM (Galliard)Ae FAREWELL (‘In Nomine”) a Vv = Fill sal | “|, ay = wlFORLORN HOPE FANCY Epes 5 —}—4| S33! | 2 tle (ropes UF per Te= dotTarleton’s Riserrectione *) (d= ena) add gl dud ad ee es # id oot rR F i *) Auf den Tod des beriihmten Hofnarren Richard Tarleton J Galliard (da ca8a) _— * Sey so 4 gyi a? = ok ref $ f r rrLord Strang’s March Poy wd yo od sd yy #5 i o zeSir John Smith his Almaine J (ds0n88) le a tale @=fis (Fat) f MT ad- T 77 OP = dda (ddd 72 1 dP d?9 7 Pulp = f rT * f f aIThe Frog Galliard @= fis (Fa) al tm OriginalMy Lord Willoughby’s Welcome Home (dz 0a 72) oa = Geta (rH)! f Pl ste. | wid std_ ad rT yr r 7 Mr. Dowland’s Midnight (zen 48) I ‘fe 17 Dafis(F#) aGalliard (Hasellwood’s Galliard) i 4 a Wh “ eaA Toy The Shoemaker’s Wife (daca 132) —__, a D. — = @> fis (Fat) i ? ? i 7 r (3) | (8)Lady Laiton’s Almaine (deen 92) x @= fis (Fat) wT = I] x r =The Right Honourable the Lady Rich, her Galliard (dca 80) Thessssessooseseeeeee—t ai ~a a aI _ ilThe Right Honourable Robert, Earl of Essex, high Marshall of England, his Galliard (d =e 76) @=tis( Fat) an)Round Battle Galliard (den 108) mW, 2) ro r“4USIQU8 DB LA RENAISSANCE POOR GUITARE” “GO FROM MY WINDOW” (pour Guitare seule) JOHN DOWLAND (183 - 1626) ranserit ot dolgts ta Tablature du Luth par AR CACERES vy winioss wax escmta =a }48, Rae de Rome, Paris, MLE. 8497 ve ameaee ants rani ™Z i oat e MLE. 8497“MUSIQUE DE La RENAISSANCE POUR GUITARE” “FORTUNE MY FOR” (pour Guitare seule) 1 daprés la Tablature par John DOWLAND ar CACERES (1363 - 1626) ¥20 trea] Mouvt approx. (sd: 52) cot sims ae 2| __4} Cm! P < erp Pre TIONS MAX ESCHIG rvs onors oraicuvon of moUETION o& KMEOUETON MR, 8433 17 Cammaneneets stds Pout vera. fa Rome, Paris.YT Fe Parte, Mat 1 Perens ME. 8432 Qermsjes ROBERT:2 PIECES - Ms, WAUXES GIGGE , (Original pour le Lith) John DOWLAND Yorsion pour Guftare par (1863 - 1626) JOSE de AZPIAZU Allegro 130 120 2 at- QUEEN ELIZABETH’S GALLIARD ran few pour Guitare par (Original pour, Je Luth) Edo AZPIAZU John DOWLAND (4563-1026) -Moderato wU- 4.4 i 1 ray, Imp. A. ROUSSE, Bortexue cp. t28¢> . 2 GALLIARDS aa LACHRIKAE, OR SEAVEN TEARES FIGURED IW SEAVER PASSIC pate Pauens. with divers other Pauans.Galiards.sed Aimands.... 1605 ‘ntayremenrecht vortaalies 0 ohn Dowiard (il rights romero (1se2.s026 I Captaine Digori Pipers Galiard ths der Baarbeter auf Prograinmen, i ADtoges 2.6: ayBel Antfanrangee be Progreimes. ts Antacrn a. atte saregebee. lin public performances the name of the arranger it b> ‘che proprecines afc. Copyright 1974 by Univeral Eéition A.C. Wien . Unevoraal Edition No. 12847i Se ie p ieThe King Of Denmark’s Galliard This short version of. Dowland’s galliard for his onetime patron Christian IV of Denmark is taken front the book Lachrimae or Seven Tears. ‘The compositions in it were for viols and lute, the lute parts being somewhat simpler than the extended solo arrangements, I suggest a vigorous, imperial approach at a tempo of about o = 108, @ The right-hand thumb plays both the low A and E. The change to the fourth finger is an important preparation for the chord that Begins the next measure. John DowlandQueen Elizabeth’s Galliard A fitting companion to the previous piece is Dowland’s tribute to his own queen. This piece appears in the Variety of Lute Lessons, published by Dowland’s son, Robert, Of majestic structure, it evokes fanfares and trumpet calls, and the change to 9/8 time is particularly effective Suggested tempo is d= 88. © This is an unusual arrangement for the right hand, but it is not