This is a translation from Swedish into English of the first 12 pages of the text in the Book ”Altgitarren” by Per-lof !ohnson" The translation has been done for the benefit of the web #omm$nity Alto%$itar"#om" The translator is Sten Edeb&#k' and the translation has been #he#ked and and ad($sted by !ames ) Smith to ens$re ens$re international $sage" Pdf *ersion by +hristophe ,an" ,an" The book ”Altgitarren” #an be ordered from The alm. A#ademy of $si#' telephone /0 3403 526063' website www"mhm"l$"se
abo$t the origin of the alto g$itar' te#hni#al playing instr$#tions' short instr$ment history and
trans#riptions and arrangements arrangements for alto g$itar by
Per-lof !ohnson Pl$s f$rther arrangements and trans#riptions for alto g$itar by Anders iolin B.r(e Sand7$ist %$nnar ,ansson %$nnar Sp($th %.ran S.lls#her $si#al notation8 B.r(e Sand7$ist
The Malmö Academy of Music 1998
1. On the origin of the alto guitar Sin#e the end of the 1963:s' when ; ordered my first Bolin g$itar' ; had a *ery stim$lating time of #ooperation with the m$si# instr$ment designer %eorg Bolin 1" %eorg possessed an extreme dexterity in #r aftsmanship' a great knowledge of materials' and an $n$s$ally well-de*eloped feeling for so$nd and a keen ear for 7$ality of tone" ,e was not afraid of $n#on*entional sol$tions to problems' and so his design had a #hara#teristi# feat$re of ingenio$s simpli#ity" %eorg had not only a keen ear for 7$ality of tone' he listened readily to the wishes of instr$mentalists' and so he always worked in a prod$#ti*e way together with performing m$si#ians of different kinds"
erland' and there ; st$died renaissan#e l$te' m$si#al notation' and performan#e pra#ti#e #on#erning renaissan#e and baro7$e m$si#" ,owe*er' ; soon reali>ed the diffi#$lty of #ombining playing a single #o$rse g$itar with playing a do$ble #o$rse renaissan#e l$te2" Pl$#king a single string and pl$#king a do$ble #o$rse r e7$ire two #ompletely different te#hni7$es regarding single string pl$#king' whi#h is done with the nails of the right hand' see the #hapter abo$t pl$#king4" Pl$#king a do$ble #o$rse is done with the finger tips of the right hand' whi#h is an entirely different thing" ; #o$ld not #ompromise" The mere fa#t that the single strings of the g$itar sho$ld be pl$#ked with the nails and the l$te #o$rses with the finger tips' makes s$#h a #ompromise *ery #ompli#ated' not to say impossible" Either ; had to abandon the g$itar and play only renaissan#e l$te' or remain faithf$l to t he g$itar and play only g$itar" ; then #hose the latter alternati*e" The older l$te and *ih$ela 5 m$si# #an be played on an ordinary tenor g$itar witho$t trans#ription if yo$ t$ne the third string to f sharp' be#a$se these instr$ments had six #o$rses whi#h is in prin#iple the same n$mber of strings as that of the g$itar" ;t is tr$e that the most #ommon renaissan#e l$te and the *ih$ela were t$ned approximately4 a minor third higher than the tenor g$itar" B$t with a #apotasto at either the se#ond or the third fret' and if yo$ lower the t$ning of the third string half a note' the g$itar has the same t$ning as the early renaissan#e l$te and the *ih$ela' that is g1 ? d1 ? a ? f ? # ? %"
I
1 2 3
Born February 24, 1912, and deceased April 21, 1993 Double course = each string course consists of two strings, stretched closely t ogether !s also called double strung "ihuela = #panish guitar$li%e instru&ent tuned li%e a renaissance lute, used in the 1'th century
