LIBRO CON CD

THE LEGEND OF HAGOROMO, KEIGO FUJII. On a melody of H. Yamanoha. mini CD

Dedicato a DAVID RUSSELL

THE RENAISSANCE GUITAR, DI FREDERICK NOAD. CD

The first in this book-and-CD anthology of solos, duets and songs covering four centuries of composers for the guitar and lute family. Taken from original sources, and carefully fingered for the modern player, the transcriptions are as faithful as possible to the original while at the same time offering a practical performing score.

Preface

The Frederick Noad Guitar Series is a response to the need of the very large number of players who have mastered basic guitar techniques and want interesting and well written musical selections for further study and enjoyment. There is an enormous amount of music for the guitar, rivaling or surpassing in quantity that for any other instrument. But the quality of both music and fingering varies enormously, and it is probably true that there is more bad or dull music in print for this instrument than for any other.

The reasons for this poor quality are not hard to find. First, few major composers wrote for the guitar since technical difficulties demand that the composer either play the guitar himself or work closely with a player. Second, the many players who wrote music for the guitar were usually poor composers relying on special effects or superficial charm to attract the listener. Third, editors have rarely had the specialized knowledge to recognize a good guitar piece and have printed music for the guitar that would be considered totally inadequate if published for the piano or violin. It is thus difficult for even the accomplished player to find good music. Outlets for guitar scores are usually confined to major cities; the majority of players must shop from catalogs supplied by publishers and invariably have to discard much of what they buy. Anthologies are few, and in many of these the player responsible for fingering has altered the original score to suit his own taste. There does exist, however, much fine music, and I think that such music should be presented in reasonably priced and easily accessible editions. This series attempts to meet this goal. The series is conceived in three parts-Renaissance, Baroque and Classical. The books contain original transcriptions as well as recognized favorites and present much music unavailable elsewhere. In addition, I have put each period in perspective and introduced the major composers, forms, and playing styles of the time. The selections are classified in three levels: basic, intermediate, and advanced. Brief notes are given at points of technical difficulty. It is hoped that the learner will find enjoyment in the early sections and that the seasoned player will find material in the more challenging works. However, at all levels I have tried to maintain a high standard of musical interest. The selections have been carefully transcribed from original sources, either manuscript or first edition, and every effort has been made to respect the composer's intention. These anthologies, however, must inevitably represent the taste of one person. It is impossible to please everyone, but I hope most sincerely that other players will share, at least in part, the pleasure I have found in these selections.

About the Music

In transcribing these pieces for the guitar, I have tried to produce playable and natural versions for the instrument while keeping every possible part of the original. The lowest courses of the lute have had to be transposed an octave, but since they were little used this is not a serious problem. The music for the four-course guitar and vihuela has necessitated no changes of this kind, and the lyra-viol music lies comfortably on the guitar without alteration. It has been necessary to transpose the keys of the lute pieces to adapt to the lower pitch of the guitar. Thus the music is not in its true pitch, but it is in its correct relationship to the open strings. Guitarists may wish to remedy this by putting a capotastro on the third fret, which will result in both the correct key and correct relationship to the open strings. Transposing up by any other means makes the music extremely difficult, if not impossible, to play. The choice of pieces is personal, so there is no particular balance between countries of origin or individual composers. I have invariably preferred to choose music for qualities that appeal to me rather than suffer the restriction of even representation. I have not presumed to correct these excellent composers in any way except in the case of obvious typographical errors. However, I have occasionally dropped a note in a chord where the chord was easy and natural to the lute but difficult and strained on the guitar. This is from a desire to preserve the continuity of a phrase or cadence, which I feel serves the composer's intention better than some technical contortion to save a note. The problem can often be solved by tuning the third string down a semitone, but inexperienced players have such a resistance to doing this that I have in general avoided the expedient. However, two pieces for the advanced player, the fantasias by Dowland and Mudarra, are fingered this way to ease technical problems. In all cases, the suggested fingering is editorial. Although scholarship has its important place, I feel that the main purpose of publishing music is to enable it to be played and listened to with enjoyment. Hence the study notes are directed to the player to assist him in learning the piece, and biographical and musicological references are brief. The player interested in further reading will find material suggested in the notes.

