Early Music

Recordings of 2, 3, 4 and 5-part songs and instrumental selections from the 14^th- 17^th Centuries

Preamble: If you're new to this site or in a hurry, feel free to skip this go directly to the tunes!

Credits - read these (click the link) to see who deserve thanks for this music.
New recordings - Thanks to Graeme of Consett U.K. who is to my guitar practicing as Lou Gossett Jr. was to cadet Mayo, I've recently added a series of new recordings. To differentiate them from the earlier work, I've added rows with the headings: New <Country> Recordings November/December 2009. Where <Country> is England, France, Italy or Spain. By doing this I've preserved the geographical organization of the collection - and placed the new tunes where they can be found more easily.

Background: Jon Sayles, guitarist - jsguitargeek@yahoo.com

Just to set your expectations: I am not a professional guitarist. I sort of considered myself one, albeit an aspiring one, a long, long time ago - but even then, I was - at best, a journeyman player. See section below on those who tried really hard to instruct me on the instrument (but...don't blame them for what you hear) - also there are people listed to whom I owe thanks in many other ways.
However, the music recorded and made freely available on this site is simply too wonderful and (more importantly) too obscure to wait for real classical guitarists and ensembles to perform. The Early Music composers represented below were giants in their day (the Beethovens/Mozarts/Bachs/etc. of the 14, 15 and 1600s) So, in a small but determined way, I'm paying homage to some long departed, brilliant men, and trying to resurrect a few of their dormant musical gems - well worth the listen.
Contacting me. All comments and feedback are welcome (even encouraged). I can be reached by eMail at: jsguitargeek@yahoo.com - and I look forward to hearing back from you and your thoughts, good, bad, indifferent.

Rights and copyrights:

All MP3 recordings below, may be downloaded and distributed free of charge. The recordings may be used for any purpose whatsoever. In fact, that's the only reason I'm doing this - to promote Early Music, and especially to promote the musical selections recorded below.
- To listen to the tunes, simply click the titles on the left.
- You should be able to either save, or just play any song that you'd like
On obtaining the sheet music for these selections. Many of these pieces are available from Sue Iadone, at: gambagoddess1@verizon.net. Others (especially the madrigal pieces) may be available at www.cpdl.org. And a few are available from the EarlyGuitar.net site - these are specfically listed below.

Suggested Selections: The recordings below are organized by nationality (England, France, Spain, Germany, Italy). This tends to bring out the provincial sounds, styles, cadences, melodies intervals and harmonies reflected in each country's musical/cultural spirit. It's interesting that this nationalism-in-composition began as far back as the 1400's and 1500's. But, if you're new to Early and Renaissance, and want to start with a sort of "Greatest Hits" introduction, here are a few of my favorites: - but all song titles in the table below that have asterisks in their names are "suggested" - of you're new to Renaissance/Early Music.

From England: The Witches Dance, See my own sweet jewel, Browning, Ricercare,
From France: Allon Gay Gay, Se je perdu, Si ascendero
From Spain: Ignacio, Recercada, Riu Riu, Chu
From Germany: Ich weiss nit, Ballet, Die Katzenpfote
From Italy: Saltarello, O' Rosetta, Cantate Domino

If you are interested in reading about any of the composers or selections, scroll down in this site, and check out the song Descriptions. Note that you may have arrived here via searching some Early Music or Renaissance site. If so, please feel free to sample the tunes on this page by clicking the links AND visit other sites of the same persuasion.

In case you're wondering, the selections appearing with two asterisks** below are my favorite, favorites. Kind of like a musical Sophie's Choice, it's hard to pick from the repertoire. But over the 30 years I've played these pieces (on - and mostly off-again), these are the tunes that have stuck with me.

Not quite so early music - lately I've gotten into playing some J. S. Bach chorales, Mozart chamber pieces, keyboard works and even (heavily) modified orchestral transcriptions. See below by composers: Bach, Mozart, Telemann, and Hayden (Ctrl+F from your browser will open a search field).

Finally - if you like Christmas Carols (as my wife does) I recorded a bunch - and they're freely available here.

