Description
Book SynopsisTransitioning from modern stringed instruments to the baroque guitar
Trade ReviewTyler's refreshing style of writing is exemplary. Everything is explained in clear, easy-to-read English, without the blight of verbosity so prevalent in other musicological texts.
* Early Music Review *
The depth of detail in this volume is thorough and fascinating. Just a look at the chapter headings gives you some idea of the care taken in the researching of the very misunderstood instrument. . . . I cannot praise this volume highly enough. If there is anything not included in here, then it probably wasn't worth mentioning anyway. It is a fitting tribute to a much missed musician and should be snapped up by anyone with the smallest of interest in this fine period in our instrument's history.
* Classical Guitar *
It is obvious that Tyler was most concerned about clarity and a sound pedagogical method as he organized this book. It is precisely because A Guide to Playing the Baroque Guitar possesses breadth and accessibility that it is so effective. It is a good addition to any music library.
* Notes *
The beginner Baroque guitarist needs a guide before approaching unedited tablature, and James Tyler's new book, A Guide to Playing the Baroque Guitar . . . fulfills that need admirably.
* Fontes Artis Musicae *
I recommend [this] book highly to all students, players, and teachers of the Baroque guitar.
* Early Music America *
Table of ContentsPreface
Acknowledgments
Part 1. The Basics
1. The Instrument
2. Tuning and Stringing
3. Technique
4. Reading Tablature Notation
Italian Tablature
French Tablature
5.The Fundamentals of Battuto (Strumming) Technique
Simple Strokes
Rhythmic Ornamentation
6. Reading Mixed Tablature Notation
Performance Markings
Ornament Signs
More about Alfabeto
7. Idioms Unique to the Baroque Guitar
"Inversionless" Chords
Campanelas
The Selective Playing of Bourdons
8. A Note on Basso Continuo
Part 2. An Anthology of Music for Baroque Guitar
Introduction to the Anthology
9. Pieces Suitable for Stringing A
Pavanas por la D / Gaspar Sanz (1675)
Suite of English Tunes / Elizabeth Cromwell's Manuscript (ca. 1684)
Corrente nona / Ferdinando Valdambrini (1646)
Allemande–Sarabande / Antoine Carré (1671)
10. Pieces suitable for Stringing B
Prelud[io]–Chiacona / Francesco Corbetta (1648)
Alemanda–Corrente–Sarabanda–Giga / Giovanni Battista Granata (1674)
Passacaille dite Mariona / Lelio Colista (ca. 1675)
Prelude / Angelo Michele Bartolotti (ca. 1655)
Allemande "La Furieuse" / François Campion (1705)
Folies d'Espagne / François Le Cocq (ca. 1700)
11. Pieces Suitable for Stringing C
Pavaniglia con parti variate / Giovanni Paolo Foscarini (ca. 1630)
Aria di Fiorenza / Anonymous/Carlo Calvi (1646)
Capriccio–Sarabanda–Capriccio / Francesco Asioli (1676)
Jacaras / Francisco Guerau (1694)
12. Pieces for Guitar and Basso Continuo
Sinfonia a 2 / Francesco Corbetta (1643)
Sinfonia à dui / Giovanni Battista Granata (1651)
Follià: Sonata 12 de Coreli [sic] / Arcangelo Corelli/Anonymous (ca. 1725–30)
Selected Bibliography
Index
