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A simple, easy-to-follow tutor book for learning the renaissance lute. Suitable for 6-8 course instruments. The perfect tutor for complete beginners!

Victoria Schultz takes you through learning to play the harp in simple, easy to follow steps. The perfect harp tutor for the complete beginner!

High quality A4 manuscript paper. 100 pages with 12 music staves per page.

This manual is a guide to the study of the Renaissance lute, taking the student on a step-by-step journey through technical matters and exercises of increasing difficulty. It is aimed at both the beginner and those who would like to improve their own technique. Special attention has been given to those who have specialized in guitar, so where necessary some important differences between the techniques of the two instruments have been underlined. All the material has been set out following a rational approach to the various challenges. To this end I thought it useful to write many of the exercises myself, especially those at the beginning of the course. I hope to guide the student from the technical basics to a level sufficient for playing music of intermediate difficulty. Of course, any material regarding technique will help the student progress to higher levels. The main areas covered are: hand positions, according to Renaissance practice; study of appropriate sonority; development of contrapuntal sensitivity; idiomatic techniques; introduction to the different Renaissance musical forms; recognition of different interrelational forms.

UOEDM46 A Tutor for Theorbo by Francesca Torelli This method is for anyone with musical training and at least some experience with a plucked stringed instrument who might wish to take up studying the theorbo. It is also for lutenists and theorbists of any level who wish to improve their playing. Whilst it is also possible to begin one’s musical life playing the theorbo, it is generally preferable (particularly for children) to begin by playing plucked stringed instrument of smaller dimensions. During the period of time in which the theorbo was commonly used, the 1600s, no practical methods, in a form we might recognise as such today, were wrien. Among the various manuscripts wrien for this instrument and compiled during the Baroque era, there are some that contain musical examples that are useful for the study of the instrument (passaggi, cadences, chords and melodic progressions). However, these writings, which are oen anonymous, contain many errors, and sometimes do not approach the subject maer systematically. Furthermore, the musical material contained in these manuscripts is oen not relevant, and so they cannot be used as study methods for the theorbo as they stand. Apart from these, there is also a certain number of texts on basso continuo playing from the 1600s which are specifically for the theorbo. The above writings, together with the printed tablatures and musical manuscripts that we will discuss further on, have been used as the working material from which we have drawn inspiration for a progressive and systematic practical method. Since the beginning of the 20th century a number of practical method for the lute have been published, but none for the theorbo. This may be justified by the fact that the repertoire for solo lute is much more extensive, but at the same time it is also true that theorbo music has very different characteristics. An autonomous approach to technique, repertoire and basso continuo playing is therefore required. This is, therefore, the first-published practical playing method for the theorbo.

UOEDM11 During its climax, the viol had a reputation for being able to imitate the finest nuances of the human voice and express the deepest feeling of the soul. At the end of the XVIII century, as it was considered too difficult and aristocratic, it became obsolete with respect to the new standards prevailing during that pre-revolutionary period, and it was rapidly deposed by the cello. This last was promoted throughout the whole of Europe by some virtuosi, mostly Italian. And so also Wilhelm Friedrich II, king of Prussia, at first pupil (by correspondence) of Forqueray the son, passed later on to the cello, under the guidance of Duport. In these last years the viol has found its splendour again, and its beautiful repertory, supported by some excellent musicians in concerts, recordings — even at the cine­ma — has obtained the recognition of the wide public and of certain institutions, which have included it in their teaching courses. The teaching of the Ancients, mostly based on direct transmittion and on the imitation of the teacher, has left us only few treatises, often lapidary and adaptable with difficulty to our current didactic methods. Thus, the apprentices of viol, having to face up to the venture of referring to a tradition which was interrupted for two centuries, will certainly welcome this new method with satisfaction. Intentionally devoid of photos and commentaries, this method does not intend to replace the living example of the teacher, but provides, in the form of progressive exercises, an essential help to the development of a synthetic and personal technique on the instrument. Many countries have recognized since long time the advantages offered by the viol in approaching the pleasures of music at different levels: – the different sizes making up the viol family allows the child to grow up having the experience of a superb ensemble repertory; – its humble but essential support role in the basso continuo aids the understanding of the musical structure; – its solo repertory, covering a wide range of styles, contains pieces by composers of great genius.

UOEDM22 During its climax, the viol had a reputation for being able to imitate the finest nuances of the human voice and express the deepest feeling of the soul. At the end of the XVIII century, as it was considered too difficult and aristocratic, it became obsolete with respect to the new standards prevailing during that pre-revolutionary period, and it was rapidly deposed by the cello. This last was promoted throughout the whole of Europe by some virtuosi, mostly Italian. And so also Wilhelm Friedrich II, king of Prussia, at first pupil (by correspondence) of Forqueray the son, passed later on to the cello, under the guidance of Duport. In these last years the viol has found its splendour again, and its beautiful repertory, supported by some excellent musicians in concerts, recordings — even at the cine­ma — has obtained the recognition of the wide public and of certain institutions, which have included it in their teaching courses. The teaching of the Ancients, mostly based on direct transmittion and on the imitation of the teacher, has left us only few treatises, often lapidary and adaptable with difficulty to our current didactic methods. Thus, the apprentices of viol, having to face up to the venture of referring to a tradition which was interrupted for two centuries, will certainly welcome this new method with satisfaction. Intentionally devoid of photos and commentaries, this method does not intend to replace the living example of the teacher, but provides, in the form of progressive exercises, an essential help to the development of a synthetic and personal technique on the instrument. Many countries have recognized since long time the advantages offered by the viol in approaching the pleasures of music at different levels: – the different sizes making up the viol family allows the child to grow up having the experience of a superb ensemble repertory; – its humble but essential support role in the basso continuo aids the understanding of the musical structure; – its solo repertory, covering a wide range of styles, contains pieces by composers of great genius.