particularly difficult when it is clear in the mind, The ligados here and elsewhere in the piece are editorial and may be omitted. However, in this passage they seem to emphasize the relationship ta the first theme. GD A staccato approach to the melody followed by a stress on the high B helps to establish the new rhythm. Three eighth notes now take the same time as a quarter note in the previous section, © A stress at these points helps to emphasize the cross-rhythm. John Dowland 0 4 OTRrEr We MDE DDog fe ta do Hy FD 0 Tp Pra ae he oF BP or gt 1g: L L a L yay 2 tg:+doy 5, 2) 4 °Lady Hammond’s Alman In Elizabethan times it was customary to show appreciation to patrons by dedicating a composition to them, and this piece and the one which follows are an example of charming “gifts” of this sort. The source is the Cambridge Manuscript D.D.2.11. © The slightly unusual fingering of this measure is quite easy with practise and facilitates the execution of the chord on the second beat. Suggested tempo is d = 66. John Dowland. Lady Hunsdon’s Alman This version is taken from the Dowland lute book, and it appears to be in his own handwriting, foridly signed “Bachelor of Musick.” Suggested tempo is alively J = 66. “> Some passages are crossed out in favor of quite different alternatives. Since some of the variants appear to be improvements on the original, they are given here. ~~" For this measure the crossed out Dowland version is This isa difficult passage on the guitar, but itis possible if the fourth finger is anchored to the third string for the first three beats of the measure. ) The alternative in D.D.5.78 is CF Er: which has a nice spring to it © In the original the F#f was an octave lower. This measure is replaced by two in D.Z ~ 78 as follows Foor oFLady Hunsdon’s Alman 6th oD John Dowland y TT aya 2 5 . a2) slotsMy Lady Hunsdon’s Puffe Gaillarde ioe | bev eed apn Beppe dg — satay EE | Hie ~ of te Pe ar f- = 7° aT if e2—-——- A 3 | mal Sa ts SS -=S aT arg OF we ich-- : , se el Sar SS 7 C2-——~—— rotr 3ez--—— a # —2— Ss F r Po oOF F tT - BRERA sant ttusrerl VHladky Wien v.as3eVH.1532Gaillarde 3° Corde - en Fa JOHN DOWLAND (1562-1626) ¢ ou bearbeitet von Siegfried Behrend , 1 SERRE Mgteieg eMedy Wien a sg \BATELL GALLIARD_ Originale pour Luth téatteation pour Gutta Frangois CAsTET 1a mt "ae ed aa tes sane 5 a SSS = © smn iy uncer DEL PRL ~ Raitenre mon“ap, 1322 ' (ene hop. A. BROUSSE, BordeaueEIGHT PIECES BY JOHN DOWLAND jsenaeribed by BRIAN JEFFERY Bee “Volume Two 1. LACHRIMAE PAVANE fp oP Cambridge University Library, MS Delo 2. PE iv aH aH © Tecla Editions 1995, This edition has been newly edited from the original source. Photocopying it is illegal. The cooperation of teachers and schools is requested in ee we a a oo 7 -PIPER'S PAVAN n Dowland (1562—1626) } = =e ee Z. oe Po. She F 5 = = | —— z Batesler zie Jeoeditets f ———s afr ee F " pe ET © 7 ~ Le 7 ~ | wil olAir From the same source as “Toy” by Francis Cutting, this untitled air of Dowland has great charm. It is a litde harder to play on the guitar than on the lute, and some players may wish to try it with the third string down to F# . Suggested tempo is = 72. © Here is the principal trouble spot. The first finger has to move as smoothly as possible from the C# to the low B. The secret isto do it deliberately without trying to rush it I This is a curious voicing of this chord; but it is a very common one in lute music and therefore is a characteristic sound. GF Here is another practice spot; remember to keep the first finger on the previous FA. John DowlandVivace — There is a pleasant freshness to this piece if it is played at a lively tempo (4 = ,126). It is in the French broken style, depending for interest on typical lute arpeggiation and scales in contrast to the melodic Italian style (for example, the Aria on page 39). Itis technically straightforward except for the two passages noted below. 