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| Orlando Gibbons: The
Gibbons Hymnal: SATB:
Vocal Score
Chorale SATB [Vocal Score]
Novello & Co Ltd.
The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for Ge...(+)
The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for George Witherâs The Hymnes and Songs of the Church (1623) many of which are still popular today. This is the first modern edition which incorporates Witherâs hymn texts beyond the first verses.Gibbons composed treble and bass lines for the hymns; editor David Skinner has constructed the inner voices to create a collection of pieces that can be performed either as hymns or as simple anthems.Also in this volume are Gibbonsâs ten surviving full anthems including popular works such as Almighty And Everlasting God and his masterpiece O Clap YourHands alongside lesser-known compositions such as the beautiful miniature O Lord I Lift My Heart To Thee and presented here in a new reconstruction I Am The Resurrection And The Life.In the January 2015 edition of the Journal of the Association of Anglican Musicians Jason Overall writes about this 'superlative collection' that it 'provides a valuable resource for choirs.'
Délais: En Stock |
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| The Gibbons Hymnal (SATB)
Chorale SATB
Novello & Co Ltd.
The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for Ge...(+)
The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for George Wither's The Hymnes and Songs of the Church (1623), many of which are still popular today. This is the first modern edition which incorporates Wither's hymn texts beyond the first verses. Gibbons composed treble and bass lines for the hymns - editor David Skinner has constructed the inner voices to create a collection of pieces that can be performed either as hymns or as simple anthems. Also in this volume are Gibbons's ten surviving full anthems, including popular works such as Almighty And Everlasting God and his masterpiece, O Clap Your Hands , alongside lesser-known compositions such as the beautiful miniature, O Lord, I Lift My Heart To Thee , and, presented here in a new reconstruction, I Am The Resurrection And The Life . / Choeur Mixte (SATB)
Délais: 2-5 jours - En Stock Fournisseur |
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| Orlando Gibbons: Behold
I Bring You Glad Tidings
- Instr.: SATB: Vocal
Score
Chorale SATB [Vocal Score]
Hinshaw Music Inc.
Orlando Gibbons was a master of the verse anthem during the English renaissance....(+)
Orlando Gibbons was a master of the verse anthem during the English renaissance. Here David Giardiniere gives us a practical edition of the outstanding work. Try it during Advent or for Christmas.
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| Orlando Gibbons: O clap
your hands: Mixed Choir:
Vocal Score [Vocal Score]
Oxford University Press
Orlando Gibbons O Clap Your Hands for SSAATTBB and optional organ.
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| Orlando Gibbons: This is
the record of John: Mixed
Choir: Vocal Score [Vocal Score]
Oxford University Press
An Anglican verse anthem by the talented chorister and composer Orlando Gibbons...(+)
An Anglican verse anthem by the talented chorister and composer Orlando Gibbons based on text from John Chapter 1 Verses 19-23. Composed For SAATB and organ accompaniment.
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| Orlando Gibbons: Five
English Anthems: Mixed
Choir a Cappella: Vocal
Score
Chorale SATB [Vocal Score]
De Haske Publications
(Collection)-The choral music of Orlando Gibbons (1583-1625) is unusual among hi...(+)
(Collection)-The choral music of Orlando Gibbons (1583-1625) is unusual among his Tudor contemporaries for being all in English (as far as we know) and is of the very highest quality. This collection provides an excellent value and includes five examples of the work of this rare genius: Almighty and everlasting God; Drop drop slow tears; Hosanna to the Son of David; Lift up your heads; O Clap Your Hands.
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| Henry Aldrich Orlando
Gibbons: The Silver Swan
Aldrich A Catch On
Tobacco: SATB:
Chorale SSATB
SSATB A Cappella [Partition]
Novello & Co Ltd.
Composer Orlando Gibbons was the leading English composer of his time the late ...(+)
Composer Orlando Gibbons was the leading English composer of his time the late 16th and early 17th century. This five-Voice SSATB madrigal is the best known of his many madrigals and remains compellingly beautiful.The sheet music also includes A Catch on Tobacco by theologian philosopher and composer Dr Henry Aldrich. It dates from 1685 when the composer was Dean of Christ Church Oxford and widely known among his contemporaries as a convivial soul who among his writings created a Latin epigramme listing five reasons for drinking. The performance notes stipulate that the round is to be sung by four men while smoking their pipes.
