Back to index of guitar tablature pages by Donald Sauter. The first one, "Toccata Arpeggiata" for chitarrone, is just a series of chords that the performer is supposed to arpeggiate however he likes. I thought it was pretty neat. I also thought it was pretty hard, the way it stacked up small intervals. But a blindly struck guitar gives you fourths, on the average. It takes a real effort to stack up seconds and thirds!
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Spreadsheet This is an Excel spreadsheet with a comprehensive list of all the fronimo files on the website. It should reflect the approximate current state of the data. It also contains hyperlinks to fronimo, midi, and pdf files for each entry.
For each piece listed, it has 26 fields that contain other data, such as key, type of piece, instrumentation, source, and difficulty. If you can read this file, that is probably the easiest way of finding things. In addition, the following links may be helpful: This is a list of other websites with related information.
There may be some broken links resulting from these changes, which I hope to fix soon. These changes were required in order to introduce a change to the spreadsheet , which now gives links to the local source facsimile, where present, next to the link for each fronimo file. These are useful for easily comparing the fronimo edition against the original. In the future I also hope to put in links to recordings for the pieces, as I discover them on youtube, etc. It contains many dances and intabulations of popular songs of the time.
This book also contains a couple of blockbuster battle pieces and the obligatory lengthy passamezzo antico variations. The first part of this book contains exhaustive fingering specifications for right and left hand. Includes several lute duets by John Johnson. Also very high quality stuff. Any suggestions are welcome. Very high quality, sometimes virtuosic material from both Europe and England. I also have ultra clear facsimiles of both v. In the entire book, I only found about 7 errors, and 5 of them were an upside down but otherwise correct 2 in the German tab.
This is a rich source of delightful, well written, but easy pieces. I hope to have it back online soon. Some decent galliards, padoanas, and pavanes, here. Mostly intabulations of lieder, but a few dances thrown in. The tab is surrounded by a great deal of text, apparently mostly addressed to a variety of women. Work was slowed down by power outages from the California fires. We were evacuated for a week, but all is good. A disappointing collection of 62 fairly primitive pieces, but does contain some intabulated Martin Luther hymns.
A lot of very easy pieces here, though, for the new lutenist. It also contains 8 consort parts for cittern. Most of these pieces were initially encoded and edited in fronimo by Harald Hamre. On these items, I simply did some proofreading against the original and reformatted them in my favored format. Just completed up to item Most of the MS so far appears to have a minimum of errors compared to Wurstisen.
The material is mostly of very high quality. Oddly, all of the Aquila pieces and many of the others appear to have been crossed out in the MS diagonal lines through them , but I have included them anyway. Fingerings, including occasional left hand fingerings, are in the original. John Robinson helped me to identify this piece. That concludes Wurstisen. John Robinson helped me identify the cara cosas from this volume.
Same type of pieces. This contains a Dowland galliard and 20 excellent English, Italian, Spanish, and French songs, many of which were not previously on my site. This volume consists of dances, mostly very simple ones but challenging to edit because of their many errors.
Nothing earth-shattering. These are generally of moderate difficulty. While these pieces contain a similar number of errors to those in earlier books, they are easier to correct because the strict passamezzo pattern in them gives helpful guidance.
Again, the profusion of errors make this a slow process. It is especially challenging to suss out unica with no or faulty barring and rhythm flags. All the pieces required major error corrections. The presence of many line errors and overstrike errors leads me to believe that they were rather carelessly copied over from Italian or French tab sources. This volume, one of 8, contains 22 fantasias by various composers, including some by Milano. This is a massive work of German tab. Although the notes are quite clear, there are many mistakes, reminiscent of the Cavalcanti Lute Book.
Most of these are in rhythm flags. John Robinson was very helpful in tracking down composer attributions. Most, if not all, of the pieces in this book appear to have been taken from Italian tab sources and rendered into German tab.
Many were taken from Rotta , Crema , Bianchini , Gintzler , and especially Casteliono The book starts with 31 "preambles", which in other editions are called ricercars or fantasias, and then "Italian pieces", consisting of dances: passamezzoz, padoanas, galliards, and saltarellos, and a couple of pavanes. This one is in Neapolitan lute tab Spanish tab with all numbers one higher. Thanks to Arthur Ness, who told me that ties across a bar line are indicated in the Sulzman sources as a simple repeat of the chord in the second bar.
He also helped me identify a piece The source is extremely clear and relatively error-free. Arne Keller and Jason Kortis intabulated the work in fronimo format several years ago, saving me a great deal of work. For my part, I proofread the work against the source, did some minor editing, and changed it over into the preferred format for my website.
So kudos to Arne and Jason for this and their many other major contributions to getting lute music out. Many thanks to Andre Nieuwlaat for turning me on to this inventory and for locating a title that is not in the inventory.
Mostly high-quality English stuff. A few anonymous fantasias that are really nice, plus a couple by Francesco da Milano. John Robinson and Art Ness were very helpful in producing this edition.. This contains iconic English pieces, some very virtuostic.
Particularly of note are a couple of anonymous fantasias, which are quite fun. Helpfully, the rhythm notations are completely regular, and there are only a noderate number of errors.
Often, it seems the scribe intabulated vocal works without putting in all the musica ficta, so a large number of my emendations consisted of putting them in. I have also renumbered the pieces. The quality of the music is very high, and relatively free of errors compared to many other sources. This source also contains many ricercare by Milano, as well as several intabulated chansons and madrigals, and passamezzi, galliards, and saltarellos.
In the facsimile I have, many pages are difficult to read because they are extremely faint, but paying for the effort in eyestrain, and using a very large screen, I believe I was able to suss them out correctly. Again, Art Ness was extremely helpful with this project. Any errors, however, are my own. I received significant help from Art Ness, who corrected several errors in titling and attribution of composers.
That was the one piece that completely stumped me, but Richard totally figured it out. It turns out to be a very racy dialog between a shepherd and shepherdess.
It would be a lot of fun to perform--for an adult audience. This lot contains some excellent fantasias by Francesco da Milano, various dances, and several vocal intabulations with underlaid text.
As usual, there are many errors, including many that appear to be due to the fact that Cavalcanti copied from vocal scores and failed to put in the appropriate musica ficta. At other times, he put in inappropriate ficta. I have been greatly helped by , who kindly sent me portions of his PhD dissertation on the Cavalcanti MS. This dissertation contained valuable information on composer names and the location of vocal models. Most of these are vocal, with text underlay below the tab and extra stanzas scribbled in the margins or at the end of the page.
The text seems to follow the bass line. In some cases, I found the text elsewhere, but otherwise I gave it my best guess. The tab and rhythm indications in many of these were fairly unreliable, so more guesswork was involved to try to make sense of them.
Mysteries solved! Again, any help is appreciated. Many pieces in Cavalcanti are noted as being by "Giovanni". Others are probably by Giovanni B. Could this be the same Giovanni? In one case, I punted on trying to rationalize a piece Canario, 27 and come up with something plausible. This is a p. Cleaning up the MS was a considerable challenge.
Giovanni Girolamo Kapsperger
Johannes Hieronymus Kapsberger
Kapsberger: Il Tedesco della Tiorba - Pieces for Lute