Allan Alexander says Many musicians, particularly guitarists, spend their lives playing solo. One reason for this is that they can. I did and I loved it. Now I have changed. For me, nothing compares with playing duos with a partner you are in tune with. This is the most fun I have ever had playing music. If you are a soloist, buy this book and go find a partner. If you are someone who plays with a flautist, buy this book, go find him or her and play this music, you will then see what I am talking about.Includes ancient music from Ireland and ScotlandComplete with CD recording of all the tunes

This imaginative and evocative piece is essentially a set of variations on the old English dance tune Goddesses, with a variety of moods explored as the music progresses.The actual technical level is kept relatively modest, providing the player with an opportunity to play a work of real substance with a distinctly English flavour.

Arranged by Mary Criswick. Voice and GuitarCONTENTSResound my voice B - E (John Attey)Of all the birds G - G (John Bartlett)Pretty duck G - G (John Bartlett)Maids are simple F sharp - E (Thomas Campion)My love hath vow’d E - E (Thomas Campion)Thou pretty bird D - F (John Danyel)Young and simple though I am G - G (Alfonso Ferrabosco)My choice is made D - F (Francis Pilkington)Rest sweet nymphs A - G (Francis Pilkington)Sweet, come again G - G (Philip Rosseter)What is a day D - D (Philip Rosseter)In a grove most rich of shade D - F (Guillaume Tessier)

Drury's Accords (Anonymous); Duncomb's Galliard (Anonymous); Merry Mood (Anonymous); Fancy (John Daniel); My Lord Willoughby his welcome home (John Dowland); La vecchia pavan (John Johnson); Echo (Francis Pilkington); Plainsong (Thomas Robinson); Toy (Thomas Robinson). These duets, of varying difficulty, have been transcribed from their lute origins by Oscar Ohlsen and edited by Robert Spencer. Recently revised.

Originally composed for the vihuela - a small, double-course forerunner of the modern guitar - these Pavanas, by Spanish-born, Renaissance composer Luis Milán, serve as superb studies in developing technical control.With these pieces it is important for the guitarist to develop an awareness of all the voices that comprise the Pavanas in order to develop legato playing within the individual voices.

Gaspar Sanz was one of the most celebrated guitarists and composers of his time. In 1674 he published a method for the baroque guitar. This method has been lauded by guitar aficionados and serves as a significant historic work. Written in Old Spanish with the tablature system of its day, this method has only been available to the few who would meticulously research and decipher its hidden meanings.Available here is the complete manuscript of Sanz's legacy, which has been translated into English and the tablature arrangements now include standard music notation. Jerry Willard has also included arrangements for the modern guitar and performs selections from this body of work on both the baroque and modern guitar which can be found on the accompanying CDs.

Air and Variations by Frescobaldi, arranged by Karl Scheit for the solo Guitar.

For guitar.

No description available. Contact info@musicroom.com for more information.

Renaissance Dance Music for Guitar Ensemble. (Two Renaissance Dance Suites and Three Dances from Dansereye). By Alan Hirsh. For Guitar (Classical). Ensemble (Mixed). Bill's Music Shelf. Early Music/Renaissance. Beginning-Intermediate. Book + Online PDF. 80 pages. Published by Mel Bay Publications, Inc (MB.99954). ISBN 9780786662326. Early Music/Renaissance. 8.5" x 11" inches. Beautifully scored guitar ensemble arrangements on music from the Renaissance. Included are Alan Hirshis settings of two Renaissance dance suites and Three Dances from Dansereye. The score and 1st guitar part are available in hard copy. The 2nd, 3rd, 4th, 5th and optional percussion parts are available as free internet downloads on the publisher's website.

Songs by: Valderrábano; Mudarra; Milan, Daza, Narvaez, Pisador and Fuenllana (for voice and guitar)

No description available. Contact info@musicroom.com for more information.

Two fantastic compositions by John Dowland, transcribed from the Folger manuscript for Guitar, by talented American guitarist, Alice Artzt. Includes: Lacrimae; Can she excuse (Folger Manuscript).

Renaissance Anglaise by John Dowland (1563-1626). For guitar. Caceres Oscar. Classical. Grade 3. Score. 31 pages. Published by Editions Henry Lemoine (LM.26140).

Cross Road Blues (Crossroads) by Cream, Eric Clapton, and Robert Johnson. For guitar. Blues; Pop; Rock. Guitar TAB. Guitar TAB. 6 pages. Published by Hal Leonard - Digital Sheet Music (HX.129914). With guitar TAB. Blues; Pop; Rock. About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

John Dowland for Classic Guitar. (Original John Downland Lute Solos Transcribed for Classic Guitar). By Steve Siktberg. For Guitar (Classical). Solos. Bill's Music Shelf. Early Music/Renaissance. Intermediate-Advanced. Book + Online Audio. 92 pages. Published by Mel Bay Publications, Inc (MB.97852). ISBN 9780786654284. Early Music/Renaissance. 8.5" x 11" inches. For years, classical guitarists have enjoyed playing the lute music of the English composer, John Dowland (1563-1626). Forty of his beautiful compositions are included in this volume. The book is intended for the guitarist with intermediate to advanced fingerstyle technique, and can be played on both nylon and steel string instruments. In order to help capture the unique character of Dowland's music, renaissance lute tuning (capo on the third fret with the G string tuned to F sharp) is used throughout. The pieces progress more or less in order of increasing difficulty, and special care has been taken to be sure any group of consecutive pieces can be played with satisfying results. Standard notation only. Includes FREE downloadable companion audio files.