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| Orlando Gibbons: Short
Service: Mixed Choir:
Vocal Score
Chorale SATB
SATB A Cappella [Vocal Score]
Oxford University Press
Orlando Gibbons' wonderful setting of the Te Deum arranged for SATB a cappella. ...(+)
Orlando Gibbons' wonderful setting of the Te Deum arranged for SATB a cappella. This edition also includes an Organ accompaniment for rehearsal purposes.
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| Orlando Gibbons: Eight
Pieces from Musica
Britannica: Harpsichord
or Piano:
Piano Facile
Stainer and Bell
A surperb selection of eight pieces from Musica Britannica by Orlando Gibbons. S...(+)
A surperb selection of eight pieces from Musica Britannica by Orlando Gibbons. Set for the ABRSM Harpsichord examination grade 6. Alman (Tone 1); French Air; Galliard (Tone 1) (No. 21 in Musica Britannica); Galliard: Lord Salisbury; Ground; Pavan (Tone 3); Pavan: Lord Salisbury; Peascod Time: or The Hunt's Up
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| Orlando Gibbons:
Magnificat And Nunc
Dimitis No. 6: SATB:
Vocal Work
Chorale SATB
SATB [Partition]
Novello & Co Ltd.
The editors Francis Bullock and Royle Shore created a series of settings of the ...(+)
The editors Francis Bullock and Royle Shore created a series of settings of the Magnificat and Nunc Dimittis utilizing alternating unison Gregorian chant and Choral verse in faux bourdon polyphony. This one is based on one of the services of Orlando Gibbons. There are alternate plainsong verses with Organ accompaniment and notations where the arrangement differs from the original.
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| John Bartlett John Wilbye
Orlando Gibbons Thomas
Vautor Thomas Weelkes:
The
Chorale SATB [Partition]
De Haske Publications
Mixed choruses and chamber ensembles will frequently use and enjoy this collecti...(+)
Mixed choruses and chamber ensembles will frequently use and enjoy this collection of English madrigals selected and edited by former King's Singer Philip Lawson. Selections include: Sweet Suffolk Owl (Thomas Vautor) The Silver Swan (Orlando Gibbons) The Nightingale the Organ of Delight (Thomas Weelkes) Sweet Honey Sucking Bees (John Wilbye) Of All the Birds (John Bartlett).
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| Orlando Gibbons: Why Art
Thou So Heavy O My Soul:
Mixed Choir a Cappella:
Vocal
Chorale SATB [Vocal Score]
Pavane Publishing
SATB a cappella-This distinguished Renaissance motet by Orlando Gibbons is offer...(+)
SATB a cappella-This distinguished Renaissance motet by Orlando Gibbons is offered in a new performing edition by William Lock. Along with a page of musical notes Dr. Lock provides helpful editorial marks to aid in a genuine performance of this classic piece of choral literature.
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| Orlando Gibbons: The Eyes
Of All Wait Upon Thee O
Lord: SATB: Vocal Score
Chorale SATB [Vocal Score]
Novello & Co Ltd.
Anthem for Mixed Voice Choir SSAATB and Organ edited by Barry Rose. Taken from M...(+)
Anthem for Mixed Voice Choir SSAATB and Organ edited by Barry Rose. Taken from Mr. Orlando Gibbons' Preces And Psalms For Whit-Sunday At Evensong.
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| Orlando Gibbons: The
Silver Swan: Mixed Choir:
Vocal Score [Vocal Score]
Gentry Publications
Orlando Gibbons (1583-1625) remains one of the most notable Renaissance composer...(+)
Orlando Gibbons (1583-1625) remains one of the most notable Renaissance composers of English madrigals. The musical setting of this metaphorical poem has made it his most popular to this day.
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| Orlando Gibbons: If Ye Be
Risen Again With Christ:
SATB: Vocal Work
Chorale SATB
SATB, Orgue [Partition] - Intermédiaire
Novello & Co Ltd.
This Renaissance verse anthem alternates passages of two solo Voices with Choral...(+)
This Renaissance verse anthem alternates passages of two solo Voices with Choral sections is a testament to his mastery of this form.Organist Keyboard player and composer Orlando Gibbons was not only a composer of beautiful music. In his day he was also an important musical member of the Jacobean court and Organist at Westminster Abbey. He is now best known as a master of polyphonic music and some of his anthems have remained in the repertory of Anglican Cathedrals since the Restoration.
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| Orlando Gibbons: Almighty
and everlasting God:
Mixed Choir: Vocal Score [Vocal Score]
Oxford University Press
Orlando Gibbons' beautiful piece Almighty And Everlasting God arrnaged for SATB...(+)
Orlando Gibbons' beautiful piece Almighty And Everlasting God arrnaged for SATB chorus and Organ accompaniment.