Many of the extended pieces which appear in these books are not particularly suitable for modern performance since they tend to amble on in a quite pleasant but not very striking fashion. However, there are some notable exceptions, particularly Mudarra's "Fantasia," in which he imitates the style of a famous harpist of the day, Ludovico. This is reproduced on p.108.Valdemibano is represented by his "Sonnet" on p.39 which has the charm and feeling of a lullaby. Vocal works include Milan's "Toda mi vida os arne" p.56 , for which two accompaniments are given. Against the simple accompaniment the singer would elaborate the vocal line (hacer garganta), but when the guitarist played the ornamental accompaniment the singer would keep to the written notes (cantar llano). "Morenica de me un beso" p.68 by Juan Vasquez, which is found in Fuenllana's Orphenica lyra, has great charm and gaiety, and his songs in general stand out as the most interesting of the period. The vihuela music in these books is printed in tablature rather than conventional musical notation. The six courses of the vihue1a are each represented by a line, and a number on the line indicates the fret to be played. The time is indicated above the lines.

The example shown is the opening of the pavane by Luis Milan transcribed in full on p.40. Note that the time indications give only the period from one note or chord to the next; the player or editor must decide which notes are held over. The later books used the same form of notation, except that the highest string was represented by the bottom rather than the top line. Milan's arrangement corresponds to French lute tabulature, although the French used letters rather than numbers. The form used by other vihuela composers corresponds to Italian lute tabulature. The example shown from Narvaez's "Guardame las vacas" illustrates the Italian form. The full transcription of this piece appears on p.78 ; it is an interesting and melodious example of the earliest form of theme and variations. 
FREDERICK NOAD

Air (John Dowland)
Almain [Cutting, Francis]
Alman [Johnson, Robert]
As I Went To Walsingham (Anon)
Ballet (Elias Mertel)
Branle De Bourgogne (Adrien Le Roy)
Branle Gay (Jean Baptiste Besard)
Come Heavy Sleep (John Dowland)
Drewrie's Accordes (Anon)
Entree De Luth (Robert Ballad)
Fantasia (Alonso De Mudarra)
Fantasia (Miguel De Fuenllana)
Fantasia [Dowland, John]
Fantasia(Anon)
Galliard (Alfonso De Mudarra)
Galliard (Philop Rosseter)
Galliard To The Flatt Pavin (John Johnson)
Galliard( Anthony Holborne)
Go From My Window (Anon)
Greensleeves (Francis Cutting)
Guardame Las Vacas (Luis De Narvaez)
La Rossignol (Anon)
Lady Hammond's Alman (John Dowland)
Lady Hunsdon's Alman (John Dowland)
Lesson For Two Lutes [Anon]
Melancholy Galliard [Dowland, John]
Morenica Da Me Un Beso (Juan Vasquez)
Mr. Southcote's Pavan (Thomas Ford)
Mrs. Anne Harecourt's Galliard (Francis Pilkington)
Mrs. Taylor's Galliard (Philip Rosseter)
My Love Hath Vowed (Thomas Campion)
Never Weather-beaten Sail [Campion, Thomas]
Of My Complaints Could Passions Move (John Dowland)
Pavan (Luis Milan)
Queen Elizabeth Galliard [Dowland, John]
Recercate Concertante (Francesco Da Milano & Joanne Matelart)
Rest Sweet Nymphs [Pilkington, Francis]
Shall I Come Sweet Love To Thee (Thomas Campion)
Sonnet(Enriquez De Valderrabano)
Spagnoletta (Anon)
Tanz (Georg Fuhrmann)
Tarleton's Resurrection [Dowland, John]
The Cobbler (Anon)
The Flatt Pavin (John Johnson)
The King Of Denmark's Galliard (John Dowland)
The Night Watch (Anthony Holborne)
The Parlement (Anon)
The Round Battle Galliard [Dowland, John]
Toda Mi Bida Os Ame (Luis Milan)
Toy (Francis Cutting)
Toy For Two Lutes (Thomas Robinson)
Volt (Anon)
When From My Love (John Bartlet)
When To Her Lute Corinna Sings (Thomas Campion)
Wilson's Wilde (Anon)

THE CLASSICAL COLLECTION FOR GUITAR TAB. BOOK WITH CD & GUITA TABLATURE 

LIBRO DI MUSICA CLASSICA, CON CD.

SPARTITI PER CHITARRA CON: 

PENTAGRAMMA E TABLATURE. 

