Solo Sheet Music

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

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

A sequel to First Solos for the Viol, this book provides a basic repertoire of Italian, French, English, Spanish and German music, mostly with a continuo part. These are "performing" pieces selected to be within the range of a competent though less experienced player.

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 reprint (with some additional new material) of the original OUP edition of Alison Crum's essential work for beginner's technique on the viol. The perfect starter collection for any viol player!

This anthology contains 21 pieces by seventeenth and eighteenth-century composers in a variety of different styles. The repertoire includes works by major composers such as Telemann as well as lesser-known composers including, amongst others, Hotteterre, Marcello, Chédeville and Schickhardt. This collection is ideal for recorder teachers looking for additional repertoire for their teaching practice as well as developing players looking to expand their repertoire, and for use in school or music centre concerts. Hotteterre: Overture Le Festin Hotteterre: Entrée du Bal Hotteterre: Air Hotteterre: Bourrée Dornel: Le Zephir Dornel: Marche des Vestales Dornel: Marche des Evapores Dornel: Les Turlupins Finger: Paul's Steeple Anon.: Sarabande Anon.: Minuets I & II Anon.: Hornpipe Anon.: Greensleeves to a Ground Marcello: Adagio Marcello: Allegro Chédeville: Pastorale Schickhardt: Largo Schickhardt: Allegro Telemann: Adagio Telemann: Vivace Dornel: Chaconne

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

ED11459 Orchestral Studies for Recorder selected and edited by Edgar Hunt

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

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