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Hume, Tobias (c.1569-1645)
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Captain Tobias Hume was a mercenary, serving in the Russian and Swedish armies. In his introduction to 'The First Part Of Ayres' (1605) (which the following pieces come from) he says: "...My Profession being, as my Education hath beene, Armes, the only effeminate part of me, hath beene Musicke... (snip)...I robbe no others inventions, I take no Italian Note to an English dittie, or filch fragments of Songs to stuffe out my volumes. These are mine own Phancies expressed by my proper Genius, which if thou dost dislike, let me see thine... (snip)...And from Henceforth, the statefull instrument Gambo Viol, shall with ease yeelde full various and devicefull Musicke as the Lute..."
My Hope Is Decayed. Originally for bass viol.
Pachelbel, Johann (1653-1706)
Fughetta.
Purcell, Henry (1659-1695)
The Queen's Dolour. Transcription by Eduard Agulló
Telemann, Georg Philipp (1681-1767)
Fantasie. Many guitarists are familiar with Bach's music for unaccompanied violin; Telemann also wrote a group of pieces for solo violin. This is the first of twelve fantasies.
Fantasia. Transcription of Keyboard Fantasia #2 from the first set of twelve. (He wrote three sets of twelve) (3pgs.)
Vivaldi, Antonio (1678-1741)
Andante.
Largo.
Adagio.
Two movements from Violin Sonata in G Minor (Tomo 373) (transposed to E Minor).
Duets
Arbeau, Thoinot(?)(1520-1595)
Pavan 'Belle Qui Tiens Ma Vie'. From 'Orchesographie' -published 1589. (Variation by Dana Hawkes DiAnda) (2pgs.)
Bach, Johann Sebastian (1685-1750)
Aria: Lass mein Herz die Munze sein. From Cantata "Nur Jedem das Seine" - BWV 163
Guitar 1
Guitar 2
Canon. From A Musical Offering.
Banchieri, Adriano (1567-1634)
Fuga Autentica in Arie Francese.
Campion, Thomas (1567-1620)
The Queen's Almain. Transcription of a lute duet from - The Lord's Masque.
Guitar 1
Guitar 2
Ford, Thomas(c.1580-1648)
From - 'Musicke of Sundrie Kindes, Set Forth in Two Bookes...' (1607) These are from book two. Described on the title page as '... Pavens, Galiards, Almaines, Toies, Jigges, Thumps, and such like, for two Basse-Viols, the Liera way, so made as the greatest number may serve to play alone, very easy to performe.'
Mr. Southcote's Pavin and The Galliard. (to be played together).
Mounsieur Lullere, His Choice.
A Pill to Purge Melancholy.
Gabrieli, Giovanni (c.1557-1612)
Canzon Terza. - I've created two versions of this piece. The first goes into 3/2 briefly. In Gabrieli's time, when a piece went from 2/2 to 3/2, the three half notes in the 3/2 section fit into a length of time equal to a half note in the 2/2 sections. (So, the half notes in 3/2 sound like triplet quarters). To me, at a starting tempo of 1/2=80, the 3/2 section seemed too fast... so I created a second version where I just doubled the tempo in the 3/2 section (so half notes sound like straight quarters rather than triplet quarters). It seemed kind of screwy to suddenly have a section where a half note equals a quarter note... why not just call them quarters? So I did. Version two goes into 3/4. It's not technically correct, but it is a lot easier to read (and I think it sounds fine).
3/2 version -
Score
Guitar 1
Guitar 2
3/4 version -
Score
Guitar 1
Guitar 2
Handel, George Frideric(1685- 1759)
Air. HWV 587. From pieces for musical clock.
Ives, Simon (1600-1662)
Ayre. A fantasia for two instruments.
Score
Guitar 1
Guitar 2
Purcell, Henry (1659-1695)
Prelude For The Witches. From Dido and Aeneas. This piece along with the following two (Duet and Chaconne) make a nice little suite.
Guitar 1
Guitar 2
Duet (Witches). Also from Dido and Aeneas.
Guitar 1
Guitar 2
Chaconne: Two In One Upon A Ground. A canon, two measures apart, over a ground bass.
Guitar 1
Guitar 2
The Queen's Funeral March And Canzona
Telemann, Georg Philipp (1681-1767)
Aria. From Der Neumodische Liebhaber Damon.
Guitar 1
Guitar 2
Vivaldi, Antonio (1678-1741)
Largo. From Concerto for Two Cellos (tomo 61). In this concerto, the two cellos are supported by strings and continuo in the first and third movements. The middle movement (this 'largo') is written for only two cellos and continuo... (basically three cello lines: one low one [continuo] and two high ones [the soloists]. I've filled in some harmonies by adding a simple fourth voice (two voices per guitar).
All transcriptions by Dana Hawkes DiAnda unless otherwise noted. Please do not use any of the transcriptions commercially without my permission.
And, please don't link directly to any files.
Thank you.
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