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| Nico Muhly: Gibbons
Suite: Chamber Ensemble:
Score and Parts
Orchestre de chambre [Conducteur et Parties séparées]
St Rose Music Publishing
Gibbons Suite is a suite of works by Orlando Gibbons arranged by Nico Muhly for...(+)
Gibbons Suite is a suite of works by Orlando Gibbons arranged by Nico Muhly for Clarinet in B Flat String Quartet and Piano. It was premiered by the Britten Sinfonia in January 2010.
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| Ellis Gibbons: Long Live
Fair Oriana: SATB: Vocal
Score
Chorale SATB [Vocal Score]
Gentry Publications
This new entry in the 16th century madrigal series edited by William Belan featu...(+)
This new entry in the 16th century madrigal series edited by William Belan features the lively music of Ellis Gibbons brother of famed madrigal composer Orlando Gibbons. The text carries one of the themes of Greek mythology inpraise of Queen Elizabeth. High school and college choirs will enjoy this delightful piece.
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| Robert Saxton: Sonata For
Brass Band On A Prelude
Of O. Gibbons: Brass
Band:
Ensemble de cuivres [Partitions] - Intermédiaire/avancé
University Of York Music Press
Sonata for Brass Band on a Prelude of Orlando Gibbons was commissioned by Peter ...(+)
Sonata for Brass Band on a Prelude of Orlando Gibbons was commissioned by Peter Bassano for the City of Cambridge Brass Band with funds provided by the Golland Trust and the RVW Trust.I - PraeludiumII - ToccataIII - PassacagliaIV - DanceV - PostludiumTransposed score.
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| Gibbons: Hosanna To The
Son Of David (In E Flat):
SATB: Vocal Score
Chorale SATB [Vocal Score]
Novello & Co Ltd.
Hosanna To The Son Of David is an anthem for six-part SSAATB Choir. It is publis...(+)
Hosanna To The Son Of David is an anthem for six-part SSAATB Choir. It is published here with a keyboard reduction for rehearsal purposes and has been transposed to the key of Eb. Orlando Gibbons (1583-1625) was an English composer organist and chorister who is one of the best known musicians from the Tudor period. He studied and sang in the choir at Kingâs College Cambridge and later became Organist at the Chapel Royal and Westminster Abbey. He is best remembered for his madrigals and anthems such as The Silver Swan and Almighty And Everlasting God as well as his settings of the evening canticles and his hymntunes.
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| Nico Muhly: My Days: Viol
Consort: Parts
St Rose Music Publishing
Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Parts for five Vio...(+)
Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Parts for five Viols.This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall October 2 2012.'My Days is a ritualised memory piece about Orlando Gibbons (1583-1625) written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork and vocalists to singlike the Hilliard Ensemble so it was with enormous pleasure that I composed this piece. The text isderived from Psalm 39 which Gibbons himself set as well as an account of Gibbons's own autopsy which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music but made somehow electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions and many ornaments. In between iterations the voices in rhythmic unison intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate ?Gibbonsy? verses and responses. A series of semiimprovisedfragments on the text 'Take thy plague away from me' introduces the third section of the piece where plucked strings create a halo around the text 'hear my prayer OLord.' The piece ends with the ornaments wildly exploded over the voices singing two words endlessly repeated.' - Nico Muhly
