Bowed String Instrument Kits

About this tutor book In this modern tutorial, Clare Salaman introduces the Hurdy-Gurdy with a progressive selection of 30 easy arrangements accompanied by technical notes and pictures. The mystery of this instrument is uncovered with a light exploration into its history and is further demonstrated with live recordings of all the included pieces available on a free audio download. Introducing... Series Designed as an introduction, this series provides a solid foundation in a clear and easy-to-read format. Essential for all beginners seeking a practical start to their instrument. The Author Clare Salaman (1966-2022) was a renowned multi-instrumentalist and founder of The Society of Strange and Ancient Instruments. She lectured and directed at the Royal Academy of Music, the Royal Welsh College of Music & Drama, the Norwegian Academy of Music and the Royal College of Music.

Following the success of Baroque String Playing 'for ingenious learners' , Judy Tarling's second book strikes at the heart of musical performance with a study of the relationship between music and rhetoric, which was much remarked upon during the Renaissance and Baroque periods. Revised edition 2013 now with enlarged index and references. Comparisons between oratory and the performance of music are to be found from the beginning of the 16th century and continue until the late 18th century. Thomas Mace (1676) asks the musician to show as much wit and variety as an orator. Geminiani (1751) compares all good music to a discourse, and recommends that the musician should use the same effects as an orator. Quantz (1752) requires the musician to use the skills of an orator to become the master of the hearts of his listeners.The absence of further detail implies that the musicians of the day knew what this meant in practice. Using the works of the classical rhetoricians Cicero and Quintilian as a framework for the book, their ideas are traced through the Tudor classroom and popular Renaissance eloquence books through to the late 18th century. Concentrating on performance techniques that aid communication of musical ideas to an audience, historical source material is used to demonstrate how to hold the attention of the listener and at the same time move and delight him, as in the classical oration. Quotations from the rhetoric manuals, Shakespeare and the Bible are complemented by over one hundred musical examples, drawn mainly from the 17th and 18th centuries, which illustrate the connection between speaking and playing in the rhetorical style. Subjects covered in the book include: A survey of the sources from ancient times, Renaissance educational method, the iconography of eloquence and persuasion, the audience, decorum, stage manner, style, imitation, affect, 'the passions', word painting, allegory, speech-based delivery, tone quality, dynamics, length of notes or syllables, exclamations, emphasis, humour, nerves, sprezzatura, articulation, rests, sighs, surprise, silence, tempo, structure, rhythm, ornamentation, figures, repetition, and rhetorical schemes. This is a must have book for Early Musicians and Early Music lovers!

All you ever wanted to know about performing early music, but were afraid to ask. Well, fear no more. Subtitled . . . for ingenious learners . . . . this is a landmark publication that sets out in meticulous detail the many varied skills required for playing string music from the 16th, 17th and 18th centuries. It will be required reading for amateurs and professionals alike. In a lucid and practical style, Judy Tarling has distilled 30 years of experience in playing chamber and orchestral music of the period, and her brilliantly researched book sets out all the finest points with copious quotations from dozens of historical sources. All bowed string instruments are dealt with; there is extensive information about playing basso continuo and a host of other important topics. Subjects discussed in the book: Affect, articulation, bow vibrato, bow-hold, bowings, buying Baroque equipment, the 'cello, chords, consort style, continuo instrument choice, dance, dissonance, divisions, dotted notes, double bass, double stopping, dynamics, editions, ensembles, facsimiles, figured bass, fingering choice, harmony, holding the instrument, identifying French & Italian style, inequality, intervals, messa di voce , ornamentation, pitch, position changing, publishers, range, recitative, repeats, rhetoric, rhythm, rubato, rules, scordatura, signs, slurs, speed, staccato, strings, temperament, tempo, time signatures, treatises, tuning, the viola, vibrato, violone. Musical examples by: L'Abbé le fils - Bach - Biber - Bonporti - Caccini - Castello - Cima - Corelli - Corrette - Couperin - Feuillet - Geminiani - Gibbons - Handel - Leclair - Locke - Lully - Marais - Mattheson - Matteis - Mealli - L. Mozart - Muffat - Ortiz - Piani - Playford - Purcell - Quantz - Rameau - Schmelzer - Simpson - Tartini - Walther - Westhoff - Veracini - Vivaldi - Zanetti.