Musical Selections Click the song titles to download and/or play the recordings, assuming your computer is hooked up to speakers.	Recording and song notes
England	There's a wealth of English Renaissance music, published as well as recorded. It has a distinctive (I was going to write distinguished) "medieval" - recognizable sound to it. And fortunately, the music (original manuscripts) from the English Renaissance seem to have physically survived far more than the compositions from the European continent (France, Germany, Spain, Italy, etc.). So we've got lots of great listening to do! Start with songs like "Witches' Dance", "Browning", "Can She Excuse", "My Lady Carey's Dompe" and "Ricercare" - if you're new to this style.
What If I Never Speed?	A lute song by John Dowland (1562-1626). In three sections. Quick and pleasant, this charming tune presents some terrific counter-point in the "B" section between the melody (top treble line) and three other parts.
Weep You No More Sad Fountains	Another beautiful John Dowland lute song (from his (Third or Last Bookes of Songes or Ayres"), with sad, slow lines that express musical-weeping, etc. in a kind of tone-painting manner.
Can She Excuse My Wrongs	John Dowland - From "The first booke of songes or ayres of fowre partes with tableture for the lute", 1597. Another four-part Dowland song in three sections. Of particular interest is the third section which contains terrific interplay (a musical exchange) between the 2nd and 3rd parts.
Browning**	Elway Bevin. 1554-c.1639. Elway Bevin (hardly a household-name, even in classical music circles) was an English/Welsh composer - mainly noted in his time for rounds - songs where different parts play the same melody, beginning at different times (think "Row, Row, Row, Your Boat" -but with musical substance). Browning is a round in three parts, and is one of my very favorite early music pieces. Besides the absolutely gorgeous melodies and expressiveness of the individual lines, Elway throws some ridiculous poly-rhythms into the charts. At two separate instances in the piece, Elway basically keeps the middle line on the traditional 1 of 3/4 time, but shifts the treble and bass parts over to 2 and 3. The effect is stunning, almost spacey - as you completely lose track of "1". It sort of reminds me of 1970's free-form Miles Davis the first time I heard it, except that it was written some 400+ years ago. Note that before the mid-1600's music was written without bar lines. These poly-rhythms in Browning clearly expose the free-form structure of "no bar lines" - perhaps better than any other works recorded here. Finally, what is truly striking is the beauty of this piece, is that, in spite of the ultimate complexity and sophistication in the song-writing form and craftsmanship, the melody(s) are haunting, brilliant, sensitive and gorgeous. Who can say - he might have even been inspired by his soul-mate!
The Witches' Dance**	Anonymous - Incidental music to Shakespeares' MacBeth Act III. Where... On a stormy night, the witches invoke evil spirits as they brew their magic potions. Macbeth arrives and asks them to prophecy his destiny, In response, they conjure up three apparitions who, in turn, warn him to beware Macduff, that he need fear "none born of woman," and that he will be invincible until Birnam wood marches on his castle. The witches then summon the apparitions of eight kings who proceed past Macbeth, followed by Banquo, carrying a mirror. Terrified, Macbeth recognizes them as Banquo's descendants ("Fuggi, o real fantasima"). Macbeth faints and the witches dance around him ("Ondine e silfide"), then disappear. Of note, this particular witch's dance doesn't sound threatening (i.e. it's not "Blair Witch"-like). Perhaps the Renaissance English took a more enlightened (Glenda from OZ) view of witches?
My Lady Carey's Dompe	Anonymous, circa 1524, England. Originally for keyboard (harpsichord or its predecessor), this arresting tune has been recorded widely, and you can find dozens of references to it on the Internet. I apologize for the drop in volume. A dompe was either a lively dance or old English song (my research identifies both definitions for the term). I'd also heard that a dompe was a reference to the broad hoop-skirts that ladies-of-means wore under their dresses to "poof-them-out", as seen in the many paintings from the era. Dedicated to Stacy Irwin - Graeme's daughter, extraordinary student and gifted pianist.
April is in my Mistress' Face	A four-part Madrigal by Thomas Morley (~1557 - 1602). Haunting and slow, this piece is based on the following poem: April is in my mistress' face. And July in her eyes hath place. Within her bosom is September, But in her heart a cold December. An interesting musical-historic analysis is available at: http://cfaonline.cfa.asu.edu/reynolds/MHL341/ren/morley.april.html
Ricercare**	Adrian Willaert (1490-1562) - Willaert played a key role in the development of the ricercare. His Masses usually had three voices, and were highly contrapuntal. This particular ricercare is one of my all-time favorites - with glorious voicings, beautiful melodic lines and a spectacular ending.
Come Heavy Sleep Come Heavy Sleep (vocal version featuring Kuni Yoshimura) **	John Dowland (1563 - 1626) - one of Dowland's most serene and nostalgic madrigals. In four parts this gorgeous song, with its haunting melody and unusual chord progression has staying power, even for contemporary ears. In an effort to prove that, in spite of this, the year of political and social divisiveness and discord here in the U.S. ... music (including Early and Renaissance Music) can be a powerful and positive means of communication, inclusion and advancement - between societies even countries. Awhile ago the pre-eminent Japanese vocalist and Renaissance scholar (Kuni Yoshimura) downloaded .WAV files for Come Heavy Sleep from my house in N.C. - and recorded a gorgeous vocal track to over it. He's hosting the song on his site, which contains a significant number of beautiful arrangements of Renaissance madrigals. To be honest, going into this mini-project I was not considering the above high-fallutin' politico-philosophical notions. Kuni sings spectacularly, and since plane fares from N.C. to Tokyo are a bit out of my league, the only means of us collaborating (my accompanying him) was through cyberspace. It was only after a bit of time had passed that I realized how fairly amazing Internet technology is - to permit, even realize Marshall Mcluhan's "Global Village" - a concept he began writing about in the 1950's☺
Pavan XI**	John Dowland (1563 - 1626) - a gorgeous 5-part Pavan. Originally written for Viols, I feel this piece sounds terrific on classical guitar(s). What do you think?
Four hands, two necks, one wreathing	Thomas Weelkes (1575 - 1623) - a quick, 3-part madrigal. Very holiday, in spirit.
The Nightengale**	Thomas Weelkes (1575 - 1623) - an awesome, quick rhythmically fascinating, 3-part madrigal, uptempo, too.
Shoot False Love I Care Not	Thomas Weelkes (1575 - 1623) - This is a really gorgeous 5-part Madrigal - with very interesting harmonies.
Though My Carriage be But Careless	Thomas Weelkes (1575 - 1623) - You could easily put Weelkes in the same category of genius with Thomas Morley. A terrific, if too short 3-part Madrigal - spirited and funny in tone.
Tan Ta Ra Cries Mars	Thomas Weelkes (1575 - 1623) - This has to have been written for some play, during the era. A short 3-part Madrigal - great 4 -to 4 - to 4 /4 time changes.
Lord when I think	Thomas Weelkes (1575 - 1623) - A gorgeous 3-part men's chorus madrigal, about the stupidity of materialism and the wonder of love.
An Old Epitaph	William Byrd (1659 - 1695) - A canon (round) in 3 voices.
Non Nobis Domine	William Byrd (1659 - 1695) - Sacred music - yet, in round form.
Pavan	William Byrd (1659 - 1695) - A 6-part Pavan - stately, elegant, beautiful - lots happening, and one that will stay with you, if you listen a few times.
The Silver Swan	Orlando Gibbons (1583-1625) - A famous choral work in 5-parts.
Fantasia**	Orlando Gibbons (1583-1625) - one of my favorite two-part instrumental works. Fast and furious, this little ditty flies at the top of my technical range. Fun tho ... and dedicated to Donna and Gracie H. Donna being one of the most extraordinary talents and wonderful people I've ever been blessed to work with (and Gracie her daughter). You're a lucky girl Gracie. But then - I'll bet you already know this.
Pavanne in 3 Parts Fantasia	Thomas Lupo (1571 - 1627) - English composer of Italian origin, and from a musical family Thomas served the court as a Viol player from 1591. As well as vocal music, he composed many instrumental fantasias (one of which is recorded here).
Fine Knacks For Ladies	John Dowland (1563 - 1626) - one of Dowland's more popular 4-part madrigals - fast and all-too-short (I probably could have done a few additional verses)
Go Crystal Tears	John Dowland (1563 - 1626) - one of Dowland's more popular slow and haunting 4-part madrigals.
If my complaints	John Dowland (1563 - 1626) - a gorgeous, slow, melodic and beautiful tune.
Come again	John Dowland (1563 - 1626) - a cool and up-tempo madrigal. Snappy (no entendres, please!)
A shepherd in a shade	John Dowland (1563 - 1626) - another cool and up-tempo madrigal. Gorgeous harmonies.
Rest awhile you cruel cares	John Dowland (1563 - 1626) - a slow brooding madrigal. Beautiful melody - terrific chords and the third (tenor) line does some crazy counterpoint - near the end.
Fly not so fast my dear**	John Wilbye (1574-1638) - an incredibly cool 4-part madrigal, played up-tempo, and with verve. This is a really a terrific selection. Special thanks to an incredibly gifted Renaissance singer (Kuni Yoshimura), who offered these carefully considered thoughts on Wilbye: "`I've always suspected that Wilbye must have been an accomplished lutenist himself (a lute was bequeathed to him in his father's will and his style of composition suggests familiarity with plucked instruments rather than keyboard)."`
Now is the Month of Maying	Thomas Morley (1557-1602) - A terrific, up-tempo, 5-part madrigal. Sounds good any time of year.
Tho' Philomela	Thomas Morley (1557-1602) - A short but sweet little 3-part choral work. All treble voices. Ends with a kick.
See Mine Own Sweet Jewel**	Thomas Morley (1557-1602) - One of Morley's more famous three-part madrigals (Bass, alto, soprano). Played up-tempo to reveal the way-cool rhythmic elements and sophisticated counter-point. This is a new "favorite".
Fyer Fyer, My Heart**	Thomas Morley (1557-1602) - I learned of this stunning 5-part madrigal just a few days ago. It's incredible, bold, dynamic, up-beat. Absolutely great stuff.
Sing we and chant it	Thomas Morley (1557-1602) - This is a classic 5-part madrigal by Morley. Simple, fun, with terrific harmonies and a great melody line. It's one of the more well-known songs on this site, being sung regularly in high school and college choirs.
It was a lover and his lass	Thomas Morley (1557-1602) - This is one of Morley's more popular tunes - the words (text) by none less than William Shakespeare. It will be published here by the end of the 2004..
As Matchless Beauty	John Wilbye (1574-1638) - A classic 4-part madrigal, slow and elegant.
All Pleasure is of this Condition	John Wilbye (1574-1638) - A fabulous and romantic 5-part madrigal. Soul-mate/inspired.
Alas what hope of speeding	John Wilbye (1574-1638) - Another terrific Wilbye 4-part Madrigal. Fabulous writing, from a master composer at the top of his game.
Sweet was the song the virgin sang	John Wilbye (1574-1638) - A cool up-tempo, 5-part madrigal. Sue Iadone gave to this to me years ago. Shame on me for not having played it (until last night). A really fun and interesting piece.. Dedicated to Graeme's wife - Tracey Irwin. For her patience with men-and-their-computers and obsession with eMail.
Never Weather Beaten Saile	Thomas Campian (1567-1620) - Another classic 4-part madrigal, slow and elegant. This is a vocal favorite - that like the Silver Swan (above) and unlike many of the rest on this site, is not so obscure.
Besides a fountain	Thomas Morley (1557-1602) - An absolutely terrific 4-part madrigal. Loads of energy and sweetness. Bursting at the seams with syncopation and rhythm. This one was simply a blast to record - although the drop-C tuning (low E to C) was new, especially as I had to read the line down two octaves.
Sweet Nymph come to thy lover	Thomas Morley (1557-1602) - A quick and fun duet. A bit risqué with the text in the usual in-directed style of the 1600's (we're not talking D.H. Lawrence here). But the title kind of tells you this is not one that would be sung during Sunday mass.