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| Nico Muhly: My Days:
Men's Choir: Score
St Rose Music Publishing
Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Full score.This 16...(+)
Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Full score.This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall October 2 2012.'My Days is a ritualised memory piece about Orlando Gibbons (1583-1625) written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork and vocalists to singlike the Hilliard Ensemble so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39 which Gibbons himself set as well as an account of Gibbons's own autopsy which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music but made somehow electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions and many ornaments. In between iterations the voices in rhythmic unison intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate ?Gibbonsy? verses and responses. A series of semiimprovisedfragments on the text 'Take thy plague away from me' introduces the third section of the piece where plucked strings create a halo around the text 'hear my prayer OLord.' The piece ends with the ornaments wildly exploded over the voices singing two words endlessly repeated.' - Nico Muhly
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| The Lynar Virginal Book:
Piano: Instrumental Album
Piano seul
Stainer and Bell
Twelve pieces by John Bull Giles and Richard Farnaby Orlando Gibbons Leonhard...(+)
Twelve pieces by John Bull Giles and Richard Farnaby Orlando Gibbons Leonhard Woodson and others are here collected to make an attractive anthology of English keyboard music found in the precious Lynar A manuscripts which also contain primary sources for the keyboard music of Sweelinck Peter Philips and Tarquinio Merula. Edited by Pieter Dirksen.CONTENTSANONYMOUS: (A toij; Courant; Courant; Masque; O neijbour Robert; Robin)BULL John: (Bonni swet Robin; My Grief)FARNABY Giles: (Kempes Moris)FARNABY Richard: (Flet Stret)GIBBONS Orlando: (The Queenes Command)WOODSON Leonhard: (Malle Siemon)
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| Fitzwilliam Virginal
Book Vol.1 - Piano
Piano seul
Dover Publications
Volume 1 of famous early 17th-century collection of keyboard music. Features 300...(+)
Volume 1 of famous early 17th-century collection of keyboard music. Features 300 works by Morley, Byrd, Bull, Gibbons, etc. Content :
I. Walsingham. John Bull (see No. LXVIII)
II. Fantasia [IX]. John Munday
III. Fantasia, Faire Wether, etc. John Munday
IV. Pavana [I]. Ferdinando Richardson
V. Variatio [I]. Ferdinando Richardson
VI. Galiarda [I]. Ferdinando Richardson
VII. Variation [I]. Ferdinando Richardson
VIII. Fantasia [VII]. William Byrd
IX. Goe from my Window. Thomas Morley (see No. XLII)
X. Jhon come kisse me now. William Byrd
XI. Galliarda to my L[ord] Lumley's Paven (see No. XLI). John Bull
XII. Nancie. Thomas Morley
XIII. Pavana [VII]. John Bull
XIV. Alman [IX]. Anon
XV. Robin [see No. CXXVIII). John Munday
XVI. Pavana [II]. M. S.
XVII. Galiarda [X]. John Bull
XVIII. Barafostus' Dreame. Anon (see No. CXXXI)
XIX. Muscadin (see No. CCXCIII). Anon
XX. Alman [VII]. Anon
XXI. Galiarda [I]. Anon
XXII. Praeludium [VII]. Anon
XXIII. Praeludium, El. Kiderminster. Anon
XXIV. Praeludium [XIII]. William Byrd
XXV. Praeludium [XIII]. Anon
XXVI. The Irish Ho-Hoane. Anon
XXVII. Pavane [VII]. Ferdinando Richardson
XXVIII. Variatio [VII]. Ferdinando Richardson
XXIX. Galiarda [I*]. Ferdinando Richardson
XXX. Variatio [I*]. Ferdinando Richardson
XXXI. The Quadran Pavan. John Bull (see No. CXXXIII)
XXXII. Variation of the Quadran Pavan. John Bull
XXXIII. Galiard to the Quadran Pavan. John Bull (see No. CXXXIV)
