D Giesbert Method For Baroque Lute Phillips Translation PDF

An English Translation of Edition Schott 3638
Schule fur
“ die
Barock Laute
von
F.J Giesbert
This document is a transcription from the original typed translation that was coordinated by and made
available from Dave Phillips, circa 1978.
Introduction
ontrary to the recorder, which has become extremely popular again after having
C been almost completely forgotten, the lute never completely vanished from the
scene of music, especially from home use. The memories of the “Queen of
Instruments”, loved by our ancestors above all, whose perfect forms appeared again and again
on old paintings, reproduced by artists, who expressed their delight about the sweetness and
magic of the sound of the lute. There were many attempts to revive the music which touches
us from these paintings for our libraries have great holdings of lute music.
However, all attempts to revive the lute playing had to fail because two factors of decisive
importance were overlooked: the instrument itself and the notation.
he lute has been handed down to us, however, it has undergone changes which
T made it far different from the original instrument it was. These changes exist
mainly because over the times the lute had to fulfill different functions and sound
ideals. The same evolution visible in the steps from the tender-stringed CLAVICHORD over
the piano to the ironclad grand pianos also changed the original tenderstringed double course
lute into the modern single course instruments with thick tightly stretched strings, strings which
sometimes have changed from gut to metal (steel) strings. Just as it is impossible to create the
magic of old clavichord music on a modern grand piano or to play a sonata for recorder on a
modern flute, it is also impossible to express the beauty of old lute music on a modern lute:
always something will be lost: the sensuous sound of the tone imagined by the composer.
hen the instrument was assimilated to the new sound ideals the old way of
W notation was also dropped: the tablature used over 400 years in the entire lute
playing world. The ancestors soon realized that the regular notation on a staff
with five lines – our modern way of notation – was ill suited to a fingerboard instrument, where
the same note could be played on several different strings and in many different positions and
whose tuning and stringing often had to vary in order to serve certain purposes. Tablature was
invented to help the student and player to enable him to master and play a piece of music with
the least difficulties in the shortest possible time. What was more efficient than to notate the
fingerings the player had to execute during the progress of a certain piece? What easier than
to indicate different strums and attacks with certain symbols? Hardly had the tablature been
developed and it began to influence the actual creation and form of music. Soon a unique lute
style evolved which could no longer be written down in the regular mutation, without changing
even technically easy pieces into extremely difficult monstrosities on paper.
f we intend to rediscover the treasure of lute music we will only be able to do this if
I we again build our instruments true to the ways of our ancestors, if we string them
the original way and if we play the music the way it was originally written to be
played. To give help and instruction for this process is the purpose of this school.
A Translation: Page 2
Schule fur die Barock laute
This document is a transcription from the original typed translation that was coordinated by and made available from Dave Phillips, circa 1978.
Introduction - continued
he exact drawing of a baroque lute provides complete information about
T construction, wood types and measurements of the instrument as well as the

string gauges and the frets. The drawing is based on the lute, built by Sixt
Rauchwolf in 1577 for Jakob Fugger, which I own. After comparison to masterpieces by
Tiefenbrucker, Frey, Maler and other masters we found almost total agreement of all
measurements and wood types. The lute was modified in 1705 by Wenger in Augsburg. He
replaced the angled tuning box (head piece) with a double theorbo tuning box so that the
stringing could be increased to 13 courses without changing the neck. The neck measures 8
cm at the saddle and 10 cm at the body.
hat is taught here is lute playing the way the old artist played. We pay
W meticulous attention to all rules and instructions they left us. The course of
instructions follows the manner of an old lute teacher would have used to
instruct his pupils. After introductory technical exercises we begin with easy suites and then
the grade of difficulty of the selected pieces slowly increases. In between we have discussion
of technical and harmony problems, chord diagrams on the fingerboard and rules of fingering
and plucking techniques.
ll historical pieces offered in this book are reproduced unchanged and true to the
A original. The 80 solo pieces have been augmented by 59 exercises which deal
with technical aspects of fingering and attacks.
May this work help to regain the lute

