Guide to Playing the Baroque Guitar

James Tyler (1940-2010) was Professor Emeritus of Music History and Literature and served as Director of the Early Music Program and of the Thornton Baroque Sinfonia at the University of Southern California. He is author (with Paul Sparks) of The Guitar and Its Music and The Early Mandolin.

• PrefaceAcknowledgmentsPart 1. The Basics1. The Instrument2. Tuning and Stringing3. Technique4. Reading Tablature NotationItalian TablatureFrench Tablature5.The Fundamentals of Battuto (Strumming) TechniqueSimple StrokesRhythmic Ornamentation6. Reading Mixed Tablature NotationPerformance MarkingsOrnament SignsMore about Alfabeto7. Idioms Unique to the Baroque Guitar"Inversionless" ChordsCampanelasThe Selective Playing of Bourdons8. A Note on Basso ContinuoPart 2. An Anthology of Music for Baroque GuitarIntroduction to the Anthology9. Pieces Suitable for Stringing APavanas por la D / Gaspar Sanz (1675)Suite of English Tunes / Elizabeth Cromwell's Manuscript (ca. 1684)Corrente nona / Ferdinando Valdambrini (1646)Allemande–Sarabande / Antoine Carré (1671)10. Pieces suitable for Stringing BPrelud[io]–Chiacona / Francesco Corbetta (1648)Alemanda–Corrente–Sarabanda–Giga / Giovanni Battista Granata (1674)Passacaille dite Mariona / Lelio Colista (ca. 1675)Prelude / Angelo Michele Bartolotti (ca. 1655)Allemande "La Furieuse" / François Campion (1705)Folies d'Espagne / François Le Cocq (ca. 1700)11. Pieces Suitable for Stringing CPavaniglia con parti variate / Giovanni Paolo Foscarini (ca. 1630)Aria di Fiorenza / Anonymous/Carlo Calvi (1646)Capriccio–Sarabanda–Capriccio / Francesco Asioli (1676)Jacaras / Francisco Guerau (1694)12. Pieces for Guitar and Basso ContinuoSinfonia a 2 / Francesco Corbetta (1643)Sinfonia à dui / Giovanni Battista Granata (1651)Follià: Sonata 12 de Coreli [sic] / Arcangelo Corelli/Anonymous (ca. 1725–30)Selected BibliographyIndex

"Tyler's refreshing style of writing is exemplary. Everything is explained in clear, easy-to-read English, without the blight of verbosity so prevalent in other musicological texts."—Early Music Review"The depth of detail in this volume is thorough and fascinating. Just a look at the chapter headings gives you some idea of the care taken in the researching of the very misunderstood instrument. . . . I cannot praise this volume highly enough. If there is anything not included in here, then it probably wasn't worth mentioning anyway. It is a fitting tribute to a much missed musician and should be snapped up by anyone with the smallest of interest in this fine period in our instrument's history."—Classical Guitar"It is obvious that Tyler was most concerned about clarity and a sound pedagogical method as he organized this book. It is precisely because A Guide to Playing the Baroque Guitar possesses breadth and accessibility that it is so effective. It is a good addition to any music library."—Notes"The beginner Baroque guitarist needs a guide before approaching unedited tablature, and James Tyler's new book, A Guide to Playing the Baroque Guitar . . . fulfills that need admirably."—Fontes Artis Musicae"I recommend [this] book highly to all students, players, and teachers of the Baroque guitar."—Early Music America"Tyler's detailed explanation of stringing and tuning, playing techniques, notation, and ornamentation will make a vast repertory immediately accessible to anyone who plays the guitar and easily accessible to . . . musicians in general."—Mark Cudek, Peabody Institute, Johns Hopkins University