XXXIV. Pavana [IX]. Dor. John Bull (see No. XLVIII)
XXXV. Galiard to the Pavan [IX]. John Bull
XXXVI. Saint Thomas Wake. John Bull
XXXVII. In Nomine [X*]. John Bull
XXXVIII. [Fantasia. IX*]. John Bull
XXXIX. Pavana [IX]. Robert Johnson, set by Giles Farnaby
XL. The Woods so wilde. Orlando Gibbons (see No. LXVII)
XLI. Pavana of my L[ord] Lumley (see No. XI). John Bull
XLII. Goe from my Window (see No. IX). John Munday
XLIII. Praeludium [I]. John Bull
XLIV. Gloria tibi Trinitas. John Bull
XLV. Salvator Mundi. John Bull
XLVI. Galliarda [VII]. John Bull
XLVII. Variatio [VII]. John Bull
XLVIII. Galiarda to the Paven No. XXXIV [IX]. John Bull
XLIX. Praeludium. Thomas Oldfield
L. In Nomine. William Blitheman
LI. Ut, Re, Mi, Fa, Sol, La. John Bull
LII. Fantasia [IX]. William Byrd (see No. C)
LIII. The K[ing's] Hunt. Giles Farnaby
LIV. Spagnioletta. Giles Farnaby
LV. For two Virginals. Giles Farnaby
LVI. Passamezzo Pavana. William Byrd
LVII. Galiardas Passamezzo. William Byrd
LVIII. The Carman's Whistle. William Byrd
LIX. The Hunt's up. William Byrd (see No. CCLXXVI)
LXI. Treg[ian's] Ground. William
LXI. Monsieur's Alman. William Byrd
LXII. Variatio. William Byrd
LXIII. Alman [XIII]. William Byrd
LXIV. Sellenger's Round. William Byrd
LXV. Fortune. William Byrd
LXVI. O Mistris myne. William Byrd
LXVII. The Woods so wilde. William Byrd (see No. XL)
LXVIII. Walsingham. (See No. I.) William Byrd
LXIX. The Bells. William Byrd
LXX. Tirsi, di Luca Marenzio. Ia. Parte intavolata di Pietro Philippi. Peter Philips
LXXI. Freno. 2a. Parte. Peter Philips
LXXII. Così morirò. 3a. Parte. Peter Philips
LXXIII. Fece da voi. à 6. Peter Philips
LXXIV. Pavana Pagget. Peter Philips
LXXV. Galiarda [I**]. Peter Philips
LXXVI. Passamezzo Pavana. Peter Philips
LXXVII. Galiarda Passamezzo. Peter Philips
LXXVIII. Chi fara fede al Cielo, di Alessandro Striggio. Peter Philips
LXXIX. Bon Jour mon Cueur, di Orlando di Lasso. Peter Philips
LXXX. Pavana Dolorosa. Treg[ian set by] Peter Philips
LXXXI. Galiarda Dolorosa. Peter Philips
LXXXII. Amarilli, di Julio Romano (Giulio Caccini). Peter Philips
LXXXIII. Margott laborez. [Lasso, set by] Peter Philips
LXXXIV. Fantasia [VII]. Peter Philips
LXXXV. Pavana [VII]. Peter Philips
LXXXVI. Le Rossignuol. [Lasso, set by] Peter Philips
LXXXVII. Galliardo [VII]. Peter Philips
LXXXVIII. Fantasia [XIII*]. Peter Philips
LXXXIX. Fantasia. Nicholas Strogers
XC. Alman [IX]. Martin Peerson
XCI. Pavana, Bray. William Byrd
XCII. Galiarda. William Byrd
XCIII. Pavana. Ph. Tr. William Byrd
XCIV. Galiarda [XIII*]. William Byrd
XCV. Toccata. Giovanni Pichi
XCVI*. Praeludium Toccata. J. P. Sweelinck
XCVII. Pavana. Thomas Warrock
XCVIII. Galiarda. Thomas Warrock
XCIX. Praeludium. Galeazzo
C. Praeludium to the Fancie, No. LII. William Byrd
CI. Ut, re, mi, fa, sol, la. William Byrd
CII. Ut, mi, re. William Byrd
CIII. Fantasia [XIII]. William Byrd
CIV. All in a Garden green. William Byrd
CV. Heaven and Earth. Fre
CVI. Praeludium [VII]. John Bull
CVII. Veni. Anon
CVIII. Fantasia [IX*]. John Bull
CIX. Felix namque. Thomas Tallis
Délais: En Stock |
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| Bob Chilcott: Silver
Swan: SATB: Vocal Score
Chorale SATB [Vocal Score]
Oxford University Press
Bob Chilcott's Silver Swan for SATB double choir unaccompanied. This setting of ...(+)
Bob Chilcott's Silver Swan for SATB double choir unaccompanied. This setting of Orlando Gibbons and Catullus is a re-working of Gibbons's celebrated 17th-century madrigal (of the same title) for five voices. It retains the lilting depiction of the swan and the original composer's love of antiphonal effects and rich texture providing an ideal platform for established choirs to explore tone blend and musical imagery.