About this tutor book In this modern tutorial , Clare Salaman introduces the Vielle — also known as the ‘Medieval Fiddle’ — with a progressive selection of 30 easy arrangements accompanied by technical notes and pictures. The mystery of this instrument is uncovered with a light exploration into its history and is further demonstrated with live recordings of all the included pieces available on a free audio download. Introducing... Series Designed as an introduction, this series provides a solid foundation in a clear and easy-to-read format. Essential for all beginners seeking a practical start to their instrument. The Author Clare Salaman (1966-2022) was a renowned multi-instrumentalist and founder of The Society of Strange and Ancient Instruments. She lectured and directed at the Royal Academy of Music, the Royal Welsh College of Music & Drama, the Norwegian Academy of Music and the Royal College of Music.

A guide to the recorder, with care and maintenance advice.

About this tutor book In this modern tutorial , Clare Salaman introduces the Crumhorn with a progressive selection of 30 easy arrangements accompanied by technical notes and pictures. The mystery of this instrument is uncovered with a light exploration into its history and is further demonstrated with live recordings of all the included pieces available on a free audio download. Introducing... Series Designed as an introduction, this series provides a solid foundation in a clear and easy-to-read format. Essential for all beginners seeking a practical start to their instrument. The Author Clare Salaman (1966-2022) was a renowned multi-instrumentalist and founder of The Society of Strange and Ancient Instruments. She lectured and directed at the Royal Academy of Music, the Royal Welsh College of Music & Drama, the Norwegian Academy of Music and the Royal College of Music.

The author of this volume, the outstanding Hungarian baroque flute and recorder player János Bali, has undertaken no less than to provide a guide for bewildered recorder players; teachers and students, amateurs and professional musicians alike; faced with the extremely intriguing but difficult question: How should baroque pieces be ornamented? The answers are given by contemporary musicians themselves; the collection contains only contemporary ornaments (and richly ornamented pieces and movements) selected from the repertoire of the period between 1550 and 1760, that is, from the late Renaissance, through the various national styles of early and mature baroque, right up to rococo. In the score the original melody of each work or movement and several different ornamented versions of the same melody can be found one below the other, thus the various possible modes of ornamentation can easily be compared. In the extremely valuable and informative introductory study, János Bali provides a basic historical survey of the subject and offers useful practical advice to musicians using the collection; at the end of the volume he includes, almost in their entirety, the tables of ornamentation compiled by G. L. Conforto (1693) and J. J. Quantz (1752).

'A magisterial collection …I have already lost many an evening to this book, enjoying passages both familiar and lesser known.’ — Gramophone Magazine a ‘ magnificent publication ’ … ‘it would be possible to pass many a rewarding and pleasurable hour just browsing the hundreds of illustrations’ — Early Music Review Features more than 2,800 entries 560 images (300 in colour) translations from five principal languages a span of 600 years’ musical activity free supplementary material online About the book The Pursuit of Musick is an encyclopedic and generously illustrated anthology of original written sources, exploring some 600 years of musical activity in Europe, from the first troubadours to the emergence of the pianoforte. Through this book Andrew Parrott presents an extraordinary treasure trove of material documenting myriad ways in which our recent ancestors engaged with music. And, exceptionally, it is almost entirely through their words – their images, too – that such experiences are here vividly evoked. The resultant book aims to lend itself equally to leisurely browsing, quick reference and close study, and to be simultaneously authoritative and approachable, allowing general readers and specialists alike to tap into invaluable seams of original source material. Arranged in three main parts (Society, Ideas, Performance), its principal chapters are supplemented by shorter ones exploring related and intriguing byways. Occasional thematic introductions (by Hugh Griffith) and four distinctive appendices contribute further to the book’s unique and characterful nature. Endorsements ‘The originality and uniqueness of this book cannot be overstated. It’s a version of musical history which we always needed but could never have imagined. ... Above all, the voice, spirit, industry and engagement of musicians (so often omitted from history in favour of didactic theorists) are always forefronted in this persuasive demonstration of how music came to be the way it is.’ — Judith Weir, Master of the King’s Music ‘For anyone with a love of music, Andrew Parrott’s pioneering The Pursuit of Musick is bound to be a life-changing experience. His book is a model of intellectual curiosity ... drawing upon a breathtaking array of primary sources to illuminate our ancestors’ engagement with music ... We can never fully comprehend the place of music in earlier times, but Andrew Parrott’s narrative takes us as close as we are ever likely to get.’ — Colin Lawson, Director, Royal College of Music ‘Andrew Parrott’s The Pursuit of Musick is the spectacular result of a wonderful career dedicated to enlivening our understanding and experience of “early music”. ... [Nothing comparable] has ever been attempted on quite this scale and with such flair for the multiplicity of musical experience ... and the final touch is the sumptuous visual evidence that adorns every section.’ — John Butt, conductor & Professor, University of Glasgow 560 pages ISBN: 978-1-915229-54-0 Dimensions: 11" / 28cm H; 8 9/16" / 21.6cm W; 1 3/8" / 3cm D

