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A transcription into modern tablature and musical notation of the Premier Livre de Tablature de Guiterre by Adrian Le Roy originally published in 1551. These are fun to play and range in difficulty from easy to intermediate.
These twenty compositions are presented in the same order as they appeared in the original work published in Paris 1554 by Le Roy et Ballard. They were transcribed from a facsimile edition of the original manuscript and every effort has been made to transcribe the original tablature into modern, easy to play, tablature and notation. Although written as chansons, each of the pieces works well as guitar or ukulele solos.
Here are compositions by John Dowland who was an English musician and lutenist of the late Renaissance, transcribed for the Renaissance guitar and baritone ukulele. Most are also playable on the tenor and soprano ukulele and, of course, may be played on the guitar.
Here are ten fun to play pieces by Sixtus Kargel transcribed from his 1574 Book of Lute Pieces for the six-course lute transcribed for the Renaissance guitar, guitar, and for the baritone ukulele. Recommended: Intermediate to Advanced
More than twenty years ago James Tyler wrote a modest introduction to the history, repertory, and playing techniques of the four- and five-course guitar. Entitled The Early Guitar: A History and Handbook (OUP 1980), this work proved valuable and enlightening not only to performers and scholarsof Renaissance and Baroque guitar and lute music but also to classical guitarists. This new book, written in collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its musicfrom the Renaissance to the dawn of the Classical era.Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of theperiod. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers andscholars alike.Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central tomusic-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-stringinstrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.
Teaches the fundamentals of playing guitar, from purchasing the right model to learning scales and chords, and includes information on tuning, slide playing, and equipment.
SECOND EDITION - These thirty compositions were transcribed for the Renaissance guitar, guitar and for the baritone ukulele from a facsimile copy of Guillaume Morlaye's first book of tablature for the guitar. Most are also playable on the soprano and tenor ukulele. The re-entrant tuning of the ukulele does not detract at all from what would otherwise be a faithful rendition of these compositions. Most of the pieces sound just fine and, in fact, while testing each piece for playability and checking for mistakes, I had both my tenor and baritone ukuleles close by my side. The music ranges from fairly easy to intermediate skill levels. I encourage you to experiment with the ornamentation and make these pieces your own. Have fun!
Here are 25 Ricercars and Fantasias from the Renaissance composed by Francesco da Milano, known as "Il Divino" transcribed for the baritone ukulele, Renaissance guitar, low G ukelele and many other four course instruments. Of course, they may all be played on the guitar.
Here are 27 compositions by Domenico Bianchini from the 16th Century transcribed for the baritone ukulele, Renaissance guitar, low G ukelele, and many other four course instruments. Of course, they may all be played on the guitar.
Chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain), genre studies (Mass, motet, madrigal, chanson, instrumental music, opera), as well as essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, the concepts of "Renaissance" and "Baroque").