Sheet Music, Book & Media

"Directions Concerning after Teaching of all Sorts of Song-Birds" for sopranino or treble recorder

Sarah Jeffery, known in the recorder world not least through her YouTube channel "Team Recorder", presents her favourite pieces for soprano/descant (or tenor) recorder and piano in this volume. From variations on "The Wellerman" to the medieval estampie, Renaissance dances and Baroque movements to Romantic adaptations and modern compositions - 14 original works and arrangements of medium difficulty guaranteeing the players’ enjoyment. With audio tracks to listen to and play along with, as well as videos with info and tips. Anon. (Irish Traditional): Dear Irish Boy Anon. (Sea Shanty from New Zealand): The Wellerman (Variations) Anon. (14th Century): Estampie Jacob van Eyck (ca. 1590 – 1657): Doen Daphne (Variations) John Dowland (1563–1623): The Earl of Essex Gaillard Henry Purcell (1659–1695): Rondeau (No. 2 from Abdelazar) Michel Blavet (1700–1768): Sonata seconda, 1st and 3rd movements - George Frideric Handel (1685–1759): Voli per l’aria chi può volare Joseph Bologne, Chevalier de Saint-Georges (1745–1799): Rondo (from: Harpsichord Quartet) Samuel Dushkin (1891–1976) / Maria Theresia von Paradis (1759–1824): Sicilienne Clara Schumann (1819–1896): Ich stand in dunklen Träumen Vittorio Monti (1868–1922) Czárdás Barbara Heller (*1936) Water Lily (from: Musical Flowers) Victor Alcantára (*1975): Invisible Poem (extracts)

A full-colour revised edition of John Pitt's Treble Recorder from the beginning. This book includes a play-along CD. From the beginning is one of the most popular music tutor series. Accessible for both pupils and teachers alike!

These Complete Sonatas by Handel are among the best loved and most frequently performed of all works for the instrument and have been presented in a way that fully reflects G.F.Handel's intentions. This book has been edited by David Lasocki and Walter Bergmann and is specially arranged for the Treble (Alto) recorder and basso continuo which have both been fully realised.

ED12266 Anonymous: Pavana "Le forze d'Hercole" Pavana "La cornetta" Gervaise: Pavane "La garde" Susato: Pavane "Si par souffrir" Moderne: Pavane "Il estoit une fillette" Anonymous: Gagliarda "La traditora" Gagliarda "La rocha el fuso" Attaingnant: Gallarde "Dont vient cela" Phalèse: Gaillarde "L'essmerillonne" Anonymous: Gaillarde Attaingnant: Basse danse "La brosse" Arbeau: Basse danse "Jouissance" Susato: Bergerette"Sans roche" Gerbaise: Tourdion" Moderne: Tourdion Anonymous: Saltarello "Zorzi" Saltarello "Basela un trato" Gervaise: Branle simple I Branle simple II Brane simple III D'Estrées: Branle double I Branle double II Branle double III Gervaise: Branle de Poitou I Branle de Poitou II Branle gay "Que je chatoulle ta fossette" D'Estrées: Branle gay II Branle gay III Phalèse: Passamezzo d'Angleterre Les Bouffons Praetorius: Branle de la Torche Gervaise: Allemande "Et d'ou venez vous" Susato: Allemande Mainerio: Tedesca Vecchi: Tedesca "Mostrav' in ciel" Hessen: Allemande "Braunsmaidelein" Allemande "Tant que vivrai" Praetorius: Courante "La Rosette" Courant Courante Dowland/Praetorius: Courante ("Mistress Winter's Jump") Philidor: Ballet des Coqs Ballet de St. Julien (1604) Ballet des Janissaires Praetorius: Gavotte I Gavotte II Zanetti: Aria di Fiorenza (Aria del Gran Duca) Ballo di Mantua Bergamasca Spagnoletta

31 Works for Treble Recorder and Piano - Online Material Peter Bowman and Kathryn Bennetts present the third volume in the Renaissance Recorder Anthology series. Featuring well-known and lesser known pieces scored for treble recorder and keyboard instrument from the Renaissance period. Each piece has been recorded as a play-along and a full version. L.V.de Henestrosa: Cancion "Jo vous" F. Bendusi: Il Stocco H. Judenkünig: Pavana alla Veneciana M. Praetorius: Ballet M. Praetorius: Bransle de la Grenee P.-F. Caroubel: Galliarde P. Attaignant: Tourdion "C' est Grand Plaisir" O. Vecchi: Saltarello detto Trivella A. Banchieri: Canzona Prima "La Rovattina" P.-F. Caroubel: Passameze A. Holborne: Pavan "The Countess of Pembroe's Paradise" Anonym: La Lavandara (Gaillard) G. Guami: Canzon Settimadecima V. Capirola: Gentil Prince V. Capirola: Ricercar X J. d'Estrée: Premier Ballet du Canat D. Otiz: Recercada Primera D. Ortiz: Recercada Segunda W. Byrd: Fortune King Henry VIII: Consort VIII Anonym: La Spagna G. Mainerio: La Lavandara Gagliarda L.de Narbáez: Diferencias sobre "Guárdame las vacas" A. de Cabazón: Tiento 3 del Primer Tono H. Neusiedler: Welscher Tanz C. de Morales: Canzona Anonym: Le Rossignol J. Dowland: Flow my Teares P. Attaignant: Le Cueur est Myen G. Mainerio: Pass'e mezzo Moderno J. Barbireau: Gracuuly et biaulx

The Very Small Harp Book For Diatonic Harps with 12-19 Strings - Pamela Radford A collection of mediaeval and renaissance music arranged for small harps. Contents: Twinkle, Twinkle Little Star (for tuning) Quanti li rossignols s'escrie (The Nightingale) Ce Fu en Mai Masque Dance Sumer Is Icumen In Bear Dance Branle de la Montarde Clog Branle La Morisque La Bella Franchesina Rosina Noel Nouvelet Putta Nera Ballo Furlano Suitable For : Small Non-Lever Harp / (Lever Harp) Second Edition - Published by Medieval Music in the Dales

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.