its old position in our musical life,
F.J Giesbert
l
First Level
Content Exercises No Pieces
Tuning: I. Thumb attack Folktunes
Holding the lute 1. Diatonic walking The Ducks 6
Explanation of tablature Upwards 1 The Poor Man 7
Right hand/ Downwards 2 Open the Door 8
Attack techniques 2. Jumps/skips 4 At the Head of My Rival 9
Positioning Down 4 The Wheat Cutter 10
Supporting finger Up 5
. Indicating attack Both directions 5 Parthie in F
. . finger II. Attack with index and 1. Pasterella 17
.. middle finger 2. Menuett I 22
. 1. Neighboring strings 3. Menuett II 23
simultaneously 12
Rules for attack 1 4. Menuett/Air 24
Following another 13
Symb. For attack 5. Gigue 26
Mixed 14
| Simultaneous attack 18
2. Distant course
Left hand/ Simultaneously 15 Parthie in d
Fingering techniques Following another 15 1. Entrée 28
Positioning 16 III. Attack with 3 fingers 2. Menuett 29
Thumb position 1. Broken 25 3. Menuett 30
Naming the fingers Accented ring finger 4. Variatio 31
Fingering rule Accented index finger
2. Simultaneously
( ) Barring with the Suite in C
Following bass note
1. finger 17 1. March 32
Together with bass
’ Pulling off 19 note 2. Minuette 34
l Hammering on/double 24 IV. Simultaneous attack with 3. Minuette 35
34 bass 4. Gigue 37
Chord theory 1. Melody 18
Reading chords 27 2. Chords 25
Chord letters 27 27
Moving chord forms 32
Chord fingerings 36
Page 1 The instrument can also be built in form of a THEORBO, with 7 courses on the
fingerboard, which must be 8 cm wide at the saddle and 10 cm wide at the body,
in addition it should have 5 freely vibrating courses with a MENSUR of 95 cm.
The numbers next to the frets determine the string gauge.

The two lowest bass strings can be mounted on a separate rider.
Page 7 Tuning of the Lute

The first problem the lute presents is tuning it. Let us look at the grouping of the
strings: they seem to fall into three groups, 2 singe strings, 3 pairs of strings
made up of 2 equally gauged strings respectively and finally 8 string pairs
containing one thick and one thin string. The later are the 6 BASS COURSES –
containing one bass string and one OKTAVESTRING – the first two groups form
the 5 PLAY-COURSES. A PLAYCOURSE therefore can be either a single string
or a pair of equally gauged strings. The lute is tuned as follows: (notes…)
The upper 6 courses are tuned to a d-minor chord, the following