Bourree	Henry Purcell (1658 - 1695) - Purcell's Bourree is really more Baroque than Renaissance in character (you'll find it sounds a lot more like Bach then Elway Bevin. This Bourree is a standard dance form from the period.
Rondeau	Henry Purcell (1658 - 1695) - This is a very nice three-part light and quick dance.
Springtime Mantleth Every Bough	Thomas Morley (1557-1602) - A cute 3-part tune. Quick, light and very spring-like in spirit.
I Love, Alas, I Love Thee	Thomas Morley (1557-1602) - A 5-part madrigal, very pretty a little sad, about Tom's unrequited love for some hottee of the time named, "Phyllis" (who was apparently sweeter than Amaryllis (that's a flower... I had to look it up!)
You that wont to my pipes sound	Thomas Morley (1557-1602) - A really cool, quick 5-part madrigal. Rhythmic, breezy and fun.
Allemande	John Dowland (1563 - 1626) - a short, stately dance. But composed with Dowland's flair for the subtle, wonderful harmonies, unexpected chord changes and great melody lines one of (if not the) premier English Renaissance composer of his time simply knocked out.
Clear or cloudy	John Dowland (1563 - 1626) - from the Ayres for Four Voices - a beautiful madrigal - almost too short.
Say, love	John Dowland (1563 - 1626) - from the Ayres for Four Voices - really, really short - cute madrigal
Shall I strive with words to move	John Dowland (1563 - 1626) - from the Ayres for Four Voices - very interesting quick tune (at least in my interpretation!). Fantastic and unexpected chord changes throughout.
Praise blindness, eyes	John Dowland (1563 - 1626) - from the Ayres for Four Voices - Lovely rhythmic, medium-tempo tune, somewhat like "If my complaints"
Dear, if you change	John Dowland (1563 - 1626) - from the Ayres for Four Voices - a really gorgeous, sensitive slow madrigal. ** sorry about the background noise in this recording...I'll go and re-do it in a bit. It's worth a better play...
Sleep wayward thoughts	John Dowland (1563 - 1626) - from the Ayres for Four Voices - A simple, slow, graceful minuet. Nice sleeping music.
The lowest trees have tops	John Dowland (1563 - 1626) - from the Ayres for Four Voices - A famous Ayre (song). A bit sad, but pretty.
Unquiet thoughts	John Dowland (1563 - 1626) - from the Ayres for Four Voices - Another Dowland unusual harmonic treasure. With unlikely chord changes, mimicking the song title.
My heart and tongue were twins	John Dowland (1563 - 1626) - from the Ayres for Four Voices - A gorgeous, sad, stately song, with biting dissonance and terrific lines.
Now O now I Needs Must Part	John Dowland (1563 - 1626) - A really enchanting, melancholy, slow song - almost sounds like a Christmas Carol. Definitely the kind of tune that might end a Renaissance play.
Sweet Kate	Robert Jones (1597 - ~1620) - Okay, I took some liberties with this one. But it was fun. A cooking late Renaissance number, with a great beat. And by the sound of things, Kate must of have been some heart-breaker.
Weep O Mine Eyes	John Bennett (1570-1614) - Inspired by a John Dowland tune (Lachrymae) - this is another popular choral madrigal. Beautiful, slow and sweet.
New English Recordings - November/December 2009
My Mistress is as Fine as Faire	John Bennett (1570-1614) - A terrifically cute (and just as short) work by a wonderful little known composer. This is a 4-part Madrigal. And I probably should have played it through a couple of times (I think it's like... 35 seconds long :-)
Never Weather Beaten Saile	Thomas Campion (1567-1620) - So - as it turns out, I'm not only losing my hair in my old age, my memory's turning to swiss cheese. I'd already recorded a version of this classic song/madrigal. But I kind'a like the way this newer rendition turned out, so I'm uploading it. When I was a kid, I never had a problem "doubles" in baseball cards. I guess some traits die hard.
Flow my tears**	John Dowland (1563 - 1626) - Not a double(!) - this poignant lute song has a haunting and deeply moving melody line - harmonized by stunning chords arranged by Bill Long. It's one of my Dowland favorites. Listen to the melody line in the last part of the last verse as it depicts flowing tears.
In this trembling shadow	John Dowland (1563 - 1626) - Well - another mysterious, and somber work by a composer that definitely knows from mysterious and somber. This beautiful madrigal, full of contemporary harmonies and lines is about - as my best friend puts it, "When the Great Lifeguard calls you out of the pool". Extremely beautiful (I run out of adjectives a lot doing these "liner notes")
Queen Elizabeth's Galliard	John Dowland (1563 - 1626) - Wouldn't you know it - just when you think Dowland's a sort of "Dr. Hemlock" or something, he writes this spirited lute piece for queen Liz. Of course times being what they were I think uplifting and sassy tunes dedicated to royalty were probably the way to go - when trying to stay out of the Tower of London. My only regret is that I wish I'd played this particulay recording a little better (not that I"m worried about Lizzie's revenge - just, Dowland deserves better)
The Nite Watch**	Anthony Holborne (1545 - 1629) - I've wanted to record this for a long time. It's a wonderful solo lute piece (and the name of a Renaissance band I put together in Coventry, CT during the late 1990's. Fun, up-tempo and engaging (I hope you like it).
I goe before my darling	Thomas Morley (1557-1602) - So, here starts the Morley tunes. I love this composer. I'm not a musicologist (duh... just read the liner notes), but to my ears Thomas Morley was second to none, when it came to just raw genius and writing talent in this genre. This fun little duet is very famous - and yes, that's how "go" is spelled on my sheet music. :-)
It was a lover and his lass - 2 part It was a lover and his lass - 3 part	Thomas Morley (1557-1602) - Another double (?) you ask. Actually yes and no. Apparently what Morley (and probably other composers) did was what we at my present employer call, "re-purposing". So this is the 2-part version of "It was a lover and his lass" that I recorded 4 or 5 years ago. And there's a 3-part version as well (sounding like 3 tenors) All kind of neat - as the different textures make the total effect original. (thus the value or repurposing - as they say on Sports Center, "That's my story, and I'm sticking to it")
Nolo Mortem Peccatoris	Thomas Morley (1557-1602) - My latin's not so good - but I don't think this tune is about dancing at carnivals. A beautiful, deep and spiritual sacred work. There's a "ficta" - an early music accidental note in my version that has me playing a C (natural) and C# simultaneously. You can't miss it - (trust me) and as I wondering why such dissonance was used, about the only thing I could come up with was that it would absolutely wake the congregation up - in case the sermon had droned on a bit long that Sunday.
Pavana CLIII (153)	Thomas Morley (1557-1602) - This soft, slow dance is absolutely amazing. At least it was for me. As I was practicing it, it seemed (I dunno) - captivating in a hypnotic fashion. But when I finally got a chance to hear all the parts together - especially the middle refrain - I was blown away by the simple sweetness of its expression.
Sacred Pavanne	Thomas Morley (1557-1602) - I'm not sure about this ... I always figured church (aka sacred) music was kept safely away from secular tunes (like Pavannes and other dances). This is a very pretty 4-part selection. As a bonus, it's got one of those cool 4/4 to cut 3/4 time changes near the end (queue up the hounds!). But again - I'm not seeing how all this meshed dancing through a high mass of any denomination (back in the day).
Sleep slumbering eyes	Thomas Morley (1557-1602) - Okay - so here's Morley at his doing his best poignant-Dowland thing. Stately tho' - and with a gorgeous melody.
Still it Frieth Hark, Jolly Shepherds I will no more come to three	Thomas Morley (1557-1602) - Three new Morley madrigals. Uptempo and jovial - and short! Both hail from his "First Book of Ayres" - 1594. The "frieth" reference is to Morley's heart which (never dieth, rhymes, right?) - not his tummy. The third madrigal "I will no more come to thee" is basically about what happens you a Renaissance composer gets dumped by his damsel ("I will no more come to thee, that floutst me when I woo thee"). Bummer. But this guy seems unperturbed.
Hornpipe - from the Faerie Queene**	Henry Purcell (1658 - 1695) - I know nothing about this 4-part piece, except that it absolutely rocks, and (sadly) is at the top of my technical range. Absolutely worth a listen, though. Stunning. Thanks (as always) to Sue Iadone who found the arrangement.
Love, thou are the best of Humane Joys	Henry Purcell (1658 - 1695) - Another very cool Purcell tune - vocal duet from Orpheus Britannicus. I think it's sung by (or to) Anne Kingsmill Finch - Countess of Winchilsea. Never having met a countess - I wasn't quite sure how to interpret the lines, but gave it my best shot. The mood seems a little restrained at first. But Purcell makes up for the languied start, by getting kind of, out-ofhand and of emotional, as he digs into the work. Nice (cute) interplay between the voices towards the end.
Two In One Upon a Ground	Henry Purcell (1658 - 1695) - An awesome chaconne and yet another wonderful transription from the Early Guitar.net - which is a terrific site that features transcriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.
AUFZUG - Entry Dance from "The Fairy Queen"	Henry Purcell (1658 - 1695) - A wonderful 4-part recorder transcription from Sue Iadone - of a stately dance from Purcell's The Fairy Queen - a Renaissance opera. The high part's a bit high (you'll hear :-) ... but it's a glorious little work.
In Nomine	John Taverner (1490 - 1545 ) According to Sue Iadone - "This is the mother of all In Nomines. It's the very first one ever written - all others are based on this". It's also quite beautiful. I guess - with all those other composers, imitation was the highest form of flattery. :-)
The Eagle's Force	William Byrd (1540 - 1623) - So, I'm looking for new early music to record, and notice (!DOH) that I have very little William Byrd. A pivotal composer of the time - who wrote with strong counter-point, and yet a lyrical touch to the lines. This 3-parter is a very nice madrigal that's one of Byrd's more popular compositions.
Though Amaryllis Dance in Green**	William Byrd (1540 - 1623) - Since I'm on this kick of playing choral pieces on guitar I found another popular Byrd selection - this 5-part madrigal. With terrific rhythms - 3 - going to 4 etc. (the technical term is hemiola). But never mind the music theory. This is a wonderful song.
Mirabile Mysterium Vecchie Letrose	Adrian Willaert (1490-1562) - This is a beautiful 4-part madrigal is by one of my favorite composers. Vecchie Letrose has actually been recorded a number of times. It's a part-song in Italian: Vecchie letrose non valete niente se non per far l'agguato per la piazza tira, tira la mazza vecchie letrose, scandalose e pazze. And the guitar tapping was another wonderful Sue Iadone concept (not bad for a recorder and gamba musician! :-)
Mr. Southcoate's Pavin Galliard Monsieur Lullere His Choice	Thomas Ford (1580 - 1648) - these wonderful transriptions are from the Early Guitar.net - a terrific site that features transcriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning. Both Mr. Southcote's Pavin, Galliard and Monsieur Lullere His Choice are originally duets for Lyra Viol (thanks Dana!). With the Pavin and Galliard meant to be performed together. Both are rather beautiful - with the Pavin being stately (even dramatic and bold!) - and Galliard strapping and uptempo. Monsieur Lullere is uptempo, tuneful and sweet. You can read more about these pieces on Early Guitar.net). (IMHO) The pavin works on guitar as well as on Lyra Viols - thanks largely to the excellent arrrangements.
The Queen's Almain	Thomas Campion (1567-1620) - Another terrific, uptempo lute duet, transcribed and available at Early Guitar.net - a terrific site that features transcriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.
Lady Walsinghams Conceite**	Daniel Bacheler (1572 - 1619) - This wonderful tune is a testimony to Lady Walsingham - a shrine built in the 1000's by a Saxon noblewoman in Walingham, Norfolk - U.K. Bacheler is a wonderful composer, famous in his time for lute playing and lute compositions, at least one of which is played in the standard solo classical guitar repertoire (by players a LOT better than me). This particular piece is from a book of consort works for four instruments, and if you check out the last section you'll understand what a virtuoso he must have been.

