Renaissance Vihuela and Guitar In Sixteenth

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 thetranscription!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.

CONTENTS

• Preface
• Acknowledgements
• 1. Development of the Vihuela and Guitar
• 2. Tunings of the Vihuela and the Guitar
• 3. Surviving Instruments
• 4. Reading and Transcribing Tablature
• 5. Theory and Performance Practice
• 6. Editorial Procedures
• 7. Luis Milán: [Luis Milán]
• Fantasía 1 [Luis Milán]
• Fantasía 3 [Luis Milán]
• Fantasía 10 [Luis Milán]
• Fantasía 11 [Luis Milán]
• Fantasía 16 [Luis Milán]
• Pavanas 2, 4, 6 [Luis Milán]
• Durandarte [Luis Milán]
• 8. Luis de Narváez: [Luis de Narváez]
• Fantasía 14 [Luis de Narváez]
• Canción de Nicolas Gombert [Luis de Narváez]
• Mille Regretz (Canción del Emperador) [Luis de Narváez]
• Cuatro diferencias sobre Guárdame las vacas [Luis de Narváez]
• Otras Tres diferencias sobre Guárdame las vacas [Luis de Narváez]
• Baja de contrapunto [Luis de Narváez]
• Ya se sienta el Rey Ramiro [Luis de Narváez]
• Veintidós diferencias sobre Conde Claros [Luis de Narváez]
• 9. Alonso Mudarra: [Alonso de Mudarra]
• Pleni sunt de la Missa Faysan regretz de Josquin [Alonso de Mudarra]
• Diferencias sobre Conde Claros [Alonso de Mudarra]
• Pavana de Alexandre [Alonso de Mudarra]
• Gallarda [Alonso de Mudarra]
• Piezas del Tercero Tono [Alonso de Mudarra]
• Triste estaba el rey David [Alonso de Mudarra]
• Isabel, perdiste la tu faja [Alonso de Mudarra]
• 10. Enríquez de Valderrábano: [Enríquez de Valderrábano]
• Fantasía 19 [Enríquez de Valderrábano]
• Soneto [Enríquez de Valderrábano]
• Soneto Lombardo a manera de danza [Enríquez de Valderrábano]
• Agnus Dei de Cristóbal de Morales [Enríquez de Valderrábano]
• Siete diferencias fáciles sobre Guárdame las vacas [Enríquez de Valderrábano]
• 11. Diego Pisador: [Diego Pisador]
• Pavana [Diego Pisador]
• Decirle al caballero [Diego Pisador]
• Si la noche hace oscura [Diego Pisador]
• ¿Y con qué la lavaré? [Diego Pisador]
• 12. Miguel de Fuenllana: [Miguel de Fuenllana]
• Duo [Miguel de Fuenllana]
• Fantasía 27 [Miguel de Fuenllana]
• Tant que vivray [Miguel de Fuenllana]
• ¿Con qué la lavaré? [Miguel de Fuenllana]
• De Antequera sale el moro [Miguel de Fuenllana]
• Fantasía 40 [Miguel de Fuenllana]
• Fantasía 46 [Miguel de Fuenllana]
• Fantasía 51 [Miguel de Fuenllana]
• 13. Esteban Daza: [Esteban Daza]
• Fantasía 12 [Esteban Daza]
• Fantasía 21 [Esteban Daza]
• Fantasía 22 [Esteban Daza]
• Nunca más verán mis ojos [Esteban Daza]
• 14. Facsimiles
• 15. Selected Bibliography