A Taborer's Treasury - Volume 1. by Terry Carter Contents PAGE 12th Century 1 Michi Confer Venditor 2 Winder, Wie Ist Nu Dein Kraft 2 Ja Nun Hons Pris 13th Century 3 En Mai, Quand Le Rossingnol 3 Quand Hiver 3 Danse Royale 3 Miri It Is 4 Danse Reale 4 Ce Fu En Mai 4 Brid One Breere 5 Edi Beo Thu ( 2 parts) 5 Sumer Is Icumen In (2 Rounds) 6 C13 English Dance 7 Estampie No. 5 7 Estampie No. 6 C13 Cantigas de Santa Maria 8 CSM 5 – Quen As Coitus 8 CSM 9 – Por Que NosAiamos 9 CSM 12 – O Que A Santa Maria 9 CSM 77 – Desto Fez Santa Maria 9 CSM 100 – Santa Maria Strela 10 CSM 119 – Como Somos 10 CSM 139 – Maravillosos 10 CSM 166 – Como Poden 11 CSM 194 – Como O Nome 11 CSM 327 – Porque Ben 11 CSM 377 – Sempr’a Virgen C14 / C15 Melodies & Dances 12 L’Homme Armé 12 Petit Vriens 13 Polorum Regina 13 Ad Mortem Festinamus 13 Voltati in ca Rosina 14 Stella Splendens (Duet) 15 Lamento di Tristano 15 Ich Spring in Diesen Ringe 15 Helas Madame 16 C14 Italian Saltarello PAGE 15th Century 17 Amoroso 17 Auf Rief Ein Huebsches Fraulein 17 Pastime With Good Company 18 Allez à La Fougère 18 Dance of Cleves 19 Chirinitana (Duet) Susato (c. 1500-1561) 20 Den Hoboeckan Dans 20 Danse de Hercules / De Matrigale 20 De Post 21 La Morisque 21 Ronde – Mon Amy 21 Les Quatres Branles 22 Ronde e Saltarello 22 Ronde and Aliud 22 Pavane – Mille Regretz Arbeau – Branles and Galliards 23 Hermits’ Branle 23 Washerwomen’s Branle 23 The Official Branle 23 Double Branle 23 Maltese Branle 23 Candlestick Branle 24 Branle De La Haye 24 Horse’s Branle 24 Clog Branle 24 Pea’s Branle 24 Montarde Branle 25 Scottish Branle 1 25 Scottish Branle 2 25 Buffens Dance 25 Galliard – Because of the Traitor 25 Galliard – Whether I Love or No 25 Galliard – Love Let Us Kiss Appendix 26 A. Fingering Chart, Tips & Sticks 27 B. Suggested Tabor Rhythms 27 Recommended Books Try this free download: Terry Carter Tabor Pipe Fingering Chart

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.