France
Come peult	Josquin Des Pres (1450 - 1521). Probably the most important composer before the second half of the 16th century, Josquin is especially noted for the expressive nature of his music, a trait that broke with the medieval tradition of more abstract music. His artistic abilities were compared to those of Michelangelo, and Martin Luther is quoted: "Josquin is master of the notes, which must express what he desires; other choral composers must do what the notes dictate." Josquin was born in Italy, but moved to France mid-way through his life. Come peult is a 4-part chanson. from: http://w3.rz-berlin.mpg.de/cmp/josquin.html
Revecy**	Claude Le Jeune (1503 -1600). This another French chanson, has been recorded and performed by many choral groups. I tend to like the way it sounds as an instrumental. Lots of two and three part rhythmic inter-play between the parts. You may note that this song is somewhat softer than the others, and sounds different (audio-wise). This is because, for all the other songs I used stereo mic'ng, but not Revecy. The parts are still clear in this rendition, and some may like it better - non-stereo mic'd.
Al fonsina	Johannes Ghiselin (1445 - 1508). Ghiselin - also known as Verbonnet was court composer to the king of France. He was regarded as one of the leading composers of his time. This is terrific little 3-part chanson.
Se je perdu mon ami**	Josquin Des Pres (1450 - 1521). (see above description of Josquin). Se je perdu mon ami - is one of Josquin's most popular chansons.
Absalon, fili mi	Josquin Des Pres (1450 - 1521). A beautiful, mysterious, 4-part sacred motet. This is one I need to re-record - it deserves better.
Guillame Se Va Chaufer	Josquin Des Pres (1450 - 1521). (see above description of Josquin). One of the strangest 4-part songs you'll ever hear. The voice sings one note throughout (D above middle C). In fact, according to Susan Iadone, this particular part is noted in a side-bar as "Vox Regis" (The King's Part)... we leave the interpretation of this note, up to you. Short, quirky and cool.
Il Bianco E Dolce Cigno	Jacob Arcadelt (circa 1505 - 1568) - Composed sacred music and madrigals, including this wonderful tune: "The sweet white swan". This tune has an interminable # of meter changes - from 3/2 - to 4/4 back and forth... etc. It gives the work kind of a plain-song, or chant feel.
Allon Gay Gay Bergeres**	Guillaume Costeley (1531 - 1606). This terrific chanson, was another choral piece that I believe sounds great as an instrumental. Very jazzy rhythms and inner parts, especially towards the end. Note that, I'm basically doing the Joe and Susan Iadone arrangement of this, where the piece is divided up into three sections, each of which is fractionally slower than the last. For what it's worth, this was not easy to do with a click-track (audible to those listening closely).
Las! Je Me Plains	Claude Sermisy (1490 - 1562) - a stately delicate 4-part motet. Airy and light - like some fine piece of old French embroidery, this (too short) piece is easy on the ears.
Vignon, Vignon, Vigon, Vignette	Claude Sermisy (1490 - 1562) - a terrific, light 3-part "almost-a-round" madrigal that bounces in and out of 3 and 4. You can't help but smile listening to this piece.
Chanson	Claude Sermisy (1490 - 1562) - a composer and priest, this secular piece is hauntingly beautiful - sounding a lot like Dowland, in its harmonic complexity.
Il est bel et bon	Pierre Passereau (1553 - ?) - French composer. A singer at Bourges cathedral, he contributed twenty-three chansons to anthologies published int the middle 1500's. Most of these are humorous, lively and intensely rhythmic - as this selection testifies. (very busy parts!)
Las, pauvre coeur	Clement Jannequin (1485–1558) - French composer, famous for his descriptive four-part chansons. He also composed motets and spiritual chansons. This one's a slow, strikingly beautiful 4-part motet. I apologize for some weird mic noise, randomly in this recording. I'll go back and re-do it, when I have the time.
Si Ascendero in Caelum**	Nicholas Craen (1445 - 1507)- Franco/Flemish composer who flourished circa: 1507. Latin for: "He ascended into heaven..." (2nd Psalms, Chapter 8). This is an incredibly intense selection (both rhythmically and melodically) in three parts by a relatively unknown early music composer.
New French Recordings - November/December 2009
Cay phas**	Loyset Compere - (1445 – 1518) This cool muscular short piece is very medieval sounding, with fantastic polyphony, and a cool "nautical" sounding ending melody line
Petite nymphe folastr e	Clement Jannequin (1485–1558) - When I first started practicing this, I was afraid that it would end up recorded as, well, umm... "lightweight"? Not solely because of the title. But in fact, the end result was pretty cool. A four part madrigal - fast, and fun - not lightweight too.
Allegrez Moy	Josquin Des Pres (1450 - 1521). A six (count'm 6) part vocal round. Very mystical sounding - but with a cool "3 against 4" rhytm towards the end.
Mille Regrets	Josquin Des Pres (1450 - 1521). A beautiful sensitive madrigal - slow. You won't regret listening to it (sorry ... I tried but I could not resist)
En l'ombre d'un buissonet	Josquin Des Pres (1450 - 1521). A beautiful 3-part madrigal with flowing lines and open harmonies.
De Tous Biens Playne	Josquin Des Pres (1450 - 1521). This is an AMAZING 4-part secular tune with a double-cantus (possibly by Hayne), and a stunning double-cannon in the bass which is rhythmically aligned one quarter-note apart. Hard to imagine until you hear it.
Ic drage de mutse clutse** Parce Domine Trio Tandernaken Helas mon bien Qui cum Patre et Filio, Et unam sanctam uit Rompeltier Fors seulement	Jacob Obrect - (~1457 - 1505) - I remember Obrecht from my time at the Hartt School, but oddly this is the first recording I've done. Thanks to Sue Iadone, this is a wonderful transcription of a "Ic drage de mutse clutse" -a lively, tuneful and mixed-meter (from 4 - to "wicked fast" 3 back to 4, etc.) selection. Very cool. I'm going to look for more like this. So - not a really cool tuneful secular part-song, "Parce Domine" is from the Catholic mass. Extremely lovely. As is Qui cum Patre... Which is a gorgeous alto duet. "Trio" is an amazing organ piece that I'm playing as three separate guitar lines. Wonderful interplay and melodic patterns. And "Tandernaken" - was from an (ATB - Alto, Tenor, Bass) recorder arrangement by Gil Garty. Helas mon bien is another really sweet, fast, and brilliant part-song by Obrecht (and short... did I mention it's short?) "Rompeltier" is a lively secular song in 3/4 - with a kind of kid's tune, feel to it. I repeated it enough times for all the parts to chime in. "Fors seulement" - is Obrecht's treatment of the Fors seulement chanson. Very nice, contrapuntal 4-part arrangement.
La terre les eaux va buvant	Guillaume Costeley (1531 - 1606). This beautiful 4-part madrigal is elegant and effortlessly-rhythmically complex, switching meters every few measures, yet - it flows so nicely you'd never realize what's going on from the perspective of the score.