BASSCOURSES descend step-wise the d-minor scale down to the KONTRA A.
The highest course is equal to the lowest note on an ALTO RECORDER – f’ –
thus still below a’.
The a’ can be reached by fingering the uppermost course on the e-fret. To be
sure, a course can be strummed “empty”, that is, without being fingered on the
fingerboard or it can be shortened by a fret by pushing it down on the
fingerboard. These different possibilities are put in order with the help of the
alphabet:
The empty course is designated a, fingering the first fret b, the second fret c, the
third fret d, etc. Each fret shortens the string by half a step. The TABLATURE,
which is written lute music, does not designate the note but the fingering the
player must execute in order to produce the desired tone. This is done very
simply in the following manner: each of the 6 upper courses which can be
fingered, the other lower courses can not be comfortably reached by the hand, is
represented by a line, we thus have a system of 6 lines, of which the uppermost
designates the highest course of the lute. On each of these lines is marked, what
is to be done with the respective course, whether it should be strummed empty or
fingered on a certain fret. If nothing at all is marked, the course is not to be
played at all. With a few examples, we can make everything clear:
_______ This means the highest course should be fingered on the e fret and strummed
by the right hand, the rest of the strings should not be played at all.
This means the third course should be played empty while the others remain
silent.
This means the second course should be fingered on the d fret while the others
remain silent.
Page 8 Let us now take up the lute and attempt to tune it. We site down and hold the lute
in the same fashion as the lutist does in the picture by van Dyke: we cross our
legs, left over right, then we rest the right lower arm – about in the middle
between elbow and wrist – on the top of the lute, which is at about a 90 degree
angle, the correct resting position for the forearm is indicated on the drawing.
Then we rest the little finger slightly on the top of the lute, next to the highest
string and close to the bridge. This position too is indicated on the drawing. The
weight of the lower arm resting on the top which can be felt as a slight pressure
on the left thigh is quite adequate to balance the lute and to inhibit any lowering
of the neck, thus the left hand can move freely on the fingerboard. The support of
the little finger does not affect the lute but the strumming (plucking) hand.
In order to tune our lute to a’, we tune the e-fret to a tuning fork or the a’ of the
piano.* (If we intend to go easy on the strings we may tune the lute a whole step
lower by using the g-fret.) The next practical instruction is as follows (diagram).
We are to finger the e-fret of the highest course and play it and tune the empty
third course to this note, since this string cannot be tightened to the same degree
as the highest, we tune it an octave lower. The next instructions are the
following: (diagram) We are to pluck the empty highest course and tune to this
note the second course which is fingered at the d-fret. Furthermore: (diagram).
Play the highest course empty and tune to this note the empty fourth course,
then play the empty second course and tune to it the empty fifth course, finally
the same procedure for the third and sixth course. Again we sum up the tuning
procedure for the upper six courses in this diagram (diagram).
Each singe tuning process is separated from the next one by a barline. The first
shown letter is to be played first, the following letter is then to be tuned to the
note produced first. In tuning the sixth course, the thin OCTAVE STRING is
tuned in unison with the empty third course while the heavier bass string is tuned
an octave lower. We follow exactly the same procedure when tuning the bass
courses, the tuning instructions for which are as follows: (diagram).
We notice that the bass courses are not indicated in a uniform way, but
according to groups in different manners. This happens in order to keep the
tablature system simple, to avoid confusion through too many lines. The letters
for the seventh course are indicated below the lines, the eighth course is marked
by a slanted line above the letters, the
Page 9 ninth course has two slanted lines and the tenth has three. After this the slanted
lines are no longer used, instead the respective digits 4, 5, 6 are used for the
remaining three bass courses. Thus if we play, beginning with the lowest bass
course, one course after another going up the following tablature diagram
originates: (diagram)
Already this first attempt to pluck the empty courses of the new tuned lute
presents a new problem: Which fingers of the right hand should be used to pluck
which course? Is the choice open or are there rules? There is a rule, as follows.
Page 9 The upper four courses are played with the middle finger, all others are played
with the thumb. If any other finger than the one prescribed by the rule is
supposed to be used, there is a special sign indicating the finger under the letter.
The signs are as follows:
| Thumb
 Index finger
  Middle finger
 Ring finger
 
Therefore the thumb, being responsible for its nine courses must be trained to
become most efficient and exact in switching from string to string, to be able to
execute skips over long and short distances quickly. Some practical exercises
will be of great help. It is most important that the little finger remains always in the
exact same position so that the thumb can get used to the various distances in
relation to this fixed point. Only thus can the thumb gain the necessary exactness
and security.
We lay the thumb on the bass string of the bass course 4, touching the string not
with the tip but the side of the thumb, we hold the other fingers so that the hand
lies slightly arched over the strings. After applying a slight pressure with the
thumb, the course skips away from under it and the thumb comes to rest on the
bass string of the next course. During this process we perceive in quick
succession first the tone of the bass string and then the tone of the octave string.
Another quick pressure sounds the notes of the next bass course and lets the
thumb fall on the next bass course. In this manner we guide the thumb toward
the seventh course: (diagram of exercise)
At the beginning of the tablature the beat is indicated. Above the first note we see
a quarter note which indicates that all notes are to follow one another at the
distance of a quarter note. If this distance is to be changed, another sign will
indicate this. The whole note above the note of the second measure therefore
means that the next note may only follow, after the time of one whole measure
has passed. The three dots at the end of the exercise indicate that the piece is to
be repeated.
Page 10 As long as the thumb moves stepwise from one string to the next, going upward,
a slight pressure is enough to move it to the next highest course. However, if one
wants to descend stepwise from one string to another, the thumb must perform
each time a little skip, in order to descend from the course on which it rests after
having played it to the next lower course. The playing of the seventh course
takes the thumb to the sixth course, in order to play the eight course from this
position it must lift itself over the seventh course toward the eighth course.
Exercise 2: Exercise in the described direction

