Solo Lute, Guitar & Theorbo

58 Very Easy Pieces for Renaissance Lute edited by Christopher Goodwin, John H. Robinson, and Jeanne Fisher, with left-hand fingerings by Lynda Sayce. 58 very easy pieces for 6-course lute, in a variety of styles, chosen from English, and Italian sources, approximately graded in order of difficulty for the beginner, or those wanting something genuinely easy to play, for a change! 40 pages. Also available and often bought in conjunction with this book: Jacob Heringman: Blame Not My Lute - Accompaniment CD for 58 Very Easy Pieces

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

Various: 70 Easy to Intermediate Pieces for Renaissance Lute

40 Easy to Early Intermediate Pieces for Renaissance Lute edited by Christopher Goodwin, with left-hand fingerings provided by Jessica Gordon, typeset by Peter Lay. A sequel to 58 Very Easy Pieces for Renaissance Lute, containing 40 pieces from Cambridge University Library MS Dd.2.11, Negri’s Le Gratie d’’Amore (1602), and Judenkünig’s Utilis et compenditaria introductio of c.1519, graded according to difficulty with left-hand fingerings throughout. Progresses to barré chords.

Jacob Heringman: Blame Not My Lute - Accompaniment CD for 58 Very Easy Pieces

114 Early to Intermediate Pieces for Renaissance Lute from a Student’s Lute Book of 1603 and other Manuscripts, edited by John Robinson; 36 pieces for 6-course lute, 45 for or playable on 7-course; and 28 pieces for 10-course lute (mostly playable on 7-course with adjustment). The core of the anthology is a complete transcription of a Jena student’s lute book of 1603 (now Dresden MS M 297), plus music from seven other Continental manuscripts of the same period; English, Dutch, French, Italian and German pieces: preludes, ballets, courantes, saltarelli, passamezzi and other grounds, song tunes, and a few fantasias and variant forms of Dowland pieces, 78pp,

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.

A tutor for the complete beginner to the advanced student of the renaissance lute. Contents: The Instrument Stringing Tuning Some practical advice on tuning Tablature Holding the Lute The right hand The left hand The diapasons Italian tablature The nexachord Spanish music and the bihuela More about Spanish music Questions Scales The use of graces in Renaissance lute music The performing of graces Graces in English sources Intabulations of polyphonic vocal music The interpretation of signs in the French air de cour The "half" barré German tablature Cifra nueva The ten-course lute List of Sources and Modern Editions

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

158 Early Cinquecento Preludes and Recercars for Renaissance Lute, ed. John H. Robinson. This bumper collection for 6-course lute contains modern French tablature for most of the known examples of these genres, and includes all those by Franciscus Bossinensis, Vicenzo Capirola, Joan Ambrosio Dalza and Francesco Spinacino from the prints of the Venetian printer Octaviano Petrucci, plus further pieces edited and reconstructed from the earliest Italian manuscripts. Plenty of music for players of every standard, from easy, via intermediate to advanced, plus exhaustive concordances and commentary on the sources. 168 pages

19 Easy to Early Intermediate Pieces for Baroque Guitar from French and Iberian Manuscripts edited by Monica Hall; little-known pieces from manuscript sources, addding to the stock of easy and intermediate music available to baroque guitarists. Ten pieces, including works by Le Cocq and Corbetta, are in French tablature, and nine more, all by ’anon’ are in Italian tablature. 24 pages.

A practical approach based on historical principles This tutor is based on the practice of continuo playing on lute, theorbo and baroque guitar as it is taught at the Schola Cantorum Basiliensis, as well as on the performing experience of the author.