A hands-on guide for use in class, in a group or alone. For all instruments. At long last, a method for improvisation in Renaissance and Baroque music that is recommended by leading musicians and teachers, including Michael Schneider and Maurice van Lishout. The book provides an excellent overview - and vividly conveys the paths to "freer" music making - that is helpful not only for specialists, but also for amateurs. “Not only does Martin Erhardt teach us how to improvise on ostinato basses in a historically informed fashion, more importantly, he offers a basic attitude towards music making, which musicians in any style and of any playing level should instantly take to heart.” Prof. Maurice van Lieshout, The Hague “Martin Erhardt’s book … is outstanding for its clear structure; it gives a good overview of common ostinato models between the sixteenth and eighteenth centuries and explains these analytically. The reader, whether layman or expert, will fi nd in these methodical and well thoughtout instructions a most welcome and easily applicable guide.” Prof. Markus Jans, Basel “Whether or not a musical idiom is fully understood—including the meaning of rules and regulations—is determined at the very latest, the moment one is faced with the task of expressing oneself ‘freely’— in other words, in an improvisation. … Fortunately, it is possible to educate oneself in this discipline as well and to methodically develop one’s expertise in the practice of improvisation. Martin Erhardt’s book, a product of his many years of practice, both as a performer and as a pedagog, is an important milestone. I strongly recommend it to anyone who is committed to the understanding of Early Music.” Prof. Michael Schneider, Frankfurt am Main

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.

A Performance Study Book for Treble and Bass Instruments designed as a supplement to “Baroque String Playing for Ingenious Learners”

A Taborer's Treasury - Volume 2. by Terry Carter Try this free download: Terry Carter Tabor Pipe Fingering Chart

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.

A Fifty-Lesson Course Volume I Walter S. Reiter Lessons include detailed practical analyses akin to those offered in the studio and classroom Combines treatises of the Baroque period with the experience of a Baroque violinist with over four decades of performance experience Includes primary source material and contextual and background information in numerous useful appendices In the early seventeenth century, enthusiasm for the violin swept across Europe—this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice. With this new guide to the Baroque violin, and its close cousin, the Baroque viola, distinguished performer and pedagogue Walter Reiter puts this power into the hands of today's players. Through fifty lessons based on the Reiter's own highly-renowned course at The Royal Conservatory of the Hague, The Baroque Violin & Viola, Volume I provides a comprehensive exploration of the period's rich and varied repertoire. Volume I covers the basics of choosing a violin, techniques to produce an ideal sound, and sonatas by Vivaldi and Corelli. Practical exercises are integrated into each lesson, and accompanied by rich video demonstrations on the book's companion website. Brought to life by Reiter's deep insight into key repertoire based on a lifetime of playing and teaching, The Baroque Violin & Viola, Volume I: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike. Click here for Volume 2

Ornamentation & Embellishment in the late Baroque

Tabor Pipe in C Instruction Book - Companions Five by Susato Companions Five - written by George Kelischek Instructions for Playing Four Related Vertical Flutes Learn to Play Tabor Pipe in C (3-hole) Learn to Play Pentacorder (4-hole) Learn to Play Penny Whistle (6-hole) Learn to Play Recorder (8 -hole) Plus basics of music notation for beginners

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.

by David Lasocki, Robert Ehrlich, Nikolaj Tarasov and Michala Petri The fascinating story of a hugely popular instrument, detailing its rich and varied history from the Middle Ages to the present The recorder is perhaps best known today for its educational role. Although it is frequently regarded as a stepping-stone on the path toward higher musical pursuits, this role is just one recent facet of the recorder’s fascinating history—which spans professional and amateur music-making since the Middle Ages. In this new addition to the Yale Musical Instrument Series, David Lasocki and Robert Ehrlich trace the evolution of the recorder. Emerging from a variety of flutes played by fourteenth-century soldiers, shepherds, and watchmen, the recorder swiftly became an artistic instrument for courtly and city minstrels. Featured in music by the greatest Baroque composers, including Bach and Handel, in the twentieth century it played a vital role in the Early Music Revival and achieved international popularity and notoriety in mass education. Overall, Lasocki and Ehrlich make a case for the recorder being surprisingly present, and significant, throughout Western music history. Dr. David Lasocki , formerly head of music reference services at Indiana University Bloomington, has been a researcher of the recorder for over fifty years. Robert Ehrlich is professor of recorder at the Hochschule für Musik und Theater in Leipzig. “An engaging book, brimming with observations that provide an unprecedentedly vivid account of the recorder’s roots and evolution.”—James Kopp, author of The Bassoon “This is the most in-depth book on the recorder ever written. Highly recommended.”—Thiemo Wind, author of Jacob van Eyck and the Others “An engaging book, brimming with observations that provide an unprecedentedly vivid account of the recorder’s roots and evolution.”—James Kopp, author of The Bassoon “This is the most in-depth book on the recorder ever written. Highly recommended.”—Thiemo Wind, author of Jacob van Eyck and the Others