;t is to be noted that the t$ning of the renaissan#e l$te and that of the *ih$ela are relati*e' so it is impossible to determine an absol$te pit#h" es of renaissan#e l$tes and *ih$elas *aried' and so did the t$ning whi#h was dependant on s#ale length' string 7$ality' and to a #ertain extent on the temperat$re and air h$midity at the time of the t$ning" As ; #ame home from Basel in 191 ; borrowed from %eorg a so #alled )e7$into g$itar that was t$ned a1 ? e1 ? h ? g ? d ? A" ; ret$ned it g1 ? d1 ? a ? f ? # ? %' and so ; got the same t$ning as the renaissan#e l$te and the *ih$ela" +onse7$ently' ; did not need to make a deto$r *ia tr ans#riptions of m$si# for renaissan#e l$te and *ih$ela' b$t ; #o$ld play this m$si# dire#tly from the original so$r#e" =hen ; be#ame more and more absorbed in the l$te litterat$re' ; en#o$ntered new problems whi#h were already present in the Eli>abethan l$te' whi#h had one or two extra bass strings" ; asked %eorg to b$ild a ”ter>” g$itar e7$ipped with single strings and extra bass strings" T he first spe#imen of a ter> g$itar t$ned as a l$te was b$ilt in 192 and it had nine strings' whi#h means that it had six main strings g1 ? d1 ? a ? f ? # ? %' and three extra bass strings t$ned diatoni#ally down from the sixth string8 %4 < ? E flat ? C" These bass strings #o$ld also be t$ned differently" n this instr$ment ; #o$ld play the entire Eli>abethan repertoire witho$t trans#ription' and e*en other l$te m$si# written f or l$tes with ? 9 #o$rses" ,owe*er' new problems arose when ; ta#kled the early ;talian baro7$e m$si# written for the ”ar#hili$to”' or ”theorbo” that is an extended l$te with 11 ? 15 string #o$rses in renaissan#e t$ning" ;t was th$s e7$ipped with 6 ? D extra bass #o$rses" ;n 196 %eorg b$ilt a ten string g$itar t$ned g1 ? d1 ? a ? f ? # ? %< ? E flat ? C ? +" At that point in time' the #onstr$#tion had gone so far away from the original form the ter> g$itar4 that we renamed it ”alto g$itar” #onsidering the t$ning of the six main strings g1 ? d1 ? a ? f ? # ? %4' whi#h is the same as that of the most #ommon renaissan#e l$te' whi#h is #alled ”alto l$te”" ;n 19 %eorg b$ilt a tenor g$itar with fi*e extra bass strings t$ned e1 ? b ? g ? d ? A ? EC ? + ? B1 ? A1 ? %1" Then we fo$nd that its larger body ga*e it a deeper and more mellow so$nd' e*en if it was t$ned like an alto g$itar with a #apotasto behind the third fret8 g1 ? d1 ? a ? f ? # ? %< ? E flat ? C ? + ? B1 flat" The same year %eorg b$ilt' among other things' an alto g$itar with 11 strings and larger body and shorter s#ale 6D #m4" ;t was then that he made the #$taway on the treble side of the body to impro*e the playability in higher positions" That year %eorg also b$ilt a 15 string alto g$itar t$ned g1 ? d1 ? a ? f ? # ? %< ? E flat ? C ? + ? B1 flat ? A1 ? %1" Fo g$itar had had so many strings before" f #o$rse' it bro$ght abo$t new problems' and %eorg experimented with different bra#ings' tops and s#ale lengths et#" Fow there are alto g$itars with G' 9' 13' 11 and 15 and e*en 10strings" The most #ommon one has 11 strings 194" %$itars with more than strings are #er tainly no no*elty" They existed d$ring the 19 th #ent$ry when Fapoleon +oste 1G3 ? 1GG54 played a D string g$itar and ! ohan Hasper ert> 1G3 ? 1G64 a 13 string g$itar" +oste:s and ert>: g$itars were howe*er tenor g$itars e7$ipped with extra bass str ings' and they do not ha*e m$#h in #ommon with Bolin:s alto g$itar' whi#h is t$ned like an ar#hili$to' that is to say a minor third higher than the tenor g$itar and with the ma(or third in the t$ning between the third and fo$rth strings and not between the se#ond and third strings like the tenor g$itar" ;n #ertain arrangements' howe*er' it #an be #on*enient to t$ne the alto g$itar with the ma(or third between the se#ond and third strings g$itar t$ning4"
