String Orchestra - Grade 1.5 - DigitGuitar Trio - Grade 2- 3 - Digital Download Composed by Various. Arranged by Mark Mazzatenta. Christmas, Holiday. Score and Parts. 41 pages. LudwigMasters Digital #50752003. Published by LudwigMasters Digitalal Download Composed by Bud Woodruff. 21st Century. Score and Parts. 23 pages. LudwigMasters Digital #50250145. Published by LudwigMasters Digital

Instrumental Duet Clarinet,Guitar,Instrumental Duet - Level 3 - Digital Download

SKU: A0.533474

Composed by David Warin Solomons. Concert,Contemporary,Standards. Score and parts. 12 pages. Musik Fabrik Music Publishing #2994077. Published by Musik Fabrik Music Publishing (A0.533474).

Ballade has a late romantic feel reminiscent at times of the songs of Gershwin, jazz blues and even some of the music of Poulenc. The unsettling chords are based on a particular disposition of the guitarist's fingers, which, when transported over from strings 2,3,4,5 to 1,2,3,4 or to 3,4,5,6, each produces different harmonic effects because of the way in which the guitar is tuned (all fourths except for the third between 3 and 2). The clarinet follows the guitarist's wandering harmonies, creating a yearning melody with sighs covering its whole range.

Guitar Ensemble - Level 4 - Digital Download

SKU: A0.1463458

Composed by John Dowland (1563-1626). Arranged by Clive Lane. Classical,Renaissance. Score and Parts. 34 pages. Clive Lane #1042156. Published by Clive Lane (A0.1463458).

‘Lachrimæ or Seven Tears figured in Seven passionate pavans, with divers other pavans, galliards and allemands, set forth for the lute, viols, or violons, in five parts’ is a collection of instrumental music composed by John Dowland and published in 1604. Apart from the sheer quality of the music, it is notable as the first publication of English music scored specifically for strings and for lute, and the first to have used the table layout for consort music.

There are seven Lachrimae pavans, which are variations on the theme that Dowland had already made famous as a lute solo and a song (“Flow my tears”).

The “divers other” compositions are: two almans (“almands”), nine lively galliards (“galiards”), two sombre pavans, and a “funerall.” 
There are 21 pieces in all and I have divided them into three books, retaining the original ordering of the pieces.

 This is Book One - the “Lachrimae” pavans:

1.     Lachrimae antiquae
2.     Lachrimae antiquae novae
3.     Lachrimae gementes
4.     Lachrimae tristes
5.     Lachrimae coactae
6.     Lachrimae amantis
7.     Lachrimae verae

(See Book Two & Book Three for the remaining 14 pieces)

For this arrangement for guitar quartet*, I have combined two of the parts (part three and part five) to make guitar 4 (with some minor adjustments).

Time values have been halved, and in several cases (Nos. 9,12,15,16,17,20,21), I have transposed the key to a more guitar-friendly key. 

Clive Lane 2024

*Also see my arrangement for guitar quintet.

12-String Guitar,Instrumental Duet,Soprano Recorder - Level 3 - Digital Download

SKU: A0.1409305

By Niel Gow. By Niel Gow. Arranged by Randy W. Scott. 20th Century,Baroque,Celtic,Folk,Irish,Traditional. 5 pages. Randy Scott #991916. Published by Randy Scott (A0.1409305).

Niel Gow's Lament is one of the most beautiful of early Scottish laments and aires and is known around the world. This is an arrangement based on Niel Gow's original music and it has been harmonized and and scored for an soprano recorder and guitar in both chord symbols and notation. The soprano recorder part is easily played by a player of moderate ability. The guitar part is also easily played by a player of moderate ability and has been written out by a professional guitarist in both notation and chord symbols all in the first position.

Guitar Ensemble - Level 4 - Digital Download

SKU: A0.1470166

By Clive Lane. By John Dowland (1563-1626). Arranged by Clive Lane. Classical,Renaissance. Score and Parts. 35 pages. Clive Lane #1047877. Published by Clive Lane (A0.1470166).

‘Lachrimæ or Seven Tears figured in Seven passionate pavans, with divers other pavans, galliards and allemands, set forth for the lute, viols, or violons, in five parts’
is a collection of instrumental music composed by John Dowland and published in 1604. Apart from the sheer quality of the music, it is notable as the first publication of English music scored specifically for strings and for lute, and the first to have used the table layout for consort music.

There are seven Lachrimae pavans, which are variations on the theme that Dowland had already made famous as a lute solo and a song (“Flow my tears”).
The “divers other” compositions are: two almans (“almands”), nine lively galliards (“galiards”), two sombre pavans, and a “funerall.” 

There are 21 pieces in all and I have divided them into three books, retaining the original ordering of the pieces.

This is Book Three - five galliards and two almans:
1.     Mr Giles Hoby, his Galliard
2.     Mr Nicholas Gryffith, his Galliard
3.     Mr Thomas Collier, his Galliard
4.     Captain Piper, his Galliard
5.     Mr Bucton, his Galliard
6.     Mistress Nichol’s Alman
7.     Mr George Whitehead, his Alman

 Time values have been halved, and in several cases (Nos. 9,12,15,16,17,20,21), I have transposed the key to a more guitar-friendly key. 

Clive Lane 2024

(Also see my arrangement for guitar quartet).

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download

SKU: A0.873929

Composed by Alison Harbottle. Children,Praise & Worship,Sacred. Score. 5 pages. Martini Strings #4764445. Published by Martini Strings (A0.873929).

This is quite a long verse, but set to a groovy tune your kids will be singing along in no time! Life application of the verses help kids to see how this verse can help them everyday.

String Quartet Cello,String Quartet,Viola,Violin - Level 1 - Digital Download

SKU: A0.955359

Composed by Neal Fitzpatrick. Instructional. Score and parts. 2 pages. Neal Fitzpatrick Editions #5214425. Published by Neal Fitzpatrick Editions (A0.955359).

This work for string quartet in E Major is No.5 of a set Major scale exercises in all 12 major keys. The focus of the study is varied divisions of the beat using whole notes, half notes, quarter notes and eighth notes. The exercise will also help understand articulation, tone and dynamics. A steady cycle through all 12 keys will help further an understanding of keys, key signatures and harmonic relationships.
Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com
https://www.youtube.com/channel/UCqZJwiMXPYbpckJVveQ6qag

Solo Guitar - Level 2 - Digital Download

SKU: A0.594506

Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506).

An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por Bulerías) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetas�. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña� that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito� introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother� of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.