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The program contains historical fonts for the most common tablatures for the lute and guitar. [2] A fully functional demo version is available, and is restricted only so far as it is unable to save tablature files. To enable files to be saved a licence must be purchased from the author. [5]
Jan Antonín Losy, Count of Losinthal (German: Johann Anton Losy von Losinthal); also known as Comte d'Logy (Losi or Lozi), (c. 1650 [1] – 22 August 1721 [2]) was a Bohemian aristocrat, Baroque lute player and composer from Prague. His lute works combine the French style brisé with a more Italian cantabile style. He was probably the most ...
Style brisé (French: "broken style") is a general term for irregular arpeggiated texture in instrumental music of the Baroque period. It is commonly used in discussion of music for lute, keyboard instruments, or the viol. The original French term, in use around 1700, is style luthé ("lute style").
Most Renaissance lute music has been transcribed for guitar (see List of composers for lute). The baroque guitar (c.1600–1750) was a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course was sometimes a single string.
Lex Eisenhardt, Italian Guitar Music of the Seventeenth Century, University of Rochester Press, 2015. Lex Eisenhardt, "Bourdons as Usual". In The Lute: The Journal of the Lute Society, vol. XLVII (2007) Lex Eisenhardt, "Baroque guitar accompaniment: where is the bass". In Early Music, vol. 42, No 1 (2014) Lex Eisenhardt, "A String of Confusion"
He composed many other pieces for theorbo and Baroque lute (the bulk of which are preserved in the Saizenay Ms.). Complete list of de Visée's pieces for the guitar: 1682 Livre de Guitarre, dédie au roi: Suite No. 1 in A Minor: Prélude – Allemande – Courante – Sarabande – Gigue – Passacaille – Gavotte – Gavotte – Bourrée
Tablature is common for fretted stringed instruments such as the guitar, lute or vihuela, as well as many free reed aerophones such as the harmonica. Tablature was common during the Renaissance and Baroque eras, and is commonly used today in notating many forms of music.
The sources for this are: an autograph manuscript by Bach, in staff notation on two staves (B-Br Ms.II 4085 MUSI.); and a version in lute tablature made from it by an unnamed lutenist (D-LEm Sammlung Becker, Ms. III.11.3).