UOEDM67 Method for the Baroque Lute - A practical guide for beginning and advanced lutenists by Miguel Serdoura. Contents: History of the Baroque Lute The Lute Repertoire The Instrument Technique Pieces for Baroque Lute This Method for the Baroque Lute can provide you with the technical and musical foundations required for a solid and comprehensive approach to playing the baroque lute. That is indeed the purpose, and challenge, of this book: to reach out to as many lute-lovers as possible, and give them the opportunity to express themselves via the baroque lute, however advanced they may be in their musical education. Its audience includes not just those who have never played a musical instrument, but also seasoned guitarists desirous of initiation into the mysteries of the baroque lute.

UOEDM37 The present Method, devised as an anthology divided into five sections, intends to help satisfy a need, felt by many, for texts for didactic use for the Viola da gamba. It is addressed to those students and teachers who want access to concise, guiding information about the most significant musical -literature dedicated to this instrument. The selection of texts proposed here, conforming to the historical original versions both in the use of graphic symbols for embellishments and more generally with respect to the various styles and notational forms, is intended to aid in the study of the various complete compositions and the respective bibliographical panorama. The original historical European pieces and treatises cited here were chosen from the Renaissance period on as those considered most useful for learning to play the instrument. Bowings and fingering are given for the studies, the scales and arpeggios, as well as in all the -historical compositions which were without them. For didactic purposes the pieces in tablature are printed opposite transcriptions into mensural notation, while those with separate Bass parts are here given in score. Three tables are included summarizing the symbols for fingering, embellishments, dynamics and bowings, extracted from the Avertissements by M. Marais, as found in his five books of Pièces de Viole. The scales, the arpeggios and some studies – for practical reasons – designate the strings by Roman numeral and are provided with a respective Legend . The musical portraits for two viols or viol and basso continuo – given here for didactic use and presented in order of difficulty – are dedicated to viola students and friends. In the Appendix, for the study of the soprano viol in concert , three pieces in trio are provided.

UOEDM69 Contents: Preliminary Remarks The Touch Ornaments Scales Extensions - Arpeggios Alternating Hands Repeated Notes Double Notes - Polyphony - Octaves Leap - Cross-overs Hints on Performance Agility Etudes This manual sets out to analyse and tackle the key problems posed by harpsichord technique. Since people often begin to study the harpsichord after spending years learning the piano or the organ and playing music of the 19th and 20th centuries, they invariably come up against all sorts of technical problems. The technique used on the piano and organ is simply not suitable for an instrument in which the strings are plucked. The harpsichord is in fact a totally different instrument, with its own characteristics and requiring a specific technique. A misguided technical approach can have fatal consequences for the quality of the sound produced by the aspiring harpsichordist. The sound cannot be properly calibrated in the service of interpretation, and may well be marred by extraneous mechanical noises. In extreme cases, even when the performer is aiming to be stylistically correct, the technical problems can make for a performance which is at best laboured and may simply prove unattainable; it may also result in damage to the instrument. Thus it is vitally important for teacher and student to dedicate time to rethinking and rebuilding the student’s technique. The principles outlined here can be applied with just a few modifications to the clavichord and the fortepiano. The student will find three types of musical excerpts: purely technical exercises, which isolate the specific movement to be mastered; short fragments – what François Couperin styled évolutions – in which the movement is practised in a more authentic context; and studies which are more complex in scope. The author has chosen not to start from the elementary stage, since this is dealt with in other methods, but rather to go in some detail into the intermediate and advanced levels. The material has been largely transcribed or adapted from the harpsichord repertoire; in some cases Baiano has composed it himself. Except when it comes to scales, the author has deliberately avoided quoting from the recognised manuals. In the historical literature technical instructions tend to be of a general nature, while Baiano's aim here is to ‘take students by the hand’ and help them gradually to acquire (or perfect) the fundamental mechanisms which are indispensable for successful harpsichord playing. The author has also deliberately kept the section devoted to interpretation quite short: if one were to go in depth into all the problems concerned with style and expression (and could one ever cover them all?), this would require a massive volume all to itself. Besides, the danger is always for a written text to turn into dogma, laying down sterile rules which cannot possibly encompass all the infinite variables that crop up in musical discourse. Music has to be made; it can only be explained up to a point. Thus Baiano has chosen to restrict himself to a few words of advice, just to start the performer off, aware that whatever he says will have its limits in practice. He remains convinced that personal experience and work alongside a teacher are immeasurably more fruitful.

