Sheet Music, Book & Media

NOV120545

Tudor Dance - double CD An excellent resource for all that enjoy Tudor dancing and dance music. The double CD pack includes an audio CD stuffed with lively tunes from the 16th century and a supporting CD comprising a PDF guide to the choreography. The PDF includes all the information you will need to reconstruct the dances including detailed descriptions, musical notation (for those that want to play along) images and short video demonstrations. The resource is perfect for dance societies, Tudor history societies, schools and theatrical companies. The audio CD can stand alone as an excellent CD of Tudor foot-tappers in its own right. Please click on the available links below for sound file samples. This CD features the following tracks: Torch Branle Scottish Branles Dance Of The Washerwomen Branle de l'official (Lute Arrangement) Branle de l'official (Bagpipe Arrangement) Clog Branle Horses Branle The Fine Companion Pastime With Good Company Amoroso Hutchesoun's Galyiard A Medley Of Branles From Arbeau Lord Zouche's Masque

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

Time Pieces for Descant/Soprano Recorder is a two-volume anthology of well-crafted and idiomatic arrangements of music from the fourteenth century to the present day. The pieces are presented chronologically within each volume and all include the year in which they were written so that you can map your journey through time!- invaluable source of further study and recital repertoire for Grades 1-5- contrasting styles from Susato to Chopin and from Mozart to Prokofiev- arrangements that practise the note ranges and keys of the early grades- straightforward piano accompaniments.

A collection of music arranged for Descant (Soprano) Recorder containing over fifty pieces from over 300 years of music.

Six Suites - Vol. 1 for Alto Recorder is the first volume of a series of two by J. S. Bach . Initially composed for Cello between 1717 and 1723, it was transcribed by Jean-Claude Veilhan and features the Suites I, II and III. The transcription keeps the original key and only some passages have to be played one octave higher than in the original sheet. The first suite, BWV 1007, is in G major and contains a Prelude, an Allemande, a Courante, a Sarabande, two Minuets and a Guigue. Its Prelude is the most famous movement of the whole set of Suites, consisting mainly of only arpeggiated chords. It can be heard in many films and is highly recognisable. The second one, BWV1008, is in D minor and held the same movements' organisation. Its prelude in two parts features a cadenza, which leads to other cadenzas in the Allemande. The Minuet part is quite technical to play. Finally, the third one, BWV 1009 in C major, sees the Minuets being replaced by Bourrées which are often played together, as a solo material. The second Bourrée only has a partial signature and the Allemande has a rhythm quite unique for the piece as it includes three semiquavers instead of one.

Sonatas1-6

Gran Miragre - 12 medieval songs - Trouvere Medieval Minstrels 12 songs from the 13th century Spanish collection of Cantigas de Santa Maria, arranged in modern notation with full lyrics, english translations and a pronounciation guide. 1 A Virgen Santa Maria 2 Como Deus fez Vyno 3 Muito Valvera Mais 4 A Virgen Mui Groriosa 5 Razon En Os Diabos 6 A Virgen En Que Es 7 A Santa Maria Dadas 8 Como O Nome Da Virgen 9 Santa Maria Puna 10 U Alguen A Jhesu Cristo 11 Que Por Al Non Devess' 12 Null' Ome Per Ren Non Deve

40 Pieces for Recorder Consort

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

BP2426 Sonatas 1-3 for two treble recorders

40 pieces for recorder consort

English Madrigals for Recorders, Vol. 1

School for harpsichord in two volumes, edited by Kees Rosenhart and a foreword by Gustav Leonhardt. This famous school, which is recommended by many harpsichordists, is the tried and tested entrance for students coming from other keyboard instruments.

ED21550 A compendium of duets for alto recorders throughout the ages from medieval to modern day. Anonymus: Ductia Anonymus: Sommerkanon Tridentiner Codices: Pleni sunt coeli O. di Lasso: Aegra curit W. Byrd: Gloria tibi Trinitas Th. Morley: Go ye, my Canzonets Th. Morley: Sweet Nymph Th. Morley: Fyre and lightning from heaven J. van Eyck: Philis schoon Herderinne G. Finger/J. Bannister: 3 Duette Anonymus: Duett J. Bannister: Bourree J. Bannister: Minuet J. Bannister: Trumpet Minuet J. Bannister: Minuet J. Bannister: March J. Bannister: Gigue J. Bannister: Saraband J. Bannister: Minuet R. King: Sarabande R. King: Round O. R. King: Minuet R. King: Gravet Mr. Keen: Duett F. Couperin: Muséte de Taverni J. Mattheson: Sonate op. 1/2 G.P. Telemann: Sonate F-Dur G.P. Telemann: Duett Nr. 3 aus "Second Livre de Duo" G.P. Telemann: Sonate im Kanon Nr. 5 V. Rathgeber: Menuett J.S. Bach: aus "Brandenburgisches Konzert Nr. 4, BWV 1049" J.S. Bach: Invention Nr. 8, BWV 778 G.F. Händel: Duo H. Ippermann: 6 Air aus "Air à deux Chalumeaux" J.B. de Boismortier: Doucement J.B. de Boismortier: 2 Menuette N. Chédeville: aus der Pantomime Italienne "La Folie" J.-B. Braun: Sonata prima D. Wright: aus "Duets as performed upon the Water. At Spring Gardens" J. Buckhardi: Allegro J. Buckhardi: Bourreé J.-Chr. Naudt: Suite 1 Anonymus: Sonate für 2 Blockflöten J.B. Dupuits: aus "Amusements en Duo" W.A. Mozart: aus "Duette für Bassetthörner" -E. Krämer: aus op. 10/1 E.U. Staeps: aus "Reihe kleiner Duette" H. Genzmer: Tanzstücke H.-M. Linde: Duette für 2 Altblockflöten G. Gunsenheimer: Ungehorsames Echo B. Heller: 7 Herbst-Duos X. Zimmermann: Double Fantasy M.-C. Dieterich: Perpetuum Mobile