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| Invitation To The
Madrigals Vol.11
Chorale SSATB
SSATB A Cappella
Stainer and Bell
Invitation to Madrigals Book 11 Ref: B452Five madrigals by Orlando GibbonsSSATB ...(+)
Invitation to Madrigals Book 11 Ref: B452Five madrigals by Orlando GibbonsSSATB and SATTBEdited by E H Fellowes. Revised by Thurston DartCONTENTSDainty fine bird (SSATB)Fair is the rose (SSATB)O that the learned poets (SSATB)Silver swan (SATTB)What is our life' (SATTB)
Délais: Sur commande |
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| Fitzwilliam Virginal
Book Vol.2
Piano seul
Dover Publications
révision Blanche Winogron
Instrumentation : Clav Contenu :
CX. Felix ...(+)
révision Blanche Winogron
Instrumentation : Clav Contenu :
CX. Felix namque 2. Thomas Tallis. (1564)
CXI. [Exercise]. Anon
CXII. Daphne. Giles Farnaby
CXIII. Pawles Wharfe. Giles Farnaby
CXIV. Quodlings Delight. Giles Farnaby
CXV. Praeludium [X]. John Bull
CXVI. Praeludium. Dor. [XIII*]. John Bull
CXVII. Praeludium [VII]. Anon
CXVIII. Ut, re, mi, fa, sol, la, a 4 voci. J. P. Sweelinck
CXIX. In Nomine [IX]. John Bull
CXX. Praeludium [VII]. Anon
CXXI. Pavana Lachrymae. John Dowland, set by William Byrd. (See No. CLIII and CCXC)
CXXII. Galiarda. James Harding, set by Byrd
CXXIII. Pavana. Thomas Tomkins
CXXIV. Fantasia [I]. Thomas Morley
CXXV. Christe Redemptor. John Bull
CXXVI. The Maydens Song. William Byrd
CXXVII. Put up thy Dagger, Jemy. Giles Farnaby
CXXVIII. Bony sweet Robin (see No. XV). Giles Farnaby
CXXIX. Fantasia [I]. Giles Farnaby
CXXX. A Grounde. Thomas Tomkins
CXXXI. Barafostus' Dream (see No. XVIII). Thomas Tomkins
CXXXII. The Hunting Galliard. Thomas Tomkins
CXXXIII. The Quadran Paven (see No. XXXI). William Byrd
CXXXIV. Galiard to the Quadran Paven (see No. XXXIII)
CXXXV. The King's Hunt. John Bull
CXXXVI. Pavana [I]. John Bull
CXXXVII. Galiarda [I]. John Bull
CXXXVIII. Dr. Bull's Juell. John Bull
CXXXIX. The Spanish Paven. John Bull
CXL. In Nomine. [John'] Parsons
CXLI. Wooddy-Cook. Giles Farnaby
CXLII. The Duke of Brunswick's Alman. John Bull
CXLIII. Rosasolis. Giles Farnaby
CXLIV. Psalme [140]. J. P. Sweelinck
CXLV. Alman [I]. Robert Johnson
CXLVI. Alman [I]. Robert Johnson
CXLVII. Alman. Robert Johnson, set by Giles Farnaby
CXLVIII. The New Sa-Hoo. Giles Farnaby
CXLIX. Nobody's Gigge. Richard Farnaby
CL. Malt's come downe. William Byrd
CLI. Praeludium [IX]. Anon
CLII. Alman [XIII]. Thomas Morley
CLIII. Pavana [IX]. [Lachrymae.] Thomas Morley
CLIV. Galiarda [IX]. Thomas Morley
CLV. La Volta. William Byrd
CLVI. Alman [VII]. William Byrd
CLVII. Wolsey's Wilde. William Byrd
CLVIII. Callino Casturame. William Byrd
CLIX. La Volta. T. Morley, set by William Byrd
CLX. Rowland. William Byrd
CLXI. Why aske you. Anon (see No. CCLXXXVI)
CLXII. The Ghost. William Byrd
CLXIII. Alman [IX*]. William Byrd
CLXIV. Galliard [I]. William Byrd
CLXV. Pavana [IX*]. William Byrd
CLXVI. Galliarda [IX*]. William Byrd
CLXVII. Pavana [I**]. William Byrd
CLXVIII. Galiarda [I**]. William Byrd
CLXIX. Pavana [XIII*]. Thomas Morley
CLXX. Galliarda [XIII*]. Thomas Morley
CLXXI. [deest, owing to an error in numbe
CLXXII. The Queenes Alman. William Byrd
CLXXIII. A Medley. William Byrd
CLXXIV. Pavana [IX]. William Byrd
CLXXV. Galliarda [IX]. William Byrd
CLXXVI. Miserere. 3 parts. William Byrd
CLXXVII. Miserere. 4 parts. William Byrd
CLXXVIII. Pakington's Pownde. Anon
CLXXIX. The Irishe Dumpe. Anon
CLXXX. Watkins Ale. Anon
CLXXXI. A Gigg. William Byrd
CLXXXII. Pipers Paven. Martin Peerson
CLXXXII. Pipers Galliard. John Bull
