Acknowledgements Part 1: Fundamentals of Divisions Ch.1 Introduction 1.1 Ornamentation types: Divisions and Graces 1.2 In search of a method for lutenists 1.3 The function of divisions 1.4 Guidelines, terms and abbreviations used Ch.2 Graces 2.1 Sixteenth-century Graces for the lute 2.
2 The Capirola Lutebook, c.1517 2.3 Pietro Paulo Borrono (1548) 2.4 The most common sixteenth-century graces explained Ch.3 General Rules 3.1 Two Modes 3.2 Lute Rules for divisions Ch. 4 Twelve Types of Divisions 4.
1 Cadential 4.2 Triad 4.3 Static 4.4 Interval 4.5 Doubler 4.6 Filler 4.7 Lead-in 4.8 Connector 4.
9 Tirata 4.10 Contrapunto & bastarda style 4.11 Broken chords 4.12 Recomposed Part 2: Tablature Case Studies Ch.5 Tablature Case Studies: Introduction 5.1 Introduction 5.2 Annotations 5.3 Abbreviations Ch.
6 Nach Willen Dein Paul Hofhaimer (1459-1537) Three versions by Hans Newsidler (1536 and 1544) Ch.7 Je Prens en grè Clemens non papa (c.1510-c.1555) as set by Mattheus Waisell (1573) Ch.8 Mille regretz attributed to Josquin des Prez (c.1450-1521) As set by Luis Narvaez (1538) Ch.9 Greensleeves Anon A treble and ground duet Ch.10 Passemeze (Passamezzo Antico) Adrian Le Roy A Briefe and easye instruction, London (1568) Ch.
11 Fantasia a dui liuti (Francesco da Milano) Castelfranco ms. Extract Ch.12 Contrapunto Primo B(ernardo) M(onzino) Fronimo Dialogo, Vincenzo Galilei, Venice, 1584 Ch.13 The Queens Treble John Johnson (c.1545-1594) A treble and ground duet Ch.14: Sir John Smith, his Almain John Dowland A Varietie of Lute-Lessons, London (1610) Ch.15 Ricercata per Viola Bastarda, e Lauto Aurelio Virgiliano, Il Dolcimelo (c.1600-1620), Libro Secondo Ch.
16 Chanson: Susanne un jour Lassus A contrapunto Lute Duet in Bastarda style by Giovanni Terzi, (1593) Part 3: Method Ch.17 Cadences 17.1 Cadence type 1 17.2 Cadence type 2 17.3 Cadence type 3 Ch.18 Triads 18.1 Simple 18.2 Extended 18.
3 Octave extensions 18.4 Harmonic Triad 18.5 Frere Jacques 18.6 Triad divisions (Simple): Exercises 18.7 Triad divisions (Extended): Exercises 18.8 Triad divisions (Octave Extended): Exercises 18.9 Triad divisions (Harmonic): Exercises Ch.19 Static 19.
1 Static divisions: Exercises (1) 19.2 Static divisions: Exercises (2) Ch.20 Intervals: 20.1 Simple interval divisions 20.2 Compound interval divisions 20.3 Scales & Octaves: Exercises 20.4 Ascending and descending 2nds 20.5 Ascending and descending 3rds 20.
6 Ascending and descending 4ths 20.7 Ascending and descending 5ths 20.8 Ascending and descending 6ths Ch.21 Guided lessons in building patterns 21.1 Lesson 1 on the ground from The Queen''s Treble 21.2 Lesson 2 on the Passamezzo Antico 21.3 Lesson 3: Adding divisions to a solo piece Ch.22 Practice piece # 1: Twinkle, twinkle Ch.
23 Practice piece # 2: Arbeau Pavane: Belle qui tiens ma vie Ch.24 Ground # 1: La Gamba (Cara Cosa) Ch.25 Ground # 2: Passamezzo Antico 25.1 As a treble and ground duet 25.2 Solo lute Ch.26 Ground #3: Passamezzo Moderno Ch.27 Ground #4: Romanesca Ch.28 Madrigal: Anchor che col partire (de Rore) 28.
1 Original Madrigal a 4 (SATB) 28.2 Cantus (to practice divisions) with an intabulation of ATB. 28.3 Example: A new contrapunto/bastarda style, with an intabulation based on Paladino''s intabulation (1560) 28.4 SATB Intabulation (as above) with a spare stave for improvising or composing your own contrapunto Appendix 1: Ornamentation treatises 1535-1620 (for voice, wind and string instruments) Appendix 2: The original parts for Lute 1 and Lute 2. G.A. Terzi (1593) Index.