Spain	These selections hailing from Spain, sound wonderfully Spanish - with emotionally powerful, romantic lines, and quintessential Spanish guitar chordal harmonies & tonal intervals within the parts.
Soy Contento	Juan del Encina (1468 - 1529). This beautiful sad, three-part Spanish vocal tune is one of the most simple and understated treasures in the literature. The entire song is composed of maybe 100 notes (total, all three parts), but every note counts. ** Note this version was recently re-recorded and mixed. It's probably a bit louder and clearer than other selections on this site.
Ay Luna Que Reluces!	Anonymous - Another slow, enchanting song about the Spanish moon. Almost mystical in sound, this beautiful four-part selection will remind you of Juan Del Encino's Soy Contento.
Si La Noche**	Anonymous - published in the Cancionero de Uppsala (1596). One of the most beautiful melodies of any period,. Si La Noche has a tendency to stick in your head, after listening to it. In a perfect world, I'd have had either a baritone vocalist (ideal) or some low viol or wind instrument (bass recorder would be cool) play the song/lead. But, the three guitar parts give the song a real Spanish feel. ** Note this version was recently re-recorded and mixed. It's probably a bit louder and clearer than other selections on this site.
Tan Hermosa y' Clara	Anonymous - Like Ignacio (next selection), an energetic three-part vocal selection, which sounds terrific on guitar (as you would expect Spanish music to). This is one of my favorite up-tempo selections, with much interesting counter-point, and a rhythmic intensity.
Ignacio Es Tan Bella**	Anonymous - unknown origin. A cute, bright and very guitar-istic three part vocal tune. This is one of my favorites to play - and parts cook along without much effort from the player. Note at the "B" section how the rhythms change from "3" to "6" - a rhythmic expression later called: "Hemiola" - and used by composers to this day (a big favorite of Johannes Brahms).
Dime Robedera	Anonymous - an adorable 2-part canon, with terrific syncopation and a catchy melody.
Recercarda Segundo**	Diego Ortiz - 1510-1570. A terrific two-part bass viol song. I have taken the liberty to amplify the chords (additional bass notes). Catchy, and fun to play and listen to. Diego Ortiz worked from 1555 to 1570 at the vice-regal court of the Duke of Alba in Naples.
Si no os hubiera mirado	Juan Boscan (1493 - 1542) - a beautiful 3-part Spanish madrigal.
Andaran siempre mis ojos	Gabriel Mena (flourished: 1500 - 1528) a terrific bouncy 2-part chase - between two instruments (in this case... one guitar - two tracks).
Cancionero de Palacio #299	Juan del Encina (1468 - 1529) - a haunting, lyrical, very-Spanish, slow 3-part madrigal.
Cancionero de Palacio #175	Juan del Encina (1468 - 1529) - another 3-part madrigal, quick and cool (this time) - brief too... sorry about that.
Cancionero de Palacio #302	Juan del Encina (1468 - 1529) - another, lyrical, very-Spanish, slow 3-part madrigal.
Judas mercator pessimus	Tomas Luis de Victoria (1548 - 1611) - a gorgeous religious four-part motet.
Un nino nos es nascido	Anonymous - from the Cancioneiro de Uppsala n: XLII - There seem to be no end of terrific, lively adorable(?) short Spanish songs from this volume. All slightly different - and all sound terrific (to this guitarist's ears).
Riu, Riu, Chiu**	Mateo Flecha (1530 - 1604) bouncy, baritone solo, with 4-part choral harmony, this is a popular vocal piece arranged for four guitars (with an added punchy bass accompaniment thrown in for fun)
New Spanish Recording - November/December 2009
Gentil dama, non se gana	Johannes Cornago (14501475) One of the earliest Spanish court composers. This lovely 4-part song should have been on this site a long time ago. It's simple, slow and lovely.
Gozate, Virgen	Anonymous - published circa: 1556. This charming little four-part Spanish madrigal is light, bouncy and has an interesting 3/4 --> 4/4 time change part-way through. I wish we knew more about the Spanish composers - but I'm glad Sue Iadone transcribed this gem.