1) The change to the third position is necessary for the execution of the scale, This, and the location of the fourth finger on the second string in the following measure, need care and practice, . It is important to note the fingering of this scale on the fourth and fifth strings. The F# | and E on the fifth string involve a further change of position, but this prepares the hand ‘for an easy movement to the C# which follows. The forte and piano marks should be: observed so as to give the echo effect so typical of the period. I have omitted a repeat in the original of the final four measures which does not seem to me necessary or effective, Adam Falckenhagen,: sy Stull = wy well ull > = @ = wy Sull ow z © TF ym ‘A a 2 r P b F ee ft ja [a ®® 7 UI14 Pavaniglia mit Variationen Foscarini é oy ay dod—td dy yy he z TS15 Capriccio (Passacaglia) Foscarini ° t y t i wr 2. ig bad dg td id addi. Dt ty ty ty gh oa fel toh dub). Ror FP | ! t t r Allemande anonym | t oF t = mi co tad ddd bed SagARIA CON VARIAZIONI detta ,La Frescobalda" G. Frescobaldi (1583-1644)pte Fee ett ETF 25 133 =eer gg ttt ot Foren ei tt f - Oo —= ea poco rit, ro e vt otLa Frescobalda i and edited Girolamo Frescobaldi by Siegfried Behrend (1583-1643) 1.Tei a ei , doe 3 1 a t3.Teil (Gagliarda, ben ritmata ) 4. Teil (con grazia ) E oe t =I | 1. tee Ete cerr Hai er 5 ae! = —— Re ;5. Teil (Corrente, Moderato )APHA C BAPHALLHAMH Am. ®PECKOBAJIBAH Tlepenomenne A, Cerosan Calmato (Cnoxofino) @---- ------- 2 @------- am acedenda poco Turapa wec THC Trp yHHane pp doice y bien cantade a tempoAllegro vivace (Bpictpo, HBO) 0 1 Tempo | (Mepsuii remn) Assai sostenuto (Becbma cnepmanno) Oo lontano piu oT iad PERE TARIA DETTO BALLETTO Transcribed for guitar Girolamo Frescobaldi by Richard Yates (1583-1643) © 1999 Richard Yates - www.teleport.com/~yateslau - yateslau@teleport.com_—- ——__* i ee eee? —? sn ee OePt i Co oe ?7 ee oe —Aria detto Balletto Girolamo Frescobaldi (1583-1643) aq Prima parte: < ” & ‘ Seconda paris, & Woon c3 Fi f a fe a r. = PTE tei th tm e1” “Sw in “UH , ow F iy ; f i orf ~ K 4) 4 a We wile =all = 39 ar‘Toran partewuOrtova et Ultima parte mW om” mim Nips \ as . = : | = = o ceo i ° Pa D0 ai Fine foe pe pipapi ea Pet pimi ag woeTANZE UND VARIATIONEN DANCES AND VARIATIONS TANCOK £S VARIACIOK ee 1. CORRENTE ‘Mikl6s MOSOCZI Girolamo FRESCOBALDI Gydgy ZASZLAVIK (15831643)2. CORRENTE4. CORRENTE5. GAGLIARDA Allegro sostenuto \Corrente del BALLETTOCorrente del BALLETTO @-pD 8. ARIA (detta la Frescobalda) Care . t tag, ror Te‘SECONDA PARTE . ETP ; ‘TERZA PARTE: GAGUIARDA(QUARTA PARTE2 2 Fantasien I Miguel de Fuentlana2 FANTASIA I MIGUEL DE FUENLLANA 2 113 ut.14 FANTASIA II MIGUEL DE FUENLLANA o15 4 mr.Fantasia An interesting example of music for the four-string guitar, this piece was published in 1554 in Fuenllana’s Orphenica lyra. Although blind, the composer was one of the most celebrated players of his time and held a position as musician to the Marquesa de Tarifa. ‘The'Fantasia”shows a more imaginative use of the limited four strings than other pub- lished works for guitar during this period. The principal challenge lies in sustaining