A Method for the Renaissance Lute with Suppliment for the Archlute by Peter Croton Introduction This book is intended as an intensive course for teenage and adult beginners on the lute, with or without experience on the classical guitar, as a self- tutor or with a teacher, as well as for experienced lutenists who wish to re-evaluate their technique and musical approach. As a prerequisite, I assume basic knowledge of modern music notation and rudimentary sight-singing ability. If these skills are lacking, I suggest taking the time to develop them. There are several excellent modern methods available for the renaissance lute. I shall cover similar ground in some respects, while additionally emphasizing a vocal approach by using original or imagined texts and employing modern notation (in addition to lute tablature) to help deepen our understanding of the music. My experience is that these tools can bring us closer to the subtleties inherent in our repertoires. Furthermore, I put added emphasis on historical source material, rhetorical expression in performance, physical efficiency of playing based on anatomical principles, and on mental imagery and training. The focus is on solo music played in the ‘old tuning’ from 1507 (Spinacino) until 1623 (Piccinini), with a brief foray into early 18th century music (Zamboni). The instruments in question are lutes of six to ten courses (the latter were played long into the ‘baroque’ era)(1), as well as the archlute. Different right-hand positions were used during this time; I will present the ‘thumb-under’ technique for 16th century music, and the ‘thumb-out’ position for 17th and 18th century music. I begin with a select few elementary-to-intermediate exercises and pieces (or excerpts thereof) to illustrate important points, assuming that students will make use of the surfeit of facsimile and modern editions to individualize their needs. Both “Exercise” and “Example” are abbreviated with “Ex.” I focus on ‘French’ and ‘Italian’ tablature systems and, fac-similes being sometimes difficult to read, have reset many pieces. Later on I introduce facsimile images of more advanced pieces. Although the lute as an instrument of accompaniment is not covered in this book, there is a vast repertoire to explore once the basics have been learned: from lute songs with tablature to music with basso continuo requiring training in this art. There are many facsimiles and modern editions to choose from, either printed or on the internet. I have produced video clips to clarify certain points found in these pages. Please check the playlist “renaissance lute method” at Peter Croton's Youtube page. (1) I shall speak of “baroque” music but do so with misgivings, for it was not consistently used to signify the music of the period in question until the 20th century. According to the Oxford English Dictionary, “baroque” stems from the Portuguese word “barrocco” (Spanish “barrucco”), a jeweler’s term for a rough or imperfect pearl, and came to mean, in a derogatory sense, “overly ornamented”. Peter Croton

The Straloch Manuscript, edited by Wayne Cripps, a reprinted from Lyre Editions by their gracious permission. 30 pieces for renaissance lute, easy to early intermediate, mostly on 6 courses with a few forays down to lower courses, even the 10th course in once place, but all really playable on 6 courses, 38 pp

The Rowallan Manuscript, edited by Wayne Cripps, a reprinted from Lyre Editions by their gracious permission. 39 charming Scottish lute pieces for renaissance lute, mostly 6-course, with a few for 7, 8, or 9 courses, easy or early intermediate standard, 40 pages

57 Easy Pieces in Italian Tablature: Il Manoscritto MBs 1511b edited by Gian Luca Lastraioli and Francesco Tribioli, published by the Italian Societa del Liuto and sold with their kind permission, with introductory essay in Italian; a gentle introduction to playing from Italian tablature. The complete contents of an early 16th century MS for 6-course lute. 48 pages.

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.

The Collected Lute Music of John Dowland is an extensive collection of over 100 Fantasies, Pavans, Galliards, Almains, Jigs, Ballads and other tunes by the celebrated Renaissance composer. Transcribed and edited by Diana Poulton and Basil Lam, all pieces are presented in lute tablature and keyboard notation. An introduction, calendar of dates in the life of John Dowland, biographical notes and a note on the transcriptions are also included at the beginning.

Seville, 1546

Bach for Baroque Lute, edited by Wilfred Foxe. Collected together from recent issues of Lute News. The works indicated for or associated with the lute in Bach’s lifetime: BWV 995, 996, 997, 998, 999, 1000 and 1006a, all for 13-course lute in D minor tuning, 12 pages of introduction and examples, 65 pages of French tablature.

Lessons for the Lute intermediate pieces selected and fully fingered by Anthony Bailes and Anne van Royen. First published in 1983, now reprinted with corrections and expanded commentary, 19 pieces, 47 pages, All for 6-course lute.

A Diverse Collection of Easy Pieces for the Baroque Lute, edited by Wilfred Foxe, contains 44 easier pieces, some arrangements and some original tablatures, from English, French, Italian, Scottish, German and Irish sources, with original pieces by composers including Bach, Weiss, Kropfgans, Mace, de Visée, Scarlatti and Reusner. The anthology is intended for the 13-course player, but quite a few of the pieces do not use the 12th and 13th courses and so could be played on an 11-course lute. 44 pp.