200 A4 page manuscript pad with 12-staves per page.

12-stave manuscript paper in a spiral bound 64-page A4 book.

UOEDM71 Method of Italian Singing from ‘Recitar cantando’ to Rossini (with Examples and Exercises from Historical Treatises on the Technique of Singing) by Maurizia Barazzoni. Contents: Physiology Emission Posture Registers Embellishments Passages Madrigal a voce solo Recitative Agility Solfeggio Cadenza Aria Vibrato and top C from chest The purpose of this work is to bridge the gap between musicological theory and methodological practice in the study of singing. This singing method explores the ‘Italian tradition’, an idea to which we will make constant reference in the chapters that follow. We begin with a discussion of terms and their meanings, and go on to develop a teaching course in which vocal practice is based on exercises and ‘solfeggi’ from historical sources, correlated with live testimony from those who were present at the time. It goes without saying that the full extent and complexity of this subject cannot be exhausted in the pages of a single volume. For this reason, the contents of this method should be seen as an introduction to the fundamental principles of the ‘antica scuola italiana’, the ancient Italian school of singing, which we examine from ‘Le Nuove Musiche’ by Giulio Caccini up to bel canto singing of the early 19th century.

The successful book by Annette Otterstedt, „Die Gambe. Kulturgeschichte und praktischer Ratgeber“ is now made available in an English version. The author has revised the original edition thoroughly, taking in the most recent results of research, which is particularly obvious in the enlarged chapters on the early history of the instrument, women playing the viols, the practice of viol consort, transposition and pitch, and a newly added chapter on the 20th-century viol. This is not merely a standard work for viol players and early music enthusiasts: it is as yet without equal as a brilliantly written, exemplary introduction into the world of an instrument.

In stock now! Autumn 2023 issue of The Recorder Magazine, which includes features about Althea Talbot-Howard, Justin Bland, Paul Smith, Otto Hashmi and the SRP/Moeck Solo Recorder Competition. Plus the usual SRP news, ERTA news, young players' section, music and CD reviews. Edited by Barbara Law.

The most important statements about vocal and instrumental performance practice from Baroque and pre-classic sources. The selections of text and music examples consider the most important aspects of musical speech. Examples from Muffat, Mattheson, Quantz, C. P. E. Bach, L. Mozart, Hiller and Türk.

A practical Approach

Deceptive Notation in Baroque Keyboard Music

There is a striking similarity between Marian devotional songs and secular love songs of the Late Middle Ages and Renaissance. Two disparate genres—one sacred, the other secular; one Latin, the other vernacular—both praise an idealized, impossibly virtuous woman. Each does so through highly stylized derivations of traditional medieval song forms — Marian prayer derived from earlier Gregorian chant, and love songs and lyrics from medieval courtly song. Yet despite their obvious similarities, the two musical and poetic traditions have rarely been studied together. Author David Rothenberg takes on this task with remarkable success, producing a useful and broad introduction to Marian music and liturgy, and then coupling that with an incisive comparative analysis of this devotional form with the words and music of secular love songs of the period. The Flower of Paradise examines the interplay of Marian devotional and secular poetics within polyphonic music from c. 1200 to c. 1500. Through case studies of works that demonstrate a specific symbolic resonance between Marian devotional and secular song, the book illustrates the distinctive ethos of this period in European culture. Rothenberg makes use of an impressive command of liturgical and religious studies, literature and poetry, and art history to craft a study with wide application across disciplinary boundaries. With its broad scope and unique, incisive analysis, this book is suited for scholars, students, and general readers alike. Undergraduate and graduate students of musicology, Medieval and Renaissance studies, comparative literature, art history, Western reglious history, and music history—especially that of the Middle Ages, Renaissance, and sacred music—will find this book a useful and informative resource on the period. The Flower of Paradise is also of interest to those with a particular dedication to any of its diverse subject areas. For individuals involved in religious organizations or those who frequent Medieval or Renaissance cultural sites and museums, this book will deepen their knowledge and open up new ways of thinking about the history and development of secular and sacred music and the Marian tradition. Contents: 1. Introduction: Devotion to the Virgin and Earthly Love - Sacred and Secular Realms - Symbolic Harmony in Medieval and Renaissance Polyphony - Liturgical and Devotional Framework - Foundations and Case Studies 2. The Assumption Story in Two Thirteenth-Century Motet Families - The Narrative of First and Second Assumption Vespers - The Flower, Christ, and Mary in a French Motet on Flos filius eius - Mary's Ascent to Heaven in a Bilingual Regnat Motet 3. Springtime and Renewal over the In seculum Tenor - Spring, Eastertide, and Mary - Springtime Dance, a Pastourelle Motet, and the In seculum Hockets- - Intertextuality in an In seculum Motet Family - Into the Fourteenth Century 4. Guillaume Dufay's Vergene bella , the Cantilena Motet, and the Italian Lyric Tradition - Cantilena, Chanson, and Cantilena Motet - Theologizing Love in Italian Lyric - The Canzone and Vulgar Eloquence 5. Walter Frye's Ave

Moving an Audience in the Age of Eloquence