Solo Sheet Music

Medieval Music For Violin contains thirty-four solo pieces for Violin. Author Allan Alexander has selected a fantastic variety from Medieval times and most tunes have been extended with variations to make them a more suitable length and increase the violinist's enjoyment! Every tune in the book is also included on an accompanying CD which gives a perfect demonstration and is enjoyable in its own merit.

Play music written by kings and clowns, Ladies and lawyers, dance masters, doctors, and troubadours. Welcome to the Middle Ages and Renaissance. Creativity flourished throughout the times that produced writers, Artists, and scientists such as Dante, Chaucer, Shakespeare, Michelangelo, da Vinci, and Galileo. Inventiveness is evident in the imaginative and eloquent music in this collection. Among the melodies are a Portuguese troubadour’s “Song for a Friend” written almost 800 years ago, John Dowland’s “Midnight”, silenced from the mid-1600's until the discovery of Margaret Board’s Lute Book in 1970, and a beautiful and haunting song written by a Scottish Lady. There are over 40 tunes in this beautiful collection.

Author of the Baroque Recorder Anthology series, Peter Bowman, along with Kathryn Bennetts presents the second in a series of four volumes dedicated to recorder music from the Renaissance period. Featuring a variety of interesting pieces scored for recorder and keyboard accompaniment, this collection includes works by well-known figures as well as lesser known and rarely available pieces from a range of other composers. Suitable for students of ca. 4-5 years’ of playing experience, this book includes composer biographies and teaching notes on each piece, together with a CD recording of all works performed by Kathryn Bennetts. Anon.: Es ist ein Ros entsprungen Anon.: Fabordón A. le Roy: Bransle de Poictou T. Susato: Ronde "Tausand Dukaten im Sack" J. Dowland: M. George Whitehead his Almand Anon.: La Traditora (Galliard) A. Holborne: The Night Watch (Almain) R. Johnson: Alman T. Susato: Nachtanz "Sehr zu Unrecht" Anon.: Galliard "La Rocha el Fuso" P. Phalèse: Gaillard "La Fanfare" P. Verdelot: Quanto sia liet' il giorno Anon.: Alman T. Susato: Ronde "Mein Freund" T. Susato: Second Ronde T. Susato: Ronde R. Johnson/G. Farnaby: Alman R. Susato: Ronde "Es war einmal ein Mädchen" R. Farnaby: Fayne Would I Wedd Henry VIII: Pastime with Good Company R. Susato: Narrenaufzug Anon.: Pavane de la Bataille Anon.: Galliarde de la Bateille T. Morley: Air Anon.: Fricassée W. Byrd: Wolsey's Wilde G. Farnaby: Tower Hill M. Praetorius: Ballet des Matelotz Anon.: Ballet des Princesses L. Senfl: Fantasia Anon.: Sellinger's Round A. Holborne: Fantasia

Samartini's Concerto in F Major for Soprano Recorder and Piano reduction. Giuseppe Sammartini, who was considered to be one of the most important composers of instrumental music of his time, maintained in this concerto a conventional framework; however, he used the instrumental possibilities – particularly in the dialogue between the solo instrument and the orchestra – with imagination and in an unusual way. The movements: I Allegro II Siciliano III Allegro assai

from the famous Frans Vester Collection

BP2400 Telemann's 6 Partitas for soprano recorder and continuo. These can also be played on violin, flute, oboe and tenor recorder. Partita 1 in Bb Major TWV 41: B1 Partita 2 in G Major TWV 41: G2 Partita 3 in c minor TWV 41: c1 Partita 4 in g minor TWV 41: g2 Partita 5 in e minor TWV 41: e1 Partita 6 in Eb Major TWV 41: Es1

An example book to supplement COUCMBSP1, Baroque String Playing for Ingenious Learners

Time Pieces for Treble/Alto 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 Machaut to Britten and from Mozart to Kid Ory.

EM4009 Instructions and Excercises for Players of New Recorder Music

UE36758 "Note Patterns" by Hans Ulrich Staeps for treble recorder provides exercises for all ages and grades to complete the chromatic tonal space. Hans Ulrich Staeps’ “Note Patterns” has been used by recorder teachers all over the world for decades and is firmly established as part of the teaching canon. It complements his well-known book, “The Daily Lesson” and provides exercises to explore the full chromatic range of the alto recorder as well as improve techniques in rhythms and fingering combinations. This new edition makes no unnecessary corrections to Staeps’ music or advice but uses modern graphics and printing techniques to offer an old favourite in a smart new format. Contents: Oktaven / Octaves Die Gabel der linken / Left hand fork Akkordentfaltung / Chordal development Die tiefe Lage / The low position Barockfloskeln I / Baroque clichés I Tonales Zentrum F / Tonal centre F Wechselnoten / Changing notes Durchmessung der Dreiklangsintervalle / Triadic intervals with connecting notes Mollakkorde in Halbtonrückung / Minor chords with semitone shifts Umspielte Sextakkorde / Sixth chords with alternating notes Gezerrtes Metrum / Stretched metre Tonales Zentrum Zentrum C, B und G / Tonal centres C, B flat and G Sequenzen mit Wechseldominanten / Sequences with dominants of dominantes Die vier Umspielungen eines Tones / The four adjoining notes Sprünge über kleine und große Septimen / Leaps in minor and major sevenths Alle Töne der Flöte / All notes of the recorder Barockfloskeln II / Baroque clichés II Tonale Zentren Es, D und As / Tonal centres E flat, D and A flat Quarten / Fourths Trillerfolgen / Chains of trills Ansteigende Sprünge / Upward leaps Wachsende Reihen / Rows with increasing numbers of notes Harmonische Ketten / Harmonic chains Tonale Zentren A, Des und E / Tonal centres A, D flat and E Staccatoübung / Staccato exercise Ungerade Tonfolgen / Uneven passages Vermischte Floskeln / Mixed clichés Tritonus und Triolen / Tritones and triplets Trenntöne zwischen Halbtonschritten / Notes separating semitone-passages Tonales Zentrum H / Tonal centre B Gebundene Triolen / Slurred triplets Repetierende Töne / Repeated notes Akzentwechsel durch Motivverkürzung / Change of accents by shortened motives Sekunden im Quartabstand / Seconds in the interval of a fourth Artikulierte Fünferfolgen / Articulated five-beat passages Beispiel eines Double-Satzes / Example of a movement with a double

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!

for descant recorder

NOV120545

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