Exercise 3: Both directions united in one exercise
Exercise 4: Stepwise upward, larger skips downward, changing duration of the
notes
Exercise 5: Constant duration of the notes, jumps up and down
Exercise 6: After the pre-exercises we can now attempt some
7: Simple Folk tunes
The symbol for rests is played by resting the thumb on the last played course.
Since this symbol indicates rhythm as well as an action to be performed by the
right hand, it is written half into the tablature system and half above it.
Page 11 Exercises 8-9 are more folk tunes, 10 is a melody that incorporates all the bass
courses. 11 is a jump exercise for the thumb.
Once the thumb feels fairly secure we can pay attention to the other fingers, the
index finger and the middle finger, the ring finger is for now left out, since it is
only used for chords. When a finger plucks a course the hand opens slightly and
turns a little bit so that we can look into it when playing. The middle finger bends
a bit more than the index finger when plucking a course so that both fingers
touch the respective string in the same place. The index finger must be held
almost stretched straight so that the thumb can pluck under it into the hollow
hand. Neither finger attack the string with fingertip
Page 12 but with the lower edge of the fingertip.

Exercise in plucking two courses next to one another:
The ball of the middle finger rests on the fingernail of the index finger. Since the
rule designates the middle finger to play the upper four courses, the playing with
the index finger is indicated by a dot below the letter.
Exercise 12: (diagram)
Next we play the strings one after the other and pay attention that the attack is
done from the side of the fingertip without touching the neighbor strings. Courses
are treated like single strings, except that the attack must bring both strings of a
course into vibration.
Exercise 13 (diagram)
Now we combine both ways in Exercise 14 (diagram). If we now can master the
singe and broken attack of two courses which are not neighbors but separated by
course in between, we are familiar with the main problems of the right hand.
Page 13 Exercise 15 (diagram)
The left hand is used to shorten then strings. This done in the following manner,
by arching the fingers slightly and pushing the string down upon the fingerboard
(shortly behind the respective fret so that the string is allowed to vibrate freely up
to that fret). The thumb rests under the neck about opposite to the middle of the
hand, the thumb is slightly stretched toward the tuning box and touches the neck
only with its top part. The hand is hollow and nowhere touches the neck, neither
should the fingers touch the neck. Numbers indicate which finger of the left hand
is to be used:
1, index finger
2, middle finger
3, ring finger
4, little finger
No number is used to indicate the thumb since it is never used to finger or pluck
any string. For the duration of this school numbers are always used to indicate
the fingers of the left hand (1.=first, 2.=second, 3.=third, 4.=fourth), while the
fingers of the right hand are always called by name (index finger, middle finger,
ring finger, little finger).
First of all we do some fingering exercises with the left hand to orientate us on
the first five frets of the fingerboard. The letters used in the tablature have
changed slightly compared to the letters used in print, due to the limited space
and because letters can never touch each other, especially when several letters
on top of each other signify a chord. DIAGRAM of letters used in tablature
(bottom) compared to letters used in regular print (top).
Lets do some easy fingering exercises, always using the fingers indicated by the
numbers.
The two neighboring ‘c’ can also be fingered with one finger (barring) across
both strings. In this case the first finger pushed down the second string with the
fingertip and then is lowered sideways upon the first string until it is pressed
down onto the fret. The first two joints of the finger are totally straight so that they
lie flat on the fingerboard. The symbol used to indicate barring is ( ). This bar
fingering is held for as long as the parenthesis last. (diagram)
Page 14 After these preparations we can attempt to master a little suite. The first piece –
the Pasterella – is not very difficult since we already practiced all the necessary
fingerings. What was before an unbroken chord must now be played as an
arpeggio, the left hand still fingers chords and each chord is held until a new
chord is indicated.
Fingering
Rule: It is a common rule that a finger remains as long on the fret is has fingered until it
is necessary to change.
In the following piece all measures except 6, 10, and 24 are made up of only one
chord. This chord is fingered at the beginning of the measure and held
throughout the complete measure. At the beginning of the next measure the
fingering changes to a new chord.
1.) Pasterella in F-major (Exercise 17)