Germany	You can most definitely hear the heritage of "German" culture and folk-music in these selections. From Heinrich Isaac to Brahms and later...
Von Edler Art Lass Mich Ein / Sie Liehber Geselle**	Three pieces arranged by Jorg Schonfelder. Von Edler Art - a melody, that was composed circa 1513, this beautiful song (also arranged some 300 years later by Johannes Brahms) has a stately majesty to it, that is transcendent. In the version here I play the tune through three times - the first with a concentration on the original four parts, the second with just the song and accompanying chord-reduction, and the third time combining song with chords. Lass Mich Ein - Quick and very medieval-sounding, this instrumental selection (along with Von Edler Art that preceded it and Sieh Lieber Geselle that follows) seem not to have been recorded anywhere - at least not that I could find based on Internet searches. It deserves to be. Sieh Lieber Geselle - another terrific tune with a catchy melody that sticks in your head. Very quick rhythms. About the Glogauer Liederbuch: A German MS song collection of c.1480, the first to be written out in partbooks. The Lieder, in 3 or 4 parts, are equally divided between sacred and secular texts, and there is also a quantity of pieces apparently for instrumental ensemble -- perhaps the earliest such collection to survive.
Ich Weiss Nit**	Ludwig Senfl (c.1490-1555). Composer to the Court & Chapel of Emperor Maximilian I, Ludwig Senfl studied with Heinrich Isaac (represented by Der Hund). This selection is fabulous, with a macho bass line, and amazing use of interior part ascending/cascading scales. It's also got a terrific ending (just before the repeats), where the counter-point and intense jazz-like rhythmic work in the middle parts (especially 2nd treble line) is just too cool.
Ach Elslein, liebes Elslein mein	Ludwig Senfl (c.1490-1555). Another funky Senfl tune - not quite as boisterous as Ich Weiss Nit, but it chugs along, and was probably in the top 10 list, of OktoberFest tunes, back in the day. One never knows such things 400 years later... but...based on the title we can assume Elslein was some Medieval hottie!
Mit Lust tret ich an diesen Tanz	Ludwig Senfl (c.1490-1555). Now this is obviously a bawdy drinking tune. In fact, as I was recording it, I couldn't help but wonder if old Ludwig had been tipping a few while he was composing.
Shaeffertanz	Tielman Susato: Dansereye (1551) - Roughly translated, Schaeffertanz means shepherd's dance - not beer-dance. * Thanks to Heinz Becker, for the translation!*
Der Hund**	Heinrich Isaac c. 1445 - 1517. Der Hund (The Dog) - is a terrific up-tempo, instrumental piece that has been one of my favorites for the last 30 years. It's bold, quick and has terrific rhythmic counter-point throughout.
Hoer an mein Klag	Heinrich Isaac c. 1445 - 1517. The composer of Der Hund and La Mi La Sol (see below) I don't think ever penned a bad tune. This one is short, fun, melodic and with some cool odd meter - predating Dave Matthews by, oh, say four centuries.
Ballet**	Michael Praetorious, 1571-1621 - I heard this amazing piece while attending the Hartt College of Music, in the early 1970's. My guitar instructor at the time (Alan Spriestersbach) had arranged it for solo guitar. It sounded great, and I wanted to play it, but was never good enough to master as a solo. So I've recorded the 4-part arrangement - and am dedicating it to Tracey Irwin wife of Graeme Irwin (my friend and Consett U.K.'s cyclist extraodinaire). Tracey's been through a wringer in 2009. I told Graeme to say something nice about her for this dedication, and this is what he wrote: *For Tracey......................for putting up with me all these years and for making me realise just how lucky I am every day ( LWP) .*
Der Schutzkoenig	Michael Praetorious, 1571-1621 - I used to play an arrangement of this fast dance piece on solo classical guitar. The melody is actually Italian (La Volta). Cool arrangement by Susan Iadone.
Die Katzenpfote**	Anonymous - A quick, rhythmically intense, and fabulous short selection. Die Katzenpfote translates roughly into "the cat's feet" - and you can hear the music-imitating-life aspect of this title.
Insbruck ich muss dich lassen	Heinrich Isaac (c. 1445 - 1517). One of Heinrich Isaac's secular songs - "Innsbruck, I must leave you." Seems almost like some kind of Early Music Fraternity pledge song. Almost folk-like in nature.
Helas, Que Deuera Mon Cuer	Heinrich Isaac c. (1445 - 1517). An enjoyable, short 3-part rhythmic and fun part song. Fast, and with terrific over-lapping lines and voices.
Ich stund an einem morgen Ich stund an einem morgen2	Heinrich Isaac c. (1445 - 1517). One of Heinrich Isaac's secular songs - "I stood upon a morning..." Note - I found a neat little two-part recorder transcription of Ich Stund, found here...
Mich hat gross leid umgeben	Heinrich Isaac c. (1445 - 1517). One of Heinrich Isaac's secular songs - "I was surrounded by sorrow." This and "Ich stund" (above) and a few others of these slow, pretty numbers are not as impressive musically as their quicker, more polyphonic counterparts. But if you listen, the melodies tend to "stick" in your mind... calm and lovely.
Es ist ein Ros entsprungen** Es ist ein Ros - vocal version (featuring Kuni Yoshimura)	Michael Praetorious, (1571-1621) A Michael Praetorious setting of a traditional Christmas song. Dedication: This piece in memory of Jean Olwyn Irwin, someone, much missed, much loved and always remembered ... who shared a love of great music that like her memory will always live on.
Gottes Gewalt Kraft	Ludwig Senfl (c.1490-1555). Slow and melancholy 5-part song.
Maudit Soy	Heinrich Isaac c. 1445 - 1517. A cool new, fast and furious four-part song. Awesome counter-point (as you would expect no less from Isaac).
Adieu, fillette de regnon	Heinrich Isaac c. 1445 - 1517. A pretty 3-piece polyphonic work, that is vintage Isaac.
Adoramus te	Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre), is considered one of the greatest polyphonists of the late Renaissance . This is a stunningly beautiful 4-part (TTBB) sacred madrigal.
Bonjour, mon couer	Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre). This is an unusual, short, 4-part, very early-sounding (almost chant-like intervals) piece.
Jubilate Deo	Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre) a beautiful, upbeat 4 part (SATB) madrigal, from some sacred mass.
O la, o che bone eccho!	Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre) an interesting 8-part madrigal (2 double SATB choirs). Basically parts echo (echo) one another (one another) throughout.
Von morgens fruh mit Gottes Lob	Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre). This is a cool, laid-back part-song or madrigal in four voices.
La Mi La Sol**	Heinrich Isaac (c. 1445 - 1517). A single motif (the musical notes: A, E, A, G - solfeggio) played iteratively in four parts. This is hard-core Early Music - strong, tight harmonic intervals (4ths/5ths) demanding counter-point, an intense piece overall. I wished I'd played it a little better, and will probably go back and re-record it someday.
Allemande	Samuel Scheidt (1587 - 1654) The German organist and composer Samuel Scheidt was born in Halle in 1587 and - like Purcell above - represents a link from the Renaissance to the Baroque period. This Allemande is short, tuneful and easy on the ears.
Courante	Samuel Scheidt (1587 - 1654) A short Courante dance, in standard triplet style. Really interesting chords in the second section.
Lieblich Ich Horte Singen	Ludwig Senfl (c.1490-1555). A cute 5-part song, with repeating motifs throughout.
New German Recordings - November/December 2009
Andante from Divertimento II (K.439b) Adagio after K439b Allegro - from K 229**	Wolfgang Amadeus Mozart (1756 - 1791) Okay, so this is not-so-early music, but a gorgeous transcription - originally for recorders (by David Goldstein) that Sue Iadone. I must admit to being biased, but I'd swear that Mozart would have been cool with this played on guitars. The Andante, Adagio and Allegro are pieces originally transcribed for recorders - and except for the missing sustain of a woodwind, really adapt nicely (my 'pinion)
Bach E minor Bouree	Johann Sebastian Bach (1685 - 1750) This famous Bourree is one of the first pieces beginning/intermediate classical guitarists learn. I've recorded it for my friend Graeme (of Consett/U.K.). Graeme is actually the reason I started practicing and playing again after a 3 year hiatus - with constant eMails exhorting me to (and I'm paraphrasing here) "Get of my ___ and start playing your guitar again". Okay Graeme - does this buy me another 3 years off? :-)
Bach - Wachtet Auf**	Johann Sebastian Bach (1685 - 1750) Possibly my favorite Bach guitar work (in this transcription) - I'm afraid I don't nearly do justice its transcendant spirituality. Still Wachtet Auf is an absolutely wonderful, tranquil, beautiful - even in its own way, "romantic" score. Perhaps you can picture a young couple, walking hand-in-hand to the top of a grassy knoll, in late May - the sights, smells and sounds of spring overwhelm then. And they see eternity in each others' eyes. Bach's music captures all that - even more.
Wohlauf, Gut G'sell, Von Hinnen	Caspar Othmayr (1515-1553). Another Sue Iadone discover (Caspar Othmayr? Susan where do you dig these wonderful pieces up and find these "not exactly household name composers"?). Anyway - I recorded a number of typical Renaissance dance-type tunes. They're all up-beat, and sound well, very Renaissance-y.
Der Luneberger Fastnachstanz Feuertanz Lauftanz Hahnentanz	Michael Praetorious, (1571-1621) - So, although these are all Renaissance-y dances? This composer (Michael Praetorious) really knows how to write. The inner lines are wonderful - and give his work depth and warmth, and without sacrificing the medieval bouncey "oompah" dance feel. :-) Oh, and for what it's worth? Sue Iadone is a big fan of "Lauftanz" (run dance). If you listen to it, you'll understand why. In fact it's got some sweet lines - and fast-as-heck parts. I guess when you play a composition named "run dance" you can expect to have to step on the gas pedal. As to Hahnentanz (rooster dance)- this was kind of fun too. A 5-part typical medieval dance number, but since it's Praetorious, it transcends dumpy "stomp" elevator-ride music, and becomes really lovely.
Carmen in Fa	Heinrich Isaac (c. 1445 - 1517). An amazing, fun, fast and short (the shortest tune of the new bunch, speeding in at just under 33 seconds) - this "textless song" is in the key of "F") - from, if you recall, "Do, Re, Mi, Fa..." - or for you Julie Andrews fans, "Do a deer".
Ecce Virgo Concipipies	Heinrich Isaac (c. 1445 - 1517). Another really short but awesome Isaac 4 part. I had to look this one up. This title is about virgins concieving. I think it's a segment of the high Catholic mass, and quite a few notable composers wrote to it.
Zwischen berg und tiefen tal	Heinrich Isaac (c. 1445 - 1517). Translation - "Between mountain low valleys" - a spirited (I think keyboard???) work, I played on 4 guitar parts. Very medieval sounding - but quite beautiful in its simplicity and ambiance.
La La Ho Ho	Heinrich Isaac (c. 1445 - 1517). This HAS to be some sort of drinking song. Bawdy, and funny - and so Isaac. I need an umlaut on my keyboard to spell the title correctly (the "o" should be umlated)
O Venus bant	Heinrich Isaac (c. 1445 - 1517). Translation - "Ah Venus's tie" . Some title, eh? Actually, this is quite a fun, spirited little three-part instrumental. Sounding very Isaac - with great polyphony and wonderful strong lines.
Missa "Dixit Maria"	Hans Leo Hassler (1564 -1612) - the Kyrie movement, from this very beautiful mass, set to music by Hassler - who is close to baroque/Renaissance, in influence.
Laudate Dominum	Hans Leo Hassler (1564 -1612) - this amazingly beautiful selection from the Catholic mass actually renders nicely on guitar. I haven't heard recordings of it, but I suspect I'm playing it a little faster than it would go if sung.
Allala Pia Calia	Orlando di Lasso (1532-1594) - An amazing 4-part madrigal, with continuously changing meter (the tune goes in and out 4/4, 6/8, and odd rhythms). Sounding like some sort medieval Dave Matthews Band tune. Actually amazingly beautiful when sung. There may be a Youtube choral video of this
Un jour vis	Orlando di Lasso (1532-1594) - A really interesting little German lieder (song) work Sue Iadone transcribed. Fast and furious with an obvious sense of humor.
Christus resurgens ex mortuis	Orlando di Lasso (1532-1594) - This? Is just glorious. An amazing sacred 3-part madrigal from the Catholic mass on the subject of Jesus' resurrection. Incredible lines. And a melody that reverentially paints the staff with a perfect musical portrait.
Fugue in d**	Johann Pachelbel (1653 - 1706) - more "not so early" music. A wonderful short four-part fugue by the German composer famous for more than just his Canon.
Das glaut zu spayer	Ludwig Sennfl (c.1490-1555). An adorable 6-part choral work. This piece is a "tone poem". A musical work that's supposed sound like something specific. Here, the chorus is supposed to emulate the sound of bell-ringers. Guitar sounds okay at it too (IMHO)
Aria	Georg Philipp Telemann (1681 - 1767) - This wonderful transription of a Telemann Aria is from the Early Guitar.net - a terrific site that features transcriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.
Ich stund an einem Morgen Lust hab ich ghabt zur musica** Also heilig ist dieser tag Carmen in La Ich sag und clag	Ludwig Sennfl (c.1490-1555). So, before packing my guitar away for 2010 I found five wonderful Sennfl works. Each short, rhythmic, tuneful, and spirited. My favorite of the bunch is probably "Lust hab ich ghabt zur musica" - or roughly translated "I like music" - but they're all minor gems.

