TLYER

TYLER, J / SPARKS, P.

The guitar and its music from the Renaissance to the Classical Era.
Contents: PART I: The guitar in the sixteenth Century: 1.- Spain: “La guitarra de quatro órdenes”; 2.- France: The creation of the repertory; 3.- England: “... yused of gentilmen, and of the best sort...”; 4.- Italy.- “La Chitarra da sette corde”; 5.- Italy: The role of the guitar in the rise of Monody. PART II: The Spanish Guitar (c.1600-c.1750): 1.- Italy: The creation of the repertory; 2.- The royal guitarists; 3.- England, the Low Countries and Scandinavia; 4.- Germany and the Austrian Empire; 5.- Spain, Portugal and the New World. Appendices to Part II: 1.- A brief guide to reading and interpreting Baroque guitar tablatures; 2.- Sources of specific information on the tuning and stringing of the Five-course Guitar; 3.- The Mandora. PART III: The origins of the Classical Guitar: 1.- 1750-69: The emergence of the six-course guitar. Spain, Portugal and South America. France. Britain; 2.- 1770-89: The first six-string guitars. Ashort history of String-making. Spain, South America and Portugal. Italy, France. England, Germany and Austria; 3.- 1790 to the early 1800s: the triumph of the six-string guitar: Spain and Portugal. Britain. Italy. France. Germany, Austria and Rusia; 4.- The guitar 1750-c.1800: practical information: The instrument. Strings. Playing positions. Specialist techniques and ornamentation. Appendices to part III: 1.- guitar music published in Paris, 1750-c.1800; 2.- Selected list of songs with guitar accompaniment published in Paris, 1750-c.1800; 3.- Guitar methods, 1750-c.1800; 4.- Non-Parisian guitar music, 1750-c.1800; 5.- A selection of pieces for guitar, c.1750-c.1800. Bibliography. Index. 348pp. 246mm x 189mm. Oxford, 2002.

Contents:

PART I: The guitar in the sixteenth Century: 1.- Spain: “La guitarra de quatro órdenes”; 2.- France: The creation of the repertory; 3.- England: “... yused of gentilmen, and of the best sort...”; 4.- Italy.- “La Chitarra da sette corde”; 5.- Italy: The role of the guitar in the rise of Monody.

PART II: The Spanish Guitar (c.1600-c.1750): 1.- Italy: The creation of the repertory; 2.- The royal guitarists; 3.- England, the Low Countries and Scandinavia; 4.- Germany and the Austrian Empire; 5.- Spain, Portugal and the New World. Appendices to Part II: 1.- A brief guide to reading and interpreting Baroque guitar tablatures; 2.- Sources of specific information on the tuning and stringing of the Five-course Guitar; 3.- The Mandora.

PART III: The origins of the Classical Guitar: 1.- 1750-69: The emergence of the six-course guitar. Spain, Portugal and South America. France. Britain; 2.- 1770-89: The first six-string guitars. Ashort history of String-making. Spain, South America and Portugal. Italy, France. England, Germany and Austria; 3.- 1790 to the early 1800s: the triumph of the six-string guitar: Spain and Portugal. Britain. Italy. France. Germany, Austria and Rusia; 4.- The guitar 1750-c.1800: practical information: The instrument. Strings. Playing positions. Specialist techniques and ornamentation.

Appendices to part III: 1.- guitar music published in Paris, 1750-c.1800; 2.- Selected list of songs with guitar accompaniment published in Paris, 1750-c.1800; 3.- Guitar methods, 1750-c.1800; 4.- Non-Parisian guitar music, 1750-c.1800; 5.- A selection of pieces for guitar, c.1750-c.1800. Bibliography. Index. 348pp. 246mm x 189mm.