Capricci 1622 Part 2

Pagination: xx + 163 pp.

Pagination: xv + 210 pp.Performance parts available item: B144P at $50.00 per set

Nine extensive duos for theorbo and tiorbino, notated in Italian lute tablature, and 14 single-movement sonatas in v. 1. Other works for solo theorbo in v. 2, including popular dance forms such as the corrente and galliard, fantasias grounded in 16th-century vocal style, and written-out sectional improvisations . Also includes six strophic songs with unfigured bass lines and tablature accompaniments. This ed. provides the Italian lute tablature together with a transcription into mensural notation directly above it.

Nine extensive duos for theorbo and tiorbino, notated in Italian lute tablature, and 14 single-movement sonatas in v. 1. Other works for solo theorbo in v. 2, including popular dance forms such as the corrente and galliard, fantasias grounded in 16th-century vocal style, and written-out sectional improvisations . Also includes six strophic songs with unfigured bass lines and tablature accompaniments. This ed. provides the Italian lute tablature together with a transcription into mensural notation directly above it.

The eight verse anthems in this edition constitute the only full scores of works in Blow's hand that survive in this abundant genre. The scores are located in two manuscripts that are now parts of the collections at Christ Church, Oxford, and the Fitzwilliam Museum, Cambridge. The Oxford manuscript includes five anthems from the 1670s, and each displays a variety of structural and musical-rhetoric procedures, making them ideal representatives of Blow's multifaceted early style. The Cambridge manuscript dates from ca. 1704 and contains three late works on a much larger scale. As a group, the later anthems require considerably greater virtuosity from the solo singers, and individual verse sections grow both longer and more numerous. As representative examples within a much larger repertoire, the works selected for this edition help to reveal important facets in the career of the first person to hold the title, Composer of the Chapel Royal.

Written for musicians by a musician, Meantone Temperaments on Lutes and Viols demystifies tuning systems by providing the basic information, historical context, and practical advice necessary to easily achieve more satisfying tuning results on fretted instruments. Despite the overwhelming organological evidence that many of the finest lutenists, vihuelists, and viola da gamba players in the Renaissance and Baroque eras tuned their instruments in one of the meantone temperaments, most modern early instrument players today still tune to equal temperament. In this handbook richly supplemented with figures, diagrams, and music examples, historical performers will discover why temperaments are necessary and how they work, descriptions of a variety of temperaments, and their application on fretted instruments. This technical book provides downloadable audio tracks and other tools for fretted instrument players to achieve more stable consonances, colorful dissonances, and harmonic progressions that vividly propel the music forward.