![modo lidio modo lidio](https://volumen12.com/wp-content/uploads/2020/02/Lidio-Jonico-Relatividad.png)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings. Este inicia com o quarto grau da escala maior. This may be an included CD, or access to files on the internet.
![modo lidio modo lidio](http://guitarraperu.com/clases/lecciones/modo_lidio_dominante.jpg)
In addition to the printed music, the edition contains recordings of the pieces. The specific quantities of each instrument are notated. They make great add-ons when learning concertos and small chamber works.Ī score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.įor orchestral music, this is a collection of wind and percussion parts. For piano pieces, two copies are typically needed for performance.Ī small (think choral size) copy of the complete score meant for studying, and not playing. In larger ensembles, this is for the conductor.įor ensemble music, this indicates that there are separate parts for each player.įor solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts.
![modo lidio modo lidio](https://i.ytimg.com/vi/Eqsq2HMaugI/hqdefault.jpg)
There are not separate parts for each player.įor ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). If you're planning to play the music, this is probably what you want.įor chamber pieces, playing scores have all of the parts on one system. hardcover) or study scores, this is the "standard" version. When publishers offer multiple bindings (e.g.
![modo lidio modo lidio](https://i0.wp.com/volumen12.com/wp-content/uploads/2021/07/3-2.png)
It seems to me that Andrea Vezzoli has made a particularly remarkable attempt in this sense. It cannot be taken for granted to find in a contemporary composer an interest in tradition that is not marked by the desire (or simply the bitter realization) to break with it and it is even less obvious, given the intention to connect in a sympathetic way to tradition, to have the ability to write music showing a strong connection with the past. There is, therefore, in the pieces which follow, unquestionable didactic value, which however adds to an independent artistic interest, making them useful also in a concert situation, with an important "NB": the Composer has not restricted himself here to writing in the early music style, but has composed pieces that have vitality, personality and sound, more or less, as if written today. The guitarist studying the history of music who comes across the description of these forms and techniques, obviously does not have original pieces for guitar which can be used as examples to play, and for this reason it seemed useful to have a collection of pieces like this to transform for the guitar some forms and compositional procedures which are so important in the history of Western music.
#MODO LIDIO SERIES#
This collection of sixteen short compositions by Andrea Vezzoli is the fruit of my request to the composer to write a series of pieces using different forms and techniques of early music composition (from Gregorian monody to the thirteenth century lauda, to the early polyphonic forms and medieval instrumental dance forms, to Ars nova, up to Flemish and Renaissance counterpoint). Salmodia/ Ave Donna Sanctissima/ Discanto sopra il Regina Coeli/ Falso bordone on a popular theme/ Hochetus sopra il Regina Coeli/ Rondellus ipnotico/ Sopra la cadenza del Landini/ Caccia/ Danza nel modo lidio/ Estampia, Hochetus e Piccolo Ricercare/ Ricercare sopra Ave Maris Stella/ Canzona per le 6 corde/ Ricercare sopra L'Homme Armé/ Preludio Corale on the English national anthem/ Mottetto a 6 corde/ Corale sopra il Regina Coeli