Tenor Recorder Solo Book ed Haas. Music from the 13th to 21st centuries.

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

for descant and treble recorders or 2 descant recorders

An introduction to the golden age of Renaissance and Baroque music. These recorder consort books edited by Steve Rosenberg contains over 40 pieces, from solo to sextets various SATB combinations. These books are useful ensemble teaching resources introducing music from medieval through to baroque! Volume 1 Contents: Solos: N. Chedeville: Fanfare M. Praetorius: The King's Dance Anon.: The Nightingale J. Hotteterre: Minuet J. S. Bach: Minuet Anon.: Trotto Duets: Susato: Ronde N. Chedeville: Fanfare J. van Eyck: Prince Robert's March Anon.: Anglaise M. Praetorius: The Duke La Volta J. B. de Boismortier: Paysanne Anon.: Ductia J. B. Loeillet Gavotte Adagio Anon.: Dance P. de Lavigne: The Jasmin R. Edwards: Rain Dance Trios: Anon.: La Bergamasce Gabriel: De la dulce mi enemiga M. Praetorius: Ballet de Fous J. Hotteterre: Rustic Dance Anon.: In Seculum Viellatoris J. C. Pez: Minuet M. Praetorius: The Duke W. Brade: Alman Anon.: A Paris, Fese Nouvele J.-J. Nouadot: Trio Consort from the Court of Henry VIII P. Sculthorpe: Dua Chant for three recorders Quartets: M. Praetorius: The King's Dance Susato: Pavane Phalese: Schiarazula Marazula M. Praetorius: Spanish Pavan A. Holborne: Bonny Sweet Robin Gervaise: Bransle de Bourgogne Susato: Battle Pavan G. Whitehead: At night the garden was full of voices: T. Ravenscroft: Martin saitd to his man Quintets: A. Holborne: Noel's Galliard J. Rimmer: Fongleurs M. Praetorius: La Volta Gervaise: English Pavan A. Holborne: Heigh Ho Holiday The Honeysuckle Sextet: G. Farnaby: Allemande Appendix: Fingering Chart

A Chantar - Songs of the Troubadours and Trouvères - booklet - Trouvere Medieval Minstrels 'A Chantar' focuses on the songs of the troubadours and the trouvères, and for each song we provide the tune in accessible modern notation, the full words of the original song, and an English translation of those words. There is a short introduction giving something of the historical context for these songs, their different genres, and some specific issues in their performance. There is also a pronunciation guide for occitan and medieval French. Songs included in this volume 1 A Chantar m'er 2 Non es meravelha 3 Rassa, tant creis 4 L'autrier jost'una sebissa 5 Reis glorios 6 Pus astres 7 Chanterai por mon corage 8 Chanter m'estuet 9 L'autrier par la matinee 10 On doit la mere Dieu honorer 11 En mai 12 Volez vos que je vous chant?

Urtext of the Halle Handel Edition. Contains the following sonatas: Sonata in G minor HWV360 Sonata in A minor HWV362 Sonata in C major HWV365 Sonata in F major HWV369 Sonata in Bb major HWV377 Sonata in D minor HWV367a T he popularity of Handel’s recorder sonatas can easily be gauged by the sheer number of old and modern publications of them. This edition unites the six authentic sonatas and also includes the early version of movement No.6 to the D minor sonata. It is based on the eminently reliable text of the Halle Handel Edition, the “last word” in Handel scholarship.

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.

Six Sonatas for treble recorder and continuo by Italian composer Giuseppe Sammartini.

Recorder for Beginners: The Tudor Way! by Paul Harris – the brand new recorder tutor from Jaywood Press. This teacher's book includes piano accompaniments for the pieces included in the pupil's book . “If you’d like a method from the beginning, but really firmly in the early music tradition, then this is a very nice place to start” – Sarah Jeffery, Team Recorder "The recorder has, for centuries, been one of the world’s most popular instruments. It was born in medieval times but was extremely popular in Tudor times — King Henry VIII was a very keen player! So, in keeping with the recorder’s popularity in those times, here is a new and fun tutor set (almost entirely) in those wonderfully colourful Tudor times. It takes the recorder player from absolute beginner to about Grade 1 standard. Along this engaging journey, players will meet many characters and experiences from Tudor times and a number of works by contemporary composers (and some maybe just a little bit later, too). The book is written to be for individual, group or class teaching and for all ages. If you’re about to begin this book, I hope you’ll find it most entertaining and enjoyable and I also hope it will initiate an exciting new experience for a great number of new recorder players." – Paul Harris Click here to view the accompanying Pupil's Book. Downloadable backing tracks and demonstration recordings included. Educational Discounts! When ordering 20 or more Triebert soprano recorders, Triebert alto recorders, or 'Recorder from the Beginning: The Tudor Way' books, a 10% discount will automatically be applied to your cart. Best of all, you can mix and match as much as you like! Click here to see all items available in this offer.

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