Giochi proibiti -Bach preludio n.1 -Ave Maria (Bach/Gounod) -le quattro stagioni (suite di temi) Estate, Primavera, Autunno, Inverno (Antonio Vivaldi) -greensleeves (Anonymus del 16' secolo) -moonlight sonata (Ludwig Van Beethoven) -the swan (Camille Saint-Seans) -dark eyes (canzone folk Russa). CD TABLATURE

Alexander Gluklikh è nato a RIGA in Lettonia nel 1949, ha incominciato a studiare musica a 12 anni, nella banda militare dell'armata Russa suonava la Balalaika, il corno francese, e la chitarra. Ha fatto tournè da solo e insieme all'orchestra Oleg Lundstrem di Mosca, attraversando l'ex Unione Sovietica. Insegna e vive a Miami.    

TARREGA, IN TABLATURE. 25 composizioni per chitarra: Marieta! -Rosita -la mariposa -capricho arabe -recuerdos de la Alhambra, Maria. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

By Francisco Tarrega (1852-1909), edited by Ben Bolt. Guitar solo book (includes tablature) for guitar. Text language English, Spanish, French, Japanese. 125 pages. With guitar tablature, standard notation and introductory text.

The importance of Francisco Tarrega in the history of the classic guitar is immeasurable. With his original compositions and transcriptions, Tarrega brought the classical guitar to new heights by giving it a repertoire of its own and consequently influencing virtually every modern day classical guitarist. In this volume, Ben Boldt presents 29 pieces by Tarrega in standard notation and tablature. Text in English, Spanish, French, and Japanese. Titles include:

Contents:
Prelude In E
Prelude In A Minor
Lagrima
Prelude In G Major
Prelude In D Major
Prelude In D Minor
Prelude In D
Prelude (Endecha)
Prelude (Lento)
Prelude (Moderato)
Prelude
Prelude
Prelude
Prelude
Prelude In A
Prelude In A Minor
Prelude In A Major
Danza Mora
Marieta! (Mazurca)
Mazurca En Sol
Maria
Minuetto
Adelita (Mazurca)
Pavana
La Alborada
Capricho Arabe (Serenata)
The Butterfly (La Mariposa)
Rosita
Recuerdoes De La Alhambra

RENAISSANCE MUSIC FOR FLUTE & GUITAR. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSICA RINASCIMENTALE PER FLAUTO E CHITARRA CON CD .

INCLUDING ANCIENT MUSIC FROM IRALAND AND SCOTLAND

Dance of the washerwoman -I serve a worthie ladie -saltarello -a fancy -a merry ronde -a child's ronde -a winter's ronde -ronde -medieval song no.3 -the troubadour song -italiana -medieval song no.1 -the gypsy's lilt -volta no.1 -angelus ad virginem -canaries -blind mary -two medieval dances -adew dundie -the english hunts up -sumer is icumen in -kemp's jig -Out in the meadows -song of the ass, -medieval song no.2, e altre. CD TABLATURE

The Gypsy's Lilt - Anon/Jessica/Allan. This piece is a great example of why you never know what sounds you will find in Renaissance music. The dissonance that the guitar plays over and over is very modem sounding. There is no doubt that this is the chord that was intended, as there are two versions of this piece in the same lute book, and the chord comes up often. It's always written the same way. I love the melody that Jessica wrote for the second section. - Allan

Volta #1- Allan/Jessica. Volta means "turning" in Italian, and this piece reminds me of dancers whirling around. The Volta was actually a very complicated dance which involved a lot of leaping and turning. This tune has the same pedal as the Italiana. - Jessica

Kalenda Maya - Raimbaut de Vaqueiras/Allan • The "Calends of May" is the first of May, or May Day. In Medieval times it was a favorite holiday, filled with flowers, ribbons, and dancing. In Raimbaut's poem "Kalenda Maya" he tells us that none of the beauty of May Day can move him until the lady he loves looks on him also with love. - Jessica

Angelus ad Virginem - Anon/Allan. When I hear this tune I think of the very strident sounds of some of the Medieval wind instruments. The meter changes are especially fun to play and fall very naturally in the piece. - Jessica

Canaries - Skene/Allan. The Skene manuscript is a tremendous source for music of Scottish origin. There are pieces in it for the lute, but the majority of the material is for a smaller, more limited instrument called a mandora. Many of the melodies are delightful though, so I tune one of my instruments as the mandora is tuned, and play through a copy of the manuscript until I find the pieces I want to work with. - Allan

