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Andrea Damiani: Method for renaissance lute

Method for renaissance lute. Damiani, Andrea
 
Title

Method for renaissance lute

Composer

Andrea Damiani

Instrumentation

Lute

Publisher Ut Orpheus Edizioni
   
In stock! Available for shipping or reserving for in-store pickup. SKU: 45613

Our stores in Antwerp and Leuven
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47.25
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  • Preface
  • Introduction
  • CHAPTER 1. TUNING AND TABLATURE
    Tuning - Tablature (French tablature - Italian tablature - Rhythm symbols - Fingering and other symbols) - Stringing and doubling - Tuning practice (Practical advice on tuning - Tuning problems) - Strings
  • CHAPTER 2. BASIC TECHNIQUES
    Posture and position of the lute - Right-hand position - Right-hand functions - Sound production (Positioning p - Forearm movement - Attack - Positioning i) - Alternating p and i - Finger articulation for polyphonic passages (Positioning p - Positioning i) - Preparatory exercises - Differences from guitar technique - Body control
  • CHAPTER 3. THE RIGHT HAND
    Forearm and accentuation - Fingering
  • CHAPTER 4. THE LEFT HAND
    General principals - Preparatory exercises - Avoiding stiffness - Differences from guitar technique - Hand coordination
  • CHAPTER 5. SCALES
    Right-hand scale technique (Forearm movement - Finger articulation - Integrating the two techniques)
  • CHAPTER 6. EXERCISES FOR TWO LUTES
    Exercises on a ground bass - Contrapuntal exercises - Articulation - Dances and ground basses
  • CHAPTER 7. SHIFTING LEFT-HAND POSITIONS
    Fundamental principals - Position changes using the same finger - Position changes by substitution - Position changes by jump
  • CHAPTER 8. EXERCISES FOR TWO LUTES WITH POSITION CHANGE
  • CHAPTER 9. RIGHT-HAND TECHNIQUE IN POLYPHONIC MUSIC
    p-i articulation - Positioning m - Rest stroke with p - Left-hand positions and movement - m-i articulation - Combining p, i and m - Easy pieces in two voices - Two-voice scales
  • CHAPTER 10. COUNTERPOINT
    Voice progression and intervals - The species - Florid counterpoint - Imitation - Syncopation - Suspension
  • CHAPTER 11. CONTRAPUNTAL PIECES IN TWO VOICES
  • CHAPTER 12. THREE VOICES
    The right hand - Combining chords and single notes - Repeated chords and monophonic passages - Arpeggios - Chords and counterpoint
  • CHAPTER 13. CONTRAPUNTAL PIECES IN THREE VOICES
    Technical aspects: three-voice scales, the barre - Contrapuntal pieces in three voices
  • CHAPTER 14. CHORDS OF FOUR OR MORE NOTES
    The ring finger (a) - Five- and six-note chords - Chords played with p
  • CHAPTER 15. IDIOMATIC LUTE COMPOSITIONS
    Chords and divisions - Characteristics of lute composition
  • CHAPTER 16. TRANSFORMATION OF LUTE TECHNIQUE DURING THE 16th CENTURY
    Evolution of right-hand position - Exercises for m-i alternation
  • CHAPTER 17. TECHNIQUE
    Scales (Full-length scales in all keys - Scales with divisions) - Speed - Left-hand legato and ornamentation - The barre (Preparatory exercises - Barre exercises) - Scales in two and more voices (Two-voice scales - Three-voice scales) - Polyphonic patterns - Right-hand exercises
  • CHAPTER 18. RENAISSANCE PERFORMANCE PRACTICE
    Interpretation (Rhetoric - Sound quality - Rhythmic inequality) - Ornamentation (16th-century sources - The first half of the 16th century - The second half of the 16th century - The first half of the 17th century - The Elizabethans)
  • CHAPTER 19. TEMPERAMENT
    Meantone temperament - Equal temperament
(ISMN 9790215305083)