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e ’ Fantasia Although one of Dowland’s more complex works, this fantasia will not be found to be as difficult as it looks owing to the lute tuning on the guitar. It is taken from Robert Dowland’s Variety of Lute Lessons (1610). “In general, the music is clear in its intention, working from a majestic exposition = "through an exciting finile. ~~ Suggested tempo is J = 100. © This is a hard trill for the third and fourth fingers, but the tablature shows all the notes on the same (second) string. G1 Lift the bar enough to allow the open E to sound while sustaining the GH. DD itis important to establish clearly the change of tempo. Possibly a slight hold here is appropriate, followed by a firm downbeat to begin the 6/8 time. 3rd to Ft John Dowland bed fs vi 1 7 ayia pit tate Ts ord oa SS Seyi = 2 opie EEE CET r ‘ee 5B TI te ore frat FF Dido aia 4 1 ter pT op Pr nr Boe % sr Pr % Transcribed by John Dowland Joseph Suryanata (1563 -1626) © 1996 Anthony Doss International Copyright Secured. All Rights Reserved. * Original : E natural and the rhythm for the top voices on this beat is not dotted. * E in the bass is added. ** Original : G sharp. Auffihrungsrecht vorbehalten All rights reaeroed SOLOWERKE Aus der Lautentabulatur ibertragen und Fingersitze von Karl Scheit John Dowlan . (1562 ~ 1626) Complaint (d =0n 88) @=fis(Fat) panel == FOF —a hele TI *) Bai Autfohrungen ise dee Beerbeiter auf Programmen, Schaliplatten uw. anzugeben. / Vervielfitigungen jaglicher Art sind geswtztich verboten, {In publi performances the name of the arranger is tbe mentioned on the programs etc. / Any unauthorized reproduction is prohibited by low, Lore des exéeutions publiques le nom de Iarrangeur doit dre mentionné dans ex programmes etc. / Toute reproduction interdite par le oi. In ogni publica execuzione i! nome del! arrengiatore dev‘essere menzionsto sul programma etc / Riproduzione views, © Copyright 1980 by Universal Edition A.G., Wien Universal Edition Nr. 16699 Galliard (d=ca 69) ale " - 7 wee? ope @=ts(FD = rr ESP FOF eProps a 112 Dowland’s adieu for Master Oliver Cromwell wa Guitar QoFt (Capo ttl) y wy = END OF EDITION 4 SEMPER DOWLAND SEMPER DOLENS (Pavan) WALSINGHAM (Galliard) o-t = y r p LY B ff 4 Tews ceeeeeegeeeey = Ss = =" 4% == (fe ete te OR f RET ? Cr arr FORLORN HOPE FANCY 2 on Ga j : He == Perr re err Crag Ie : epee: oo toe 1G eh eee a eeneeeenneneeree ran Tarleton’s Riserrectione *) (d= casa) ‘ 4, : | aN + —# ait) na es 2 J ad P Fo TS r @=fts(FH) : fr a nT 7 TTI oq — +e all | BIT a1 = fia (FH) ma |b Lord Strang’s March Mrs. White's Nothinge nt. (4: ea 60) re Dade ada) ted “taf @stis (FH) FH — Or 5 Tare PR IF ld ob adil a Pore rh op TF vuddied dod Od, ——— rT Fr ee hi m bd ZR oa - re rr Galliard Sir John Smith his Almaine J (d= 0n88) Le wal @=fis (Fat) f dated 5 Sad The Frog Galliard (d=ea 92) 0 a a @= fis (Fa) ue 1 (s) ‘ohm Original #35 rr all + = = My Lord Willoughby’s Welcome Home (d=0a 72) These “ wr Ostia (FH)! r = wd id ahd t Mr. Dowland’s Midnight (dzen 48) Qemth) ” ie OF UE 16609 Galliard (Hasellwood’s Galliard) (daca 86) Thesescecsesseeeeeee O=fis (Fat) A Toy The Shoemaker's Wife (dea 132) x x @> fis (Fab) wn RE aah a iS ie Lady Laiton’s Almaine (den 92) -isadl |! x wl ostate F ' ! The Right Honourable the Lady Rich, her Galliard The Right Honourable Robert, Earl of Essex, high Marshall of England, his Galliard (d sen 76) @=tis (Fat) Round Battle Galliard _ a a “WOSIQOB DE LA RENAISSANCE POUR GUITARE” “GO FROM MY WINDOW” (pour Guttare seule) franscrit ot dotaté anne a 120 AE JOHN DOWLAND AR CACERES (1303 - 1628) by EDITIONS MAX ESCHIG oruonn }48, Rue de Rome, Paris. ME, 8497 ne vo tee ronan Bis ce. ‘ : \ 7 a fr ce cz. dds dds a) Load -#— TEE F M.E, 8497 “MUSIQUE DE LA RENAISSANCE POUR GUITARE” “FORTUNE MY FOE” (pour Guitare seule) { @aprés 1a Tablature par John DOWLAND ar CACERES (1363 - 1628) ¥20 eérea] Mouvt approx. (st d=52) cet a opm Me P a] Ptr 5 ber Z ai J ro aes it by EDITIONS MAX ESCEIG vs otors oencumon Be MMOUETIN BC NOREOLETON 40, Rue de Rome, Paris. 1 Cammstutar wésemés rou Tome. 7 @ © @ CT or iF a Ae Ane A cane (eS oP + 20) Foor oer ca t yo oF Pee Parts, Mat bi Ta: 2b764s, MLE. 8432, 2 PIRECES Mrs. VAUXES GIGGE on pour Guitare par (Original pour le Luth) . Sh ae azpraZy John DOWLAND (4563 - 1626) Allegro LEO 4S « rare o = = anne 4 rn (1563-1626) TW 4 John DOWLAND 1 4 oe 1 1 va nL, 4 # a 1 _—___, ! | Moderato td . QUEEN ELIZABETH’S GALLIARD : (Original pour le Luth) ton pour Guitare par SE do AZPIAZU wa = 2 GALLIARDS A LACHRIKAE, OR SEAVEN TEARES FIGURED (8 SEAVEN PASSIC ate Pauens, with dives other Pauans,Galards.aed Aimanas.... 1605 Aatrayrenearcht vorebalie : John Dowlard (AL rigntn rere! I (1se2 18263 Captaine Digori Pipers Galiard syBel Antonrangn in der Boarblter auf Progranman: in Aneagan ea. sarnevns es reer Tmencn tar numa of tn ervanger ie be mentnoed ou the propresunes fe. Copyright 1954 by Universal aition A.C. Wien, Unevareal Bastion Nr. 22247 The Ki ing of Denmark's Griizr= The King Of Denmark’s Galliard This short version of Dowland’s galiard for his onetime patron Christian IV of Denmark is taken front the book Lachrimae or Seven Tears. The compositions in it were for viols and lute, the lute parts being somewhat simpler than the extended solo arrangements, I suggest a vigorous, imperial approach at a tempo of about J = 108. G) The right-hand thumb plays both the low A and E. The change to the fourth finger is an important preparation for the chord that begins the next measure. . John Dowland Queen Elizabeth’s Galliard A fitting companion to the previous piece is Dowland’s tribute to his own queen. This piece appears in the Variety of Lute Lessons, published by Dowland’s son, Robert. Of majestic structure, it evokes fanfares and trumpet calls, and the change to 9/8 time is particularly effective. Suggested tempo is 4 = 88. @ This is an unusual arrangement for the right hand, but it is not particularly difficult when it is clear in the mind. @ The ligados here and elsewhere in the piece are editorial and may be omitted. However, in this passage they seem to emphasize the relationship ta the first theme, DA staccato approach to the melody followed by a stress on the high B helps to establish the new rhythm. Three eighth notes now take the same time as a quarter note in the previous section. @ A stress at these points helps to emphasize the cross-rhythm. John Dowland Lady Hammond’s Alman In Elizabethan times it was