CLXXXIII. Variatio ejusdem. John Bull
CLXXXIV. Praeludium. D. [XIII]. John Bull
CLXXXV. Galiarda [IX*]. John Bull
CLXXXVI. Galiarda [IX*]. John Bull
CLXXXVII. Allemanda. Marchant
CLXXXVIII. Can Shee. Anon
CLXXXIX. A Gigge. Doctor Bull's my selfe. John Bull
CXC. A Gigge. John Bull
CXCI. Sr. Jhon Grayes Galliard. W. B.
CXCII. Preludium [VII]. John Bull
CXCIII. A Toy. Anon (see No. CCIV)
CXCIV. Giles Farnaby's Dreame. Giles Farnaby
CXCV. His Rest. Giles Farnaby
CXCVI. His Humour. Giles Farnaby
CXCVII. Fayne would I wedd. Richard Farnaby
CXCVIII. A Maske. Giles Farnaby
CXCIX. A Maske. Giles Farnaby
CC. An Almain [VII]. Anon
CCI. Corranto [VII]. Anon
CCII. Alman [XIII]. Anon
CCIII. Corranto [X]. Anon
CCIV. Corranto [VII]. (See No. CXCIII.) Anon
CCV. Corranto [I]. Anon
CCVI. Daunce. Anon
CCVII. Worster Braules. Thomas Tomkins
CCVIII. Fantasia [VII]. Giles Farnaby
CCIX. A Maske. Giles Farnaby
CCX. Praeludium [IX]. John Bull
CCXI. [Praeludium] [V]. Anon
CCXII. Martin sayd to his Man. Anon
CCXIII. Almand. William Tisdall
CCXIV. Pavana Chromatica. William Tisdall
CCXV. Ut, re, mi, fa, sol, la. John Bull
CCXVI. Gipseis Round. William Byrd
CCXVII. Fantasia [I*]. J. P. Sweelinck
CCXVIII. Coranto [IX]. William Byrd
CCXIX. Pavana. Clement Cotton. William Tisdall
CCXX. Pavana [I*]. William Tisdall
CCXXI. Coranto [I]. Anon
CCXXII. Alman. Hooper
CCXXIII. Corranto [I]. Anon
CCXXIV. Corranto [I]. Anon
CCXXV. Corranto [I*]. Anon
CCXXVI. Corranto [VII]. Anon
CCXXVII. Alman [III]. Anon
CCXXVIII. Corranto. Hooper
CCXXIX. Fantasia [VII]. Giles Farnaby
CCXXX. Loth to depart. Giles Farnaby
CCXXXI. Fantasia [I]. Giles Farnaby
CCXXXII. [Fantasia] [I*]. Giles Farnaby
CCXXXIII. [Transcription of Ay me, poore Heart. ] Giles Farnaby
CCXXXIV. [Fantasia] [I]. Giles Farnaby
CCXXXV. Walter Erle's Paven. Giles Farnaby
CCXXXVI. [Fantasia] [IX]. Giles Fa
CCXXXVII. [Fantasia] [VII]. Giles Farnaby
CCXXXVIII. Fantasia [VII]. Giles Farnaby
CCXXXIX. The L. Zouches Maske. Giles Farnaby
CCXL. Grounde. Giles Farnaby
CCXLI. Coranto [XIII]. William Byrd
CCXLII. Up T[ails] all. Giles Farnaby
CCXLIII. Jhonson's Medley. Edward Johnson
CCXLIV. Nowel's Galliard. Anon
CCXLV. Tower Hill. Giles Farnaby
CCXLVI. Praeludium [XIII]. Giles Farnaby
CCXLVII. The King's Morisco. Anon
CCXLVIII. A Duo. Richard Farnaby
CCXLIX. Alman [VII]. Anon
CCL. A Galiard Ground. William Inglot
CCLI. The Leaves bee greene. William Inglot
CCLII. Pavana [IX]. William Byrd
CCLIII. Galiarda [X]. William Byrd
CCLIV. Pavana [IX*]. William Byrd
CCLV. Galiarda [IX]. William Byrd
CCLVI. Pavana [XIII]. William Byrd
CCLVII. Pavana Fant[asia] [VIII]. William Byrd
CCLVIII. Galiarda [VII]. William Byrd
CCLIX. The Earle of Oxfords Marche. William Byrd
CCLX. Galiarda. Jehan Oystermayre
CCLXI. Fantasia [VIII]. William Byrd
CCLXII. The Duchesse of Brunwick's Toye. John Bull
CCLXIII. A Toye [VIII]. Anon
CCXIV. Corranto [I]. Anon
CCLXV. Lady Riche. Anon
CCLXVI. Corranto [VIII]. Anon
CCLXVII. A Gigge. Giles Farnaby
CCLXVIII. A Toy [VII]. Anon
CCLXIX. Galiarda [X]. Giles Farnaby
CCLXX. A Toye [X]. Giles Farnaby
CCLXXI. The Primerose. Martin Peerson
CCLXXII. The Fall of the Leafe. Martin Peerson
CCLXXIII. Farnabye's Conceit. Giles Farnaby
CCLXXIV. Allemanda [VII]. Anon
CCLXXV. Pavana. Canon, 2 in 1. William Byrd
CCLXXVI. Pescodd Time. William Byrd (see No. LIX)
CCLXXVII. Pavana. Delight. Edward Johnson, set by William Byrd
CCLXXVIII. Galiarda. Edward Johnson, set by William Byrd
CCLXXIX. Miserere, 3 parts. John Bull
CCLXXX. Tell mee, Daphne. Giles Farnaby
CCLXXXI. Mal Sims. Giles Farnaby
