Composed by Tiziano Bagnati. Classical. Ut Orpheus #SDS 30. Published by Ut Orpheus (UT.SDS-30).
ISBN 9790215328600. 9 x 12 inches.
The studies and exercises collected in this volume are aimed particularly at lutenists and modern guitarists who have decided to devote themselves to the theorbo. We have tried to address the different performance techniques, such as the use of campanellas, bourdons, strascini, and legato sounds, paying attention to increasing an awareness in the student of the coordination of the left and right hands. We recommend the constructive use of the metronome to monitor rhythmic precision and progress in acquiring greater ease and speed of performance. We also recommend being very rigorous in the use of the dynamics indicated. Some technical exercises are also shown in the edition at the actual pitches to accustom the student to reading the stave and to encourage memorization of the fingerings studied in the tabulated version of the same exercise. The exercises transcribed on the stave also allow the player to exercise other right-hand performance techniques compared to those suggested in the tablature and then choose the one most suited to the way the music is written. The primary objective remains the search for an in-depth knowledge of the fingerboard of the theorbo.
Composed by Tiziano Bagnati. Classical. Ut Orpheus #SDS 30. Published by Ut Orpheus (UT.SDS-30).
ISBN 9790215328600. 9 x 12 inches.
The studies and exercises collected in this volume are aimed particularly at lutenists and modern guitarists who have decided to devote themselves to the theorbo. We have tried to address the different performance techniques, such as the use of campanellas, bourdons, strascini, and legato sounds, paying attention to increasing an awareness in the student of the coordination of the left and right hands. We recommend the constructive use of the metronome to monitor rhythmic precision and progress in acquiring greater ease and speed of performance. We also recommend being very rigorous in the use of the dynamics indicated. Some technical exercises are also shown in the edition at the actual pitches to accustom the student to reading the stave and to encourage memorization of the fingerings studied in the tabulated version of the same exercise. The exercises transcribed on the stave also allow the player to exercise other right-hand performance techniques compared to those suggested in the tablature and then choose the one most suited to the way the music is written. The primary objective remains the search for an in-depth knowledge of the fingerboard of the theorbo.
Preview: Studies and Exercises for Theorbo
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