customary to show appreciation to patrons by dedicating a composition to them, and this piece and the one which follows are an example of charming “gifts” of this sort. The source is the Cambridge Manuscript D.D.2.11. @ The slightly unusual fingering of this measure is quite easy with practise and facilitates the execution of the chord on the second beat. Suggested tempo is d = 66. Lady Hunsdon’s Alman This version is taken from the Dowland lute book, and it appears to be in his own handwriting, floridly signed “Bachelor of Musick.” Suggested tempo is a lively J = 66. > Some passages are crossed out in favor of quite different alternatives. Since some of the variants appear to be imp rovements on the original, they are given here. ~~" For this measure the crossed out Dowland version is Qa r ett The lute book D.D.5.78 gives This isa difficult passage on the guitar, but itis possible ifthe fourth finger is anchored to the third string for the first three beats of the measure. The alternative in D.D.5.78 is which has a nice spring to it. @ In the original the Ff was an octave lower. © This measure is replaced by two in D.L ~ 78 as follows— Lady Hunsdon’s Alman Ghd John Dowland TJ 7 4 4 gt LT 7] ae 2) ofa ofa og oe F - - My Lady Hunsdon’s Puffe Gaillarde 3° Corde . JOHN DOWLAND (1562-1628) en Fat becrgtet vo tafried Behrend PS ary | = oe. =~ = : F r Poof F TF Copyright 1954 by Musikverlag V-Hladky, Wien Alle Reckte vorbehalten V.H. 1532 AL V.H.1532 Gaillarde 5 = 3° Corde ; en Fa # JOHN DOWLAND (1562-1626) ¢ oF bearbeitet von Siegfried Behrend VHladky. Wi AREYR eet thsitene 199 V Hlacky: Wien MH. 1532 N\ : BATELL GALLIARD ro tte Originale pour Luth = John DOW L1 ‘angois CAsTET = fated 1, ow Ba asta. iin dad Ba Bs Aes vur wereer eee 3 ae bers eerP 22d Err7E aad ale je ———————— Ores by Beware DEL ae mge "raiieare = vo "Yai Ta? tae ASC rrr ft FF F Vu, . aan i se fay = tL the Pee a 1t i “wi oO - 3 43 Reis eth m——_______________, yy 1) BEE \'e W#oF iz te a as sate ae Zz t rT | He re OH ae “Sieh en teldl OE F vit 4 M__—____- 2G 2a ET I. rr oF sr Ret > aus a aa SBS Sopher EZ RLS as os os is EIGHT PIECES BY JOHN DOWLAND : iseemeribed by BRIAN JEFFERY pee lume Two 1. LACHRIMAE PAVANE * oF Pe a e zfs Cambridge University Library, MS Dd. g. PELL © Tecla Editions 1995. This edition has been newly edited from the original source. Photocopying it is illegal. The cooperation of teachers and schools is requested in ee me oo - - PIPER'S PAVAN John Dowland (1562—1626) SS ~ a = — oe = tae =F Is — = —— oS Sa 5 - a = Se oy ts ~ Fr — - = Q VY pevlel])s Osis: ee = H —— “pre Air From the same source as““Toy” by Francis Cutting, this untitled air of Dowland has great charm. Itis a litle harder to play on the guitar than on the lute, and some players may wish to try it with the third string down to F# . Suggested tempo is J = 72. G) Here is the principal trouble spot. The. first finger has to move as smoothly as possible from the Ct to the low B. The secret is to do it deliberately without trying to rush it. ©) This is a curious voicing of this chord, but it a very common one in lute music and therefore is a characteristic sound. DD Here is another practice spot; remember to heep the first finger on the previous Fi, John Dowland