CCLXXXII. Munday's Joy. John Munday
CCLXXXIII. Rosseter's Galiard, set by Giles Farnaby
CCLXXXIV. The Flatt Pavan. Giles Farnaby
CCLXXXV. Pavana [VII]. Giles Farnaby
CCLXXXVI. Why aske you. (See No. CLXI.) Giles Farnaby
CCLXXXVII. Farmer's Paven. Giles Farnaby
CCLXXXVIII. Dalling Alman. Anon
CCLXXXIX. The Old Spagnoletta. Giles Farnaby
CCXC. Lachrymae Pavan. John Dowland, set by Giles Farnaby (see No. CXXI and CLIII)
CCXCI. Meridian Alman. Set by Giles Farnaby
CCXCII. Pavana. Orlando Gibbons
CCXCIII. Muscadin. Giles Farnaby (see No. XIX)
CCXCIV. Lady Montegle's Paven. William Byrd
CCXCV. Galiarda. William Tisdall
CCXCVI. Fantasia [I]. Giles Farnaby
CCXCVII. Hanskin. Richard Fa
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| The Doors: 50 Renaissance
Solos for Classical
Guitar: Guitar Solo:
Instrumental
Guitare notes et tablatures
Guitare classique [Partition + Accès audio] - Intermédiaire
Cherry Lane
The roots of the classical guitar are found in the early string instruments of t...(+)
The roots of the classical guitar are found in the early string instruments of the Renaissance and this special collection features 50 solos arranged for solo guitar with tablature. The set of pieces includes music by Thomas Campian Francis Cutting John Dowland Orlando Gibbons Michael Praetorius and others with each arrangement presented in both standard notation and Tab. Access to online audio tracks is also included with carefully recorded demonstrations that will help you capture an authentic playing style to reflect the unique musical character of the Renaissance.
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| Jacobean Keyboard Music:
Harpsichord or Piano:
Instrumental Work
Clavier
Stainer and Bell
An Anthology-All eighteen pieces in this collection are reliably dated to the re...(+)
An Anthology-All eighteen pieces in this collection are reliably dated to the reign of James I and whether by named composers or anonymous ones appear in sources other than the notable Virginal books preserved in the Fitzwilliam Museum Cambridge. The contents demonstrate the variety of forms in the Keyboard repertoire of this period from plainsong-based compositions to dances by Orlando Gibbons. The 'Pretty ways for young beginners to look on' possibly by Thomas Tomkins are a fascinating example of music contemporary to the time written with the didactic purpose of instructing musicians in the techniques of counterpoint.
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| George Dyson: Variations
On Old Psalm Tunes for
Organ Book 2: Organ:
Orgue [Partition]
Novello & Co Ltd.
In the Variations on Old Psalm-Tunes for Organ Dyson fully explores the compose...(+)
In the Variations on Old Psalm-Tunes for Organ Dyson fully explores the composerâs chosen sources: âO God my strength and fortitudeâ from Ravencroftâs Psalter (1621) âO for a heart to praiseâ from Esteâs Whole Book of Psalms (1592) âO God of Truthâ from the Scottish Psalter (1635) and Orlando Gibbonsâs Song 22 âLove of the Fatherâ. These works are popular for service voluntaries.Twentieth century composer and educator George Dyson was a writer of ambitious and critically well-received works that due to their unfashionably accessible late Romantic style were allowed to languish and are now in the process of reassessment and renewed performance. However Dysonâs worksfor unison Voice and church music in particular his two settings of the Magnificat and Nunc Dimittis have remained active in the Anglican repertoire.
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