Italy
O' Rosetta**	Claudio Monteverdi (1567 - 1643). Scherzi musicali (1607). O Rosetta che Rosetta is a part-song "O Rosetta" from the collection of tunes Monteverdi wrote. This selection would be considered late-Renaissance, even early Baroque, but has always been a favorite of mine.
Cantate Domino	Giuseppe Pitoni (1657 - 1745). A 4-part choral transcription of a gorgeous, traditional madrigal.
La Verde Primavera	Anonymous - a 3-part light and rhythmically-interesting selection.
Aria	Domenico Ferrabosoco (1513 - 1574) - a light and bouncy 4-part motet. Really nice lines, crisp and moving towards Baroque in style.
El Grillo	Josquin Des Pres (1450 - 1521) - from his "Italian Period": Probably the most important composer before the second half of the 16th century, Josquin is especially noted for the expressive nature of his music, a trait that broke with the medieval tradition of more abstract music. His artistic abilities were compared to those of Michelangelo, and Martin Luther is quoted: "Josquin is master of the notes, which must express what he desires; other choral composers must do what the notes dictate." Josquin was born in Italy, but moved to France mid-way through his life. from: http://w3.rz-berlin.mpg.de/cmp/josquin.html El Grillo imitates the sound of a cricket. It is a "frottola" - a light-hearted secular work in four parts.
Exaudi Domine	Giovanni Pierluigi da Palestrina (~1525-1594) - Palestrina ranks with Orlando di Lasso and William Byrd as one of the greatest Renaissance composer. A prolific writer of masses, motets and madrigals he assimilated and refined polyphonic writing (as you will hear in this beautiful 4-part motet) to produce blended voices in search of the inspirational.
Saltarello**	Anonymous (14th century), This amazing monophonic dance (arranged and published by Joe Iadone) is one of my all-time favorites, with terrific melodic licks divided by free-form instrumental breaks (cadenzas) Dedicated to my friend Graeme Irwin. Thanks Graeme, for all the years of eMails, jokes, politcal-discussion, frank debate, music sharing and teaching me Geordie! May you find many wonderful new Aussie red wines to uncork in 2009!
New Italian Recordings - December 2009
Super flumina Babylonis	Giovanni Pierluigi da Palestrina (~1525-1594) - a truly beautiful 4-part madrigal that I heard on YouTube sung by a number of wonderful choirs.
La Disperata**	Vincenzo Ruffo (~1510 - 1587) - a wonderfully wicked fast and muscular three-piece ensemble work with every syncopation I think I've ever played. This is a classic - and goes to my note-worthy Renaissance tunes list.
Largo from concerto for two cellos tomo 61**	Antonio Vivaldi (1678 - 1741) - this wonderful transription is from the Early Guitar.net - a terrific site that features transcriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.
Aime' Ch'a Torto**	Anonymous - A 3-part transctription by Sue Iadone of a very cool, medieval lute piece that has (in her words) "Honking Dissonances" :-) I'm hoping Sue will help fill write more here, because when I GOOGLED the tune nothing came up, and yet it's really a fantastic piece (dissonances or no). But do keep Sue's words in mind, as you listen - these kinds of tone clusters didn't appear in music for another ~500 years after this anonymous composer.