II
The p$rpose of the alto g$itar is primarily that g$itarists' witho$t ha*ing to #hange their pl$#king te#hni7$e' shall be able to play m$si# for *ih$ela' renaissan#e l$te' and r enaissan#e t$ned extended l$tes ar#hili$tos4 witho$t trans#ription and in a way that is more tr$e to the original" oreo*er it is possible' owing to the extra bass strings' to play m$si# for baro7$e t$ned l$te f1 ? d1 ? a ? f ? d ? A ? % ? < ? E ? C ? + ? B1 ? A14 tr$e to the original" The alto g$itar has not only affe#ted my own #hoi#e of repertoire ? it has had a far-rea#hing effe#t on my pedagogi#al a#ti*ity" Io$ #an more easily a##ess the l$te literat$re when yo$ a*oid the time #ons$ming work with trans#ription" Io$ #an e*en play dire#tly from the original tablat$res if yo$ like" Io$ go to the well 0 and drink fresh water" This has meant' at least to me' great benefits" Fowadays' with few ex#eptions' ; always start from the original" This has' in its t$rn' meant that many of my p$pils ha*e paid more attention to the older epo#hs than they wo$ld ha*e done otherwise" An example of s$#h a p$pil is %.ran S.lls#her' who has pa*ed the way for the pop$larity of the alto g$itar in the whole world' with his brilliant Ba#h interpretations on alto g$itar" Three more of my many talented p$pils ha*e made *al$able #ontrib$tions' for instan#e %$nnar Sp($th and %$nnar ,ansson ha*e $sed the alto g$itar and made many fine trans#riptions for the instr$ment" Another one is Anders iolin who has made alto4 g$itar arrangements of piano m$si# by Eri# Satie 1G9 ? 19264" Iet another of my p$pils is B.r(e Sand7$ist who has made many f ine arrangements for alto g$itar" E*en #omposers ha*e taken an interest in the alto g$itar' among them Caniel B.rt> who has #omposed a ballade for alto g$itar" The #ooperation between %eorg and myself has #on#erned not only the alto g$itar' b $t the alto g$itar is the inno*ation that has drawn most attention in the world" ther inno*ations whi#h ; ha*e #ontrib$ted to are the tenor g$itar with 11 strings' the treble g$itar 19G24 with G strings t$ned b1 ? f1 sharp ? d1 ? a ? e ? B - A ? %' and the string bass g$itar t$ned g ? d ? A ? < ? + ? %1" ; also followed %eorg:s work with the ”tonbord” 6 whi#h gi*es low *ol$me instr$ments a nat$ral amplifi#ation" ”Ton*&ggar” and ”tontak” are de*elopments from the ”tonbord” whi#h aim at impro*ing the a#o$sti#s of the room itself" These in*entions are o$tside my pro*in#e' b$t ; am happy that ; parti#ipated when they were implemented"
2.1 Technical playing instructions There are differents s#hools of playing te#hni7$e" The te#hni7$e that is des#ribed in the most #ommon g$itar s#hools #an generally' regarding playing on the six main strings' be $sed on alto g$itar"
4
()ell( and (source( are the sa&e word in #wedish *(%+lla( $ translator-s note (/onbord( = (tone board(, an a&plifier0loudspea%er where a guitar top li%e wooden construction e&its the sound $ translator-s note ' (/on+ggar( and (tonta%( = (tone walls( and (tone ceilings( $ translator-s note .
