Playing with Patterns on the Lute

Acknowledgements Part 1: Fundamentals of Divisions Ch.1 Introduction 1.1 Ornamentation types: Divisions and Graces 1.2 In search of a method for lutenists 1.3 The function of divisions 1.4 Guidelines, terms and abbreviations used Ch.2 Graces 2.1 Sixteenth-century Graces for the lute 2.2 The Capirola Lutebook, c.1517 2.3 Pietro Paulo Borrono (1548) 2.4 The most common sixteenth-century graces explained Ch.3 General Rules 3.1 Two Modes 3.2 Lute Rules for divisions Ch. 4 Twelve Types of Divisions 4.1 Cadential 4.2 Triad 4.3 Static 4.4 Interval 4.5 Doubler 4.6 Filler 4.7 Lead-in 4.8 Connector 4.9 Tirata 4.10 Contrapunto & bastarda style 4.11 Broken chords 4.12 Recomposed Part 2: Tablature Case Studies Ch.5 Tablature Case Studies: Introduction 5.1 Introduction 5.2 Annotations 5.3 Abbreviations Ch.6 Nach Willen Dein Paul Hofhaimer (1459-1537) Three versions by Hans Newsidler (1536 and 1544) Ch.7 Je Prens en grè Clemens non papa (c.1510-c.1555) as set by Mattheus Waisell (1573) Ch.8 Mille regretz attributed to Josquin des Prez (c.1450-1521) As set by Luis Narvaez (1538) Ch.9 Greensleeves Anon A treble and ground duet Ch.10 Passemeze (Passamezzo Antico) Adrian Le Roy A Briefe and easye instruction, London (1568) Ch.11 Fantasia a dui liuti (Francesco da Milano) Castelfranco ms. Extract Ch.12 Contrapunto Primo B(ernardo) M(onzino) Fronimo Dialogo, Vincenzo Galilei, Venice, 1584 Ch.13 The Queens Treble John Johnson (c.1545-1594) A treble and ground duet Ch.14: Sir John Smith, his Almain John Dowland A Varietie of Lute-Lessons, London (1610) Ch.15 Ricercata per Viola Bastarda, e Lauto Aurelio Virgiliano, Il Dolcimelo (c.1600-1620), Libro Secondo Ch.16 Chanson: Susanne un jour Lassus A contrapunto Lute Duet in Bastarda style by Giovanni Terzi, (1593) Part 3: Method Ch.17 Cadences 17.1 Cadence type 1 17.2 Cadence type 2 17.3 Cadence type 3 Ch.18 Triads 18.1 Simple 18.2 Extended 18.3 Octave extensions 18.4 Harmonic Triad 18.5 Frere Jacques 18.6 Triad divisions (Simple): Exercises 18.7 Triad divisions (Extended): Exercises 18.8 Triad divisions (Octave Extended): Exercises 18.9 Triad divisions (Harmonic): Exercises Ch.19 Static 19.1 Static divisions: Exercises (1) 19.2 Static divisions: Exercises (2) Ch.20 Intervals: 20.1 Simple interval divisions 20.2 Compound interval divisions 20.3 Scales & Octaves: Exercises 20.4 Ascending and descending 2nds 20.5 Ascending and descending 3rds 20.6 Ascending and descending 4ths 20.7 Ascending and descending 5ths 20.8 Ascending and descending 6ths Ch.21 Guided lessons in building patterns 21.1 Lesson 1 on the ground from The Queen's Treble 21.2 Lesson 2 on the Passamezzo Antico 21.3 Lesson 3: Adding divisions to a solo piece Ch.22 Practice piece # 1: Twinkle, twinkle Ch.23 Practice piece # 2: Arbeau Pavane: Belle qui tiens ma vie Ch.24 Ground # 1: La Gamba (Cara Cosa) Ch.25 Ground # 2: Passamezzo Antico 25.1 As a treble and ground duet 25.2 Solo lute Ch.26 Ground #3: Passamezzo Moderno Ch.27 Ground #4: Romanesca Ch.28 Madrigal: Anchor che col partire (de Rore) 28.1 Original Madrigal a 4 (SATB) 28.2 Cantus (to practice divisions) with an intabulation of ATB. 28.3 Example: A new contrapunto/bastarda style, with an intabulation based on Paladino's intabulation (1560) 28.4 SATB Intabulation (as above) with a spare stave for improvising or composing your own contrapunto Appendix 1: Ornamentation treatises 1535-1620 (for voice, wind and string instruments) Appendix 2: The original parts for Lute 1 and Lute 2. G.A. Terzi (1593) Index