each voice for its true value. ; Suggested tempo is d = 132. (At this point the first finger should bar the C and the first string F so that the C can be sustained. . Miguel de Fuenllana ado 1wm...Tanz This lighthearted dance is taken from Testudo Gallo-Germanico. The word Testudo means lute, or more literally “tortoise shell,” from the myth that the first lute was the result of a tortoise decaying. Its entrails were stretched across the shell, and when plucked they had a musical sound. This unlikely story is widely quoted in early treatises. AAs the bass pattern is the same throughout, it may be practiced by itself before adding the melody. All three bass notes should be played with the thumb, the melody with alternating free strokes. : Suggested tempo is a brisk d = 176, 6thtoDI, Caghe bclboRe ef bi once rece. >. cL’ oro p ee 7 : iled +r£\ oA = Ab es eS. Lo Mm n¢ee0 V. Sefra See Series Ee _ SIX LUTE PIECES. ay “or Sue. 5 [RENAISSANCE | © Beameribed from the tote OSCAK.UsHiL: 2 Wdited by > ALAN NEIDLE Published by.To ere les Papas ~ 2 Six Lute Pieces of the Renaissance. Trenscribed from the lute tablature oe . by Oscor Chilesotli GUITAR SOLO — - . : Edned by ALAN NEIDLE 1. Vaghe belleze et bionde treccie d'oro . : vedi-_che per ti moro . ami Andante BB : : e: = ae . Faxon a g- aT + fais ——— 3 “¢: - r = = == a wep 1 SP 5 re e . : as . es a rt 7. 5 e f 7 UNH * self Fy a \ -6-- od KE |2. Bianco. fiore el e@ P 7) rr TT : Fight 1861 by Cotumbt» Mus 3 * mrt Copy SEE by Columbts Mune Co..5. Se io m'accorgo Moderato 6h-D 3 Fa ie 4 see - z F=f i jet a f..2) = _. x — os * — Fé shal ¥ F — F ae +}oe en 6 Saltarello ~~ — =e oa eh-D en :=i17 Allemande und Gigue Giovanni Battista Granata Allemande a3 o ae cc ? i SiteiL na eT Sad ad TD, Grr a mee —P 7 JER Gh 7) Thy, dled19 Balletto Giovanni Battista Granata ale dy eee BRT ? Allemande und Courante Allemande ee % ia20 Courante Pr of iF Folie d’ Espagne anonym (um 1700)The Night Watch Holborne wrote versions for both lute and bandore of this piece, which has the air of a Popular tune. It makes a pleasant contrast with Holborne’s “Galliard,”if they are per formed as a pair. The harmonic structure is quite full, which entails some practice to negotiate the chord changes smoothly, but it should be possible to achieve a tempo of about / = 104. Anthony HolbomeGalliard This piece is from the Cambridge University manuscript lute book D.D. 5.78. Players interested in discovering more of Holborne’s music should see The Complete Worke of Anthony Holborne, edited by Maszkata Kanazana (Harvard University Press, 1967). This work contains tablature and piano transcription, Although many galliards reflect their dance origin and sound well with a brisk strict rhythm, this piece is one of those that seem more lyrical and therefore effective if played with a sustained melodic quality. The suggested tempo is J = 66. (D The second finger on the low F# isa stretch, but seems preferable to jumping the third Singer over the B. 6th oD Anthony HolborneAlman ‘This is a lively contrast to the preceding piece. The word Alman is the same as Alle- mande, or German (dance). ‘The manuscripts contain much solo music of both Robert Johnson (who also wrote many songs) and of,his father, John. Robért’s music is characteristically simpler and more melodic than the sophisticated compositions of his father. ‘Suggested tempo is J = 108. @ It is important to place the full bar down for the F#t , which takes the difficulty out of the fast change. a Johnson “HV ae 598 ead dy 2 oF oF