;t sho$ld be a matter of #o$rse that st$dents of m$si# are to ta$ght to ha*e a greater m$si#al and artisti# awareness' and not only to be #ompetent instr$mentalists"
2.2 Technical playing instructions Sitting position +on#erning sitting position' players ha*e lately and to an in#reasing extent started to $se a s$pport de*i#e that is s#rewed on to the body of the g$itar and then rests on the left thigh" This is in order to a#hie*e a nat$ral sitting position with both feet on the same le*el' firmly pla#ed on the floor" Serio$s o##$pational in($ries' whi#h often strike g$itarists in the form of ba#k tro$ble and motor dist$rban#es of both hands' #an be a*oided if yo$ $se this ”thigh s$pport” instead of a footstool"
Striing the strings Io$ pl$#k the string with the nail' p$ll it' and release it" The lo$dness of the tone depends on how hard yo$ ha*e p$lled the string" The term ”striking” is misleading" Io$ do not a#t$ally strike the string ? yo$ sei>e it' p$ll it' and release it witho$t #hanging the tension of the string when yo$ release it do not (erk the string4" ;f yo$ #hange the tension of the string when yo$ release it' then there is a #onfli#t between two in#ompatible for#es' namely the ”own will” of the tense string to ret$rn to its original position' and the power of the striking finger whi#h' thro$gh an extra (erk' in#orre#tly for#es the string in the opposite dire#tion" To a#hie*e a good tone 7$ality it is th$s important to p$ll the string only to a #ertain point yo$ p$ll it more if yo$ want a lo$d tone and less if yo$ want a 7$iet tone4 and then release it witho$t #hanging the tension of the string at the moment yo$ lea*e the string" )emember the r$le8 the least possible movement, the greatest possible relaxation. This pl$#king te#hni7$e makes it possible to emphasi>e any part yo$ want in a polyphoni# mo*ement" Io$ p$ll the string on whi#h the part in 7$estion is played more than the other strings" This des#ription is in prin#iple *alid for both free stroke tirando4 and rest stroke apoyando4"
I!
Rest stroke: P$ll the string with the finger nail towards the nearest lower string" =itho$t #hanging the tension of the string when the fingernail lea*es the string' the finger falls and rests against the nearest $nderlying string" =ith th$mb rest stroke' the th$mb nail slides towards the nearest o*erlying string and rests there"
Free stroke: =ith free stroke the finger goes free from the $nderlying string' and with th$mb rest stroke free from the o*erlying string"
Timbre (striking points): S$lla tastiera8 the string is str$#k at the fr etboard' whi#h gi*es a soft dol#e4 tone" S$l ponti#ello8 the string is str$#k at the bridge whi#h gi*es a nasal tone"
Striking angles: The string #an be str$#k in different d ire#tions" Kpwards from the g$itar top gi*es a more nasal so$nd $sed with ponti#ello playing4' and downwards towards the $nderlying string gi*es a softer so$nd $sed with s$lla tastiera playing4" =ith free stroke yo$ sho$ld try to attain a downwards strike' b$t witho$t to$#hing the $nderlying string" The two types of timbre' s$lla tastiera and s $l ponti#ello' #an th$s be emphasi>ed thro$gh striking angles"
Articulation "tone striing# and the connection of tones$ a) Legato bo$nd8 for g$itar this is is a te#hni#al term for tones prod$#ed by the left hand only' an attempt to imitate the gen$ine legato where the tones are #onne#ted to ea#h other witho$t a new atta#k' whi#h is impossible on g$itar" Kpgoing legato8 for instan#e ;ll$stration4
;n this example # is str$#k as $s$al' and d is prod$#ed with the third finger of the left hand' whi#h is hammered down between the se#ond and the third fr et so that the tone d rings"
Cowngoing legato8 for instan#e ;ll$stration4
;n this example d is str$#k as $s$al' and after that the third finger of the left hand p$lls the string sideways and releases it so that c rings"
b) ortato #arried' softly str$#k tones' only slightly separated !) "on legato a little more sharply str$#k tones' slightly separated d) Sta!!ato # short' separated tones with intermediate pa$ses e) Sta!!atissimo *ery short tones' separated by longer pa$ses
!