Blind Mary - Carolan/Allan/Jessica. Turlough Carolan lived in Ireland. He, like the girl he wrote about in this tune, was blind. This is a lovely melody - sad and gentle. I think that it is better to let it sing for itself than to say too much about it. - Jessica

Two Medieval Dances - Arbeau/ Allan. I find some of these Renaissance and Medieval melodies very addictive. Because they exist as just one-line melodies, we often have to add many notes to fillthem out, so it can be a surprise to play them for the first time. Often, they sound better when we come back to them, and sometimes we donlt even know how much we will end up liking them. We just have to wait and see. - Allan

Adew Dundie - Skene/Jessica. Dundee (the modem spelling) is a Scottish town that was rarely at peace throughout the Renaissance. It may be that the mandora player who wrote this melody left Dundee becuuse of the beating that his town was taking at the hands of the English. I wonder if he ever saw his home again. - Jessica

Kemp's Jig on lute and Renaissance flute. If you have the CD, you will hear this piece twice. This last time it is played on Renaissance instruments. - Allan & Jessica

Allan Alexander is a guitarist / Lutenist whose love is arranging and composing for both instruments. Allan is continuing to add to the repertoire of both guitar and lute, but is focusing on the flute and guitar repertoire with his performing partner Jessica. He lives in Troy, NY, with his lovely wife, an artist and sculptor. Jessica Walsh is composing, performing, and working on both books and recordings with Allan. She lives in Troy with her husband and their three exuberant children.

"Renaissance Music for Flute & Guitar" by Allan Alexander and Jessica Walsh. There is great music to be found in all times and from all countries. This is what we are always looking for... pieces that surprise us (pleasantly of course), tunes that make us say, "I want to hear that again," and music that we can't stop playing. Allan & Jessica have compiled a tremendous collection of Renaissance and Medieval duos for flute and guitar. If you love playing independent, interesting parts and if you like communicating with your musical partner, this is the book for you.This music captures the feeling of the Medieval and Renaissance times. It comes alive when you play it. During the Renaissance, it was the performers who wrote the music. Often they added variations; they were excited about the melodies. Allan & Jessica bring some of this approach to the music in this book. Good music need not be difficult to play. When doing arrangements, they make sure that the pieces lay well on the instruments. A few of the pieces in this book are composed by Allan & Jessica, because they also love to write. Nothing is more satisfying, nothing gives us greater pleasure than creating a tune that they want to come back to over and over again... and this is truly in the spirit of the Renaissance.

There are almost seventy minutes of music on the CD, and 29 pieces in the book. This book is perfect to take on gigs, or just to play with a friend. The point is, the music is great. You have to play the tunes in this book to appreciate what Allan & Jessica are talking about. The CD will give you insights into the music, and it will be enjoyable to listen to on its own merit.

Songs include Dance of the Washerwoman, I Serve a Worthie Ladie, Saltarello, A Fancy, A Merry Ronde, A Child's Ronde, A Winter's Ronde, Ronde, Medieval Song No. 3, The Troubadour Song, Italiana, Medieval Song No. 1, The English Hunts Up, Sumer is Icumen in, Kemp's Jig, Out in the Meadowe, Song of the Ass, Medieval Song No. 2, Bransle Charlotte, Cantiga de Santa María, Untitled from Rowallan, The Gypsy's Lilt, Volta No. 1, Kalenda Maya, Angelus ad Virginem, Canaries, Blind Mary, Two Medieval Dances, Adew Dundie.

Customer Comment About This Book:
just bought your music issue "Renaissance Music for Flute & Guitar" today. I am a kind of guy that is constantly search for beautiful music, especially guitar, flute, and piano. I have two kids. The older plays guitar and the younger plays flute. They are 14 and 11 but quite good in the instrument. It have been very few times that I bought a tape or book that I felt worth it. Sometimes I even felt waste the money. But this book of yours including the CD is really worth it. I chose 11 songs out of that I like most: Volta No.1, Bransle Charlotte, A Fancy, A Child's Ronde, A Winter's Ronde, Italiana, I serve a Wothie Ladie, Blind Mary, Adew Dundie, Dance of the Washerwoman, and Kemp's Jig. I am training my kids so that someday they will be able to play like you and Jessica. My kid's guitar teacher said guitar & flute make a very good duet. I agree with that. It is beautiful, especially when I listen to your CD. You guys are doing very good.

Author: Allan Alexander and Jessica Walsh

Category: Instrumental Collections

Renaissance Music for Flute and Guitar