Thanks to...

My dad and mom (David and Joanne Sayles) for passing on their extraordinary musical genes (which I don't really do justice to) and their passion for music.
All my guitar instructors and music teachers along the way - for their infinite patience, and for how much they accomplished with such little raw musical-material (me). Especially thanks to:
- Richard Provost, Alan Spriestersbach and Joe Iadone (1914 - 2004), my teachers at the Hartt College of Music
- Greg Bonnenberger and Sal Salvador, my teachers at the University of Bridgeport
- Andrew Lundquist - my high school choral instructor - who inspired me to tackle music as a career, and who gave his gift of music to thousands of fortunate singers throughout his illustrious career.
Susan Iadone, who (along with Joe Iadone) taught me virtually everything I know about Early Music - and who transcribed almost all of the pieces I've recorded.
Christopher Sayles - my son, who acted as sound engineer on this endeavor, and who is the best bass player I've ever had the pleasure of performing with.
Mark A. Kane - Luthier extraordinaire in residence @ Fat Sound Guitars (Cary, NC) - who set up my Sakurai, and made it play like a much more expensive instrument than it is.
Graeme Irwin and family - Friends of Early and Renaissance music, discerning critics, and simply among the nicest folks on the planet.

Most of all, thanks to Maryellen Sayles - my wife, the love of my life and partner of 25++ years. This is for you honey. I hope it's all worth it.

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Brothers-In-Strings Sites

I have been grateful to receive links to this site from a number of friends of Renaissance and Early Music, including:

World Guitarist.com - Daily News Coverage for the World Classical Guitar Community
Classical Cat - a widely diverse collection of music and links
Early Music Chicago - a portal for Early Music collections
Classical Guitar Internet Resource site - Selected links to Music for the Classical Guitar
Todd McComb's - Medieval.Org
The Wait's WebSite
MFiles.co.uk - MP3 file collection
SCA Medieval and Renaissance Music Homepage - a serious collection of Early Music and Renaissance links
Guitar Resource Center.com - an aggregator of all things guitar on the web
Virtual Byrd Consort - an incredible set of digital recordings of Renaissance choral works done in the same fashion as this site. Exquisite.
Southern California Early Music Society - the web site for Southern California Early Music Society and the Society's publication Early Music News, provides an online calendar of early music concerts and events offered in the greater Los Angeles and Orange County areas.
Learn How To Play Acoustic Guitar.blogspot.com - How to play acoustic guitar - free lessons!
Distillations A site that aims to further the public understanding of science and the history of science. Take a look and a listen here:
Audio Shakespeare productions with www.speak-the-speech.com. Listen to Henry IV
The New Zealand guitar Ensemble group. which consists of 15~20 talented Korean classical guitar students. While you're there, check out links to the Auckland Guitar Society ensemble group.
An amazing site of FREE GUITAR SCORES (sheet music) ...Quite the collection - and totally worth a visit (IMHO)
Christopher Ladd – A terrific player who hails from my alma mater (actually teaches there now). This site features excellent recordings.

Early Music

Recordings of 2, 3, 4 and 5-part songs and instrumental selections from the 14th - 17th Centuries

Finally - if you like Christmas Carols (as my wife does) I recorded a bunch - and they're freely available here.

Musical Selections

Click the song titles to download and/or play the recordings, assuming your computer is hooked up to speakers.

Recording and song notes

Giovanni Pierluigi da Palestrina (~1525-1594) - a truly beautiful 4-part madrigal that I heard on YouTube sung by a number of wonderful choirs.

La Disperata**

Vincenzo Ruffo (~1510 - 1587) - a wonderfully wicked fast and muscular three-piece ensemble work with every syncopation I think I've ever played. This is a classic - and goes to my note-worthy Renaissance tunes list.

Thanks to...

Brothers-In-Strings Sites

Other Sites - Linked with appreciation for propagating the Early Music message

Recordings of 2, 3, 4 and 5-part songs and instrumental selections from the 14^th- 17^th Centuries