$) i%%i!ato bow term4 with pi>>i#ato a bow m$si#ian pl$#ks the string with a finger instead of $sing the bow" n g$itar' pi>>i#ato means that the string is damped with the little finger side of the right hand o*er the bridge' and the string is most often4 str$#k with the pad of the th$mb' the so$nd then resembles the pi>>i#ato of bow m$si#ians" The different types of arti#$lation are noted in the f ollowing way" ;ll$stration4
ore terms #on#erning arti#$lation exist' e g martellato hammering' ten$to s$stained' mar#ato refers to both arti#$lation and #hara#ter notation"
%haracter notations +hara#ter notations like for instan#e' afetto with a warm feeling' agito agitated' #on brio li*ely' ardent' #antabile singable' and more' are notations whi#h gi*e information on how the #omposer wants the #hara#ter of the m$si# to be"
&lay on the e'tra (ass strings and damping these strings C$e to the great n$mber of strings of the alto g$itar' damping gets more #ompli#ated than with an ordinary string g$itar" This #on#erns not only the dire#t damping of str$#k s trings' b$t also damping of o*ertones ringing in resonan#e' from the great n$mber of strings" To be able to damp effe#ti*ely' yo$ need to know the o*ertone series of ea#h string' so yo$ #an damp $ndesired lingering notes 7$i#kly" ,owe*er' lingering o*ertones whi#h are harmoni#ally a##eptable do not always need to be damped" S5 ma(or third 6 perfe#t fifth @D minor se*enth
;ll$stration4
G o#ta*e 9 ninth
The o*ertone series of the strings of the alto g$itar FTEJ Transposed t$ning4
!I
&ing te!hni'e: Total damping8 The th$mb side of the right hand is p$t o*er all the strings" The left hand #an also be $sed for damping" Partial damping8 =ith mo*ement step by step on loose bass strings' for instan#e ;ll$stration4 The tones are damped with the side of the right th$mb at the same time as the th$mb nail sei>es the string abo*e to prepare the next tone"
=ith downgoing mo*ement step by step on loose bass strings' for i nstan#e ;ll$stration4 L is damped with the right th$mb whi#h damps afterwards by str iking the tone B and falling towards the string abo*e rest stroke4 and thereby damping the pre*io$s tone et#" All bass strings whi#h *ibrate freely' that is the strings n$mber D' G' 9' 13' and 11' #an be damped with the th$mb side of the right hand" Be #aref$l to #hange the hand position as little as possible"
)earn to interprete the score of the music ;t is of #o$rse important to $nderstand all the information that a m$si# s#ore #an gi*e' both te#hni#ally and' most important' m$si#ally" ;n parallell with instr$mental st$dies' yo$ sho$ld st$dy m$si# theory' harmony' form theory' notation' and exe#$tion pra#ti#e' pl$s m$si#al terminology" Hnowledge is not art' b$t it is ne#essary for a #ons$mmate artisti# interpretation" The repertoire of the alto g$itarist is pr imarily renaissan#e and baro7$e m$si#' b$t also later m$si# in tr ans#ription or arrangement" As a basis for the #hoi#e of repertoire' the following repertoire plan #an be $sed"
*.1 Short history of instruments C$ring the 1th and 1D th #ent$ries' the l$te was one of the most #ommon instr$ments' and it was $sed as a solo' a##ompaniment' and ensemble instr$ment" ;n addition to the ordinary l$te' shaped as a half pear' the m$si#ians of Spain and ;taly $sed the g$itar-like *ih$ela' whi#h was t$ned in the same way" C$ring the latter half of the 1 th #ent$ry and the first half of the 1Dth #ent$ry' there were also extended l$tes'