John Dowland in Tablature by Steve Siktberg. For Guitar (Fingerpicking). Solos. Bill's Music Shelf. Early Music/Renaissance. Intermediate. Book + Online Audio. 144 pages. Published by Mel Bay Publications, Inc (MB.21732). ISBN 9780786678372. Early Music/Renaissance. 8.5" x 11" inches. For years, classical guitarists have enjoyed playing the lute music of the English composer, John Dowland (1563-1626). Forty of his beautiful compositions are included in this volume. The book is intended for the guitarist with intermediate to advanced fingerstyle technique, and can be played on both nylon and steel string instruments. In order to help capture the unique character of Dowland's music, renaissance lute tuning (capo on the third fret with the G string tuned to F sharp) is used throughout. The pieces progress more or less in order of increasing difficulty, and special care has been taken to be sure any group of consecutive pieces can be played with satisfying results. Standard notation with TAB. Includes FREE downloadable companion audio files.

Ave Maria by Giulio Caccini (1545-1618). Edited by Andres Uibo. For Melody Instrument (Violin, Electric Guitar, Flute, Recorder etc.), Organ (Score and set of parts). Score. Duration 5'10. Published by Edition 49 (E4.E49-02075-01). Auf CD erhaltlich / available on CD.

Renaissance Vihuela & Guitar In Sixteenth-Century Spain. (Music transcribed and adapted for modern guitar). By Frank Koonce. For Guitar (Classical). Solos. Frank Koonce Series. Early Music/Renaissance. Intermediate. Book. 192 pages. Published by Mel Bay Publications, Inc (MB.21590). ISBN 9780786678228. Early Music/Renaissance. 8.75x11.75 inches. Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open first string as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing the transcription! This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576.As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar. * A 188-page anthology, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576 * A companion volume to The Baroque Guitar in Spain and the New World (MB21122) *Intended to help bridge the gap between scholarly editions and performance editions * An introduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar.

Songs from the Labyrinth (Songbook for Voice and Guitar. Original Versions from the Complete Lute Songs Edition as composed by John Dowland). By John Dowland (1563-1626). Edited by Werner J. Wolff. Voice and guitar. For voice(s) and guitar. 30 pages. Published by Doblinger Music Publishers (DB.08-00952). ISBN M-012-40677-8.

What If a Day. (Guitare Seule). By John Dowland (1563-1626). For solo guitar. Published by Notissimo Editeur (AH.NT00771Z).

(The Genesis and Evolution of Blues in the Delta from the Late 1800s Through 1938). By Robert Johnson. Guitar Educational. Softcover. 96 pages. Published by Hal Leonard

Medieval and Renaissance Music for Fingerstyle Guitar DVD by John Renbourn. For Guitar (Fingerpicking). Solos. Grossman-Guitar Workshop. Early Music/Renaissance. Beginning-Intermediate. DVD. Duration 95 minutes. Published by Grossman's Guitar Workshop (MB.GW947DVD). For some time now I have periodically made transcriptions of early pieces mainly for my own enjoyment. My own interest in early music runs parallel to my interest in Western folk music. It was intriguing to consider the characteristics that are common in both. I discovered that even whole pieces, thought to exist only in manuscript, occasionally cropped up remarkably intact in current folk playing, and instruments long assumed silent were found to be still sounding in remote areas of Europe. I began by taking a medieval dance tune and treating it as I would a jig or reel, or drawing on contrapuntal practice in making arrangements of folk songs. In this video lesson I present five of these arrangements that I hope you will enjoy. --John Renbourn. A detailed tab/music instructional booklet is included as a PDF file on the DVD.

Cantiga's Renaissance Festival Favorites Book/CD Set. (For All Instruments with Guitar Chords). By Robert Bielefeld. For All Instruments. Tune Book. Early Music/Renaissance. Beginning-Intermediate. Book/CD Set. 152 pages. Published by Mel Bay Publications, Inc (MB.99960BCD). ISBN 9780786644322. Early Music/Renaissance. 9x11.75 inches. Players of all kinds of instruments including flute, fiddle, mandolin, recorder, whistle, guitar, harp and more can use this collection of music which is popular at modern renaissance festivals. The music is presented simply, with melody lines and chord symbols, allowing for a wide range of interpretation. In addition to many period dance tunes, the book contains a selection of vocal numbers with lyrics included. Each selection is accompanied by text to suggest ideas for performance, place the music in a modern festival context and provide useful information to those interested in studying historical sources of early music. Cantiga's arrangements of some of the tunes in this book can be heard on the companion recording. They are played at a listening tempo by the ensemble: Wooden flute or recorder, fiddle, cello, harp and percussion.