!II
that is l$tes whi#h in addition to the six main strings were e7$ipped with 1 ? D freely *ibrating #o$rses of bass strings" Cifferent l$tes and *ih$elas #o$ld #ertainly be t$ned at different pit#hes' b$t in prin#iple the t$ning was the same' that is a fo$rththird t$ning with the third in the middle8 perfe#t 0' perfe#t 0' ma(or 5' perfe#t 0' perfe#t 0" n the early E$ropean l$te the first highest4 and sometimes also the se#ond string were single' while the others were do$ble" The se#ond and third string #o$rses were t$ned in $nison' while the fo$rth' fifth' and sixth #o$rses were t$ned in o#ta*e" n the Elisabethan l$te and on the *ih$ela all strings #o$rses were t$ned in $nison" The alto g$itar was designed to make it possible to play m$si# for renaissan#e t$ned l$tes and *ih$elas' and extended l$tes' more a$thenti#ally" That m$si# is notated in ;talian' Spanish' %erman' and
;ll$stration4
Small o#ta*e l$te" +o$ld be t$ned one tone higher"
;ll$stration4
Small treble l$te"
;ll$stration4
Treble l$te"
;ll$stration4
Alto l$te #f" ter> and alto g$itars4"
;ll$stration4
Tenor l$te #f" tenor or standard g$itar4"
;ll$stration4
Bass l$te"
;ll$stration4
@arge bass l$te"
!III
C$ring the late renaissan#e and the baro7$e era there wer e many types of extended l$tes with different t$nings and n$mber of strings" The most #ommon solo l$te with extra bass strings was the ”li$to atiorbato” or ”ar#hili$to”" ; t was t$ned like this8
;ll$stration4
S#ordat$ra t$nings ret$nings4 existed for both the main strings and in parti#$lar the extra bass strings" )enaissan#e t$ning has been the prototype of the t$ning of the alto g$itar" T he only differen#e is that the alto g$itar has single strings a#ross all the #o$rses #f" baro7$e l$te t$ning4"
*.2 !ihuela tunings @$ys iln writes in the prefa#e of El Maestro Malen#ia 165648 ”;f the *ih$ela is large' take the first string #o$rse4 more thi#k than thin' and if it is small then take the first more thin than thi#kO and when this is done' raise the first as high as it #an stand' and then t$ne the other string #o$rses in relation to the first one”" es' and that the tning as relative. Fo absol$te pit#h #an be determined" This means that the absol$te pit#h was dependant on the dimensions and 7$ality of the strings' the s#ale length of the instr$ment' and to some extent on the temperat$re and the air h$midity on the time of the t$ning" This is also *alid for all l$te t$nings d$ring the renaissan#e" ,owe*er' other m$si#ians worked with relati*e t$nings" !$an Berm$do' a des#ribe G different t$nings' Far*e> ' and Pisador 0" ;t is hardly probable that G *ih$elas with different t$nings were $sed" The t$nings were relati*e and worked r ather like a tonal orientation' th$s' #lefs p$t at the beginning of ea#h pie#e of m$si#' were part of the tonal information"
I+
,elati-e -ihuela tunings
Table with ill$strations4
The only dire#t information on how *ih$elas of different si>es #o$ld be t$ned in relation to ea#h other we find in Malderrbanos Silva de Sirenas, Libro 0. ;n that book there are d$ets for differently t$ned *ih$elas' that is f or two *ih$elas t$ned in $nison' or for two *ih$elas t$ned at a distan#e of a third' fo$rth or fifth" ;f we start with Malderrbano s eight different t$nings' we ha*e two alternati*es" Either we start from C n$mber D4D or from E n$mber 4" ;f we start from C we get the t$nings C ? < ? % ? A the t$nings D' 6' 5' and 24" Sin#e we g$itarists are $sed to E-t$ned instr$ments' ; ha*e #hosen to start from E" Then we get the following t$nings' whi#h may well ha*e been the most #ommon absol$te *ih$ela t$nings8
+
/he nu&bers in this paragraph refer to the t able aboe translator-s re&ar%
;ll$stration4
+f" treble g$itar Bolin4 and small treble l$te Praetori$s4"
;ll$stration4
+f" treble l$te Praetori$s4"
;ll$stration4
+f" alto l$te and alto g$itar"
;ll$stration4
+f" tenor l$te and ordinary tenor g$itar"
+I
Summary of renaissance tunings for and / course guitars
;ll$stration4
”%$itarra a los F$e*os”
;ll$stration4
”%$itarra al temple *ie(o”
;ll$stration4
”%$itarra de #in7o Rrdenes”
These t$nings are #hosen to fa#ilitate trans#ription to ordinary g$itar" The renaissan#e g$itar probably had a higher pit#h' b$t what is of interest here is the inter*al relation between the string #o$rses" =ith a #apotasto yo$ #an then *ary the pit#h #f" baro7$e g$itar t$ning4"
T)AFS+);PT;F8 $si# for #o$rse renaissan#e l$te and #o$rse *ih$ela #an' witho$t #hange' be played on an ordinary tenor g$itar with the third string t$ned to f sharp" =ith a #apotasto yo$ #an *ary the pit#h" $si# for extended l$te #an be trans#ribed for tenor g$itar' b$t then all notes below the sixth string m$st be transposed $p or omitted"
+II
/AB5 6F 768/58/#
1
About Altoguitar: Om Altgitarrens Tillkomst ::::::::::::::::::::::::::::::::
2
Renaissance Music 1505 – 1620: 21 Anony&ous, 22 #pinaccino, Franscesco 23 Dala, 7apirola, "inceno 29 7apirola, "inceno 21; Attaingnant, @ierre 211 Attaingnant, @ierre 212 Attaingnant, @ierre 213 ilano, Franscesco da 214 ilano, Franscesco da 21. ilano, Franscesco da 21' ilano, Franscesco da 21 ilano, Franscesco da 21> ilano, Franscesco da 219 8eusidler, Cans 22; 8eusidler, Cans 221 8eusidler, Cans 222 8eusidler, Cans 223 ilan, uys 224 ilan, uys 22. ilan, uys 22' udarra, Alonso 22 udarra, Alonso 22> udarra, Alonso 229 8arae, uys de 23; 8arae, uys de 231 "alderrabano, 5nriGues de 232 Fiorentino, @erino 233 Fuenilana, iguel de 234 DlugoraH, Alberti 23. C olborne, Anthony 23' Dowland, Dowland, ?obinson, /ho&as 249 ?obinson, /ho&as 2.; ?obinson, /ho&as 2.1 ?obinson, /ho&as 2.2 orley, /ho&as 2.3 @il%ington, Francis 2.4 @il%ington, Francis 2.. @il%ington, Francis 2.' Anony&ous 2. )aisselius, attheus 2.> ?o&anus, aurencini 2.9 ?o&anus, aurencini 2'; alilei, ichelangelo 2'1 Japsberger, ioanni 2'2 Japsberger, ioanni 2'3 @ietro, @aulo 2'4 @ietro, @aulo 2'. Ballard, ?obert 2'' Ballard, ?obert 2' Ballard, ?obert
1.;. 1.; 1.;> 1.;> 1.;> 1.;> 1.;> 1.1 1.1 1.29 1.29 1.29 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.3' 1.4' 1.4' 1.4' 1.3> 1.3> 1.4 1.4 1.4 1..;$1'19 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' 1.'2$1'2' do&%r 1'1; do&%r 1'1; do&%r 1'1; do&%r 1'1; 1..$1';3 1.;$1'3> 1.;$1'3> 1.;$1'3> 1.91 1';3 1';3 1'2; 1'11 1'11 1'1' 1'1' 1'14 1'14 1'14
7atala
::::::::::::::::::::::::::::::::
3 4 ' ' > 9 1; 11 12 13 13 14 14 1' 1 1> 2; 21 22 22 23 24 2. 2 29 3; 31 32 34 3' 3> 4; 41 42 43 44 4' 49 .2 .4 .' . .> '; '; '1 '2 '4 '. '' ' '> '9 ; '9 1 2 3 4 9 >; >2 >3 >4 >.
3
Baroque Music 16! – 15: 31 #an, aspar 32 #ans, aspar 33 ?oncalli, udoici 34 "isKe, ?obert de 3. Bittner, < 3' Bittner, < 3 Bittner, < 3> Bittner, < 39 Bittner, < 31; Bach, Bach, Bach, )eiss, #ylius eopold 339 )eiss, #ylius eopold 34; )eiss, #ylius eopold 341 )eiss, #ylius eopold 342 )eiss, #ylius eopold 343 )eiss, #ylius eopold 344 /ele&an, eorg @hilip 34. /ele&an, eorg @hilip 34' #iedel, Ferdinand 34 Baron, 5rnst ottlieb 3 4> oart, )olfgang A&adeus
1'4 1'4 1'92 1'';$12; 1'>2 1'>2 1'>2 1'>2 1'>2 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>.$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>'$1.; 1'>1$1' 1'>1$1' 1. 1'9'$1'; 1.'$191
@aanas por la L D M 5spaNoletas aota igue en #ol #it i &oll @reludiu& #it i &oll Alle&ande #it i &oll 7ourante #it i &oll #arabande #it i &oll @assacaille @relude in 7 &oll pour la ute #iciliano ur "iolinsonata nI 1 #arabande O Double ur "iolinpartita nI 1 #arabande ur 7ellosit nI . rae ur "iolinsonata nI 2 #arabande ur 7ellosit nI 2 enuett 1 O 2 ur 7ellosit nI 2 #arabande ur 7ellosit nI 3 BourKe 1 O 2 ur 7ello sit nI 3 #arabande ur 7ellosit nI ' aotte 1 O 2 ur 7ellosit nI ' 7ellosit nI 1 *B)" 1;; @rKlude 7ellosit nI 1 *B)" 1;; Alle&ande 7ellosit nI 1 *B)" 1;; 7ourante 7ellosit nI 1 *B)" 1;; #arabande 7ellosit nI 1 *B)" 1;; enuett 1 O 2 7ellosit nI 1 *B)" 1;; igue @raeludiu&, fuga O allegro i 5ss dur @raeludiu& @raeludiu&, fuga O allegro i 5ss dur Fuga @raeludiu&, fuga O allegro i 5ss dur Allegro /occata orig fPr %laer * B)" 914 @raeludiu& /occata orig fPr %laer *B)" 914 Bubbelfuga /occata orig fPr %laer *B)" 914 Adagio /occata orig fPr %laer * B)" 914 Fuga Joral ur Jantat *B)" 14 *2 Altgitarren 7iacona i $&oll Fantasie i 7$&oll /o&beau @relude Alle&ande #arabande enuett igue @assacaille i D Fantasia nI 3 Fantasia nI ' enuett 1 O 2 Aria Andante *ur J 331
>> 9; 91 91 92 93 94 94 9. 9' 9> 99 1;1 1;2 1;4 1;. 1;' 1;' 1;> 1;9 11; 112 114 11. 11' 11 11> 12; 124 12 12> 13; 132 13' 14; 142 144 14' 14 14> 149 1.; 1.2 1.4 1.> 1'2 1'3 1'4
::::::::::::::::::::::::::::::::
!
Miscellaneous "or Altoguitar: 41
Adentsit JoralfPrspel Adentsit 6 du #aliga, 6 du Celiga Adentsit Pr porten hPg, dPrren bred Adentsit Det +r en ros utsprungen Adentsit "ariation Per L Det +r en ros M Adentsit Cosianna Adentsit #usani Adentsit "ariation Per #usani "als 6p 34 nI 2 *Duo y&nopKdie nI 1 y&nopKdie nI 2 y&nopKdie nI 3 Di%er$
::::::::::::::::::::::::::::::::
1' 1' 1'> 1'> 1'9 1'9 1; 1; 11 14 1. 1' 1 1 1>