In the measures 6, 10, and 24 we see a vertical line between two letters. This is
a connecting line used between two very distant letters. It demands the plucking
of a bass course and a PLAY COURSE at the same time. In order to become
well versed in this manner of plucking, we use the following
Page 15 exercise on the empty strings (Here the pressure resulting from the attack of the
thumb is used at the moment of attack for the attack of the finger. The attack of
the thumb is much more a slight pressure than a plucking, since contrary to the
fingers the attack does not come from above: the thumb does already rest on
the string. Thus the attack of the thumb takes just a little bit more time than the
attack of a finger, therefore the thumb must start just a little bit earlier if the attack
is to come at the same time with the attack of the finger ).
In the following Menuett we have opportunity to apply the procedure just learned.
We also see a new symbol, an arch under two letters. This arch means that the
second “connected” letter is to be “pulled off” by the left hand. The most simple
form of this “PULLING OFF” is from the ‘b’ or ‘e’ fret to the empty string. Here
only the first note is plucked by the right hand while the second, attached note is
produced by the finger of the left hand. As the finger leaves the fret, it pushes the
course a bit to the side thus putting it into vibration, the string may not be plucked
by the finger. However, one
* pull ? may push*single strings, the two upper ones, somewhat further to the side thus
producing stronger vibrations than with pairs of strings. It is desirable to produce
a beautiful clear tone. We practice the “PULLING OFF” on the following example
Exercise 19: (diagram)
One can “PULL-OFF” not only onto an empty string but also onto another fret
(diagram). One fingers the e-fret and the c-fret at the same time, thus pressing
down the first and fourth finger at the same time, then one plucks the e with the
right hand and then pulls off the fourth finger. The following fingering rules exist:
Whole steps (two frets) are fingered with the first and fourth finger, half steps are
fingered either with the first and third or the second and forth fingers (ONE fret).
Page 16 A short exercise may help us to remember: Exercise 20 (diagram)
Page 16
*appagiet A quickly executed “PULL-OFF” has the effect of a gracenote from above. The
sign for this gracenote * is an apostrophe (‘) following the letter. “PULL-OFF” as
gracenotes are fingered with the same fingering as those written out, they are
simply played faster. Only the upper letter is plucked and the lower (notated)
letter is pulled off. If one such quick PULL-OFF (‘) coincides with a bass note, the
PULL-OFF happens at the same time the bass note is attacked. The pulled off
note (the main note) is then heard shortly after the bass note:
* Dave: as far as I can tell, (since I don’t know the English term for PULLOF) the
note that I (in literal translation of the text) refer to as the pulled off note is the
one which is not plucked by the right hand
The following Menuett requires the gracenotes we practices as well as the
simultaneous plucking of bass- and play course. At first we execute the
gracenotes fairly slowly in order to make them stand out clearly. Since it is the
rule that the fingers of the left hand remain in the same position as long as
possible, the d-fret fingered in the upbeat is held until in the fifth measure, the e-
fret replaces it.
Exercise 22: Second Menuett (diagram)
In the next piece we practice the gracenote on the lowest playing course and the
SOUNDING ATTACK (SOUNDING STRUM?) of the low playing courses:
Page 17 Exercise 23: Third Menuett (diagram)

The opposite of the PULL-OFF is the “Hammering” of a note, which we will
encounter in the following piece and which is indicated by an arch in front of the
letter. The most simple form of HAMMERING is hammering from an empty string
onto a fret: (diagram)
First the empty string is plucked with the right hand, then shortly after the finger
of the left hand hammers down onto the indicated fret. This hammering action
must be strong enough to product a clearly audible note.
A quickly executed HAMMERING has the effect of a gracenote from below. As

the PULLOFF before, so can the HAMMERING be played from any note (fret).
The rule is as follows: the gracenote from below is always played from the next
lowest note of the scale. This may involve either a full- or a half step, thus the
gracenote can be played from the next or second next letter below. For example,
HAMMERING ON can be done from the c-fret to the e-fret as well, as from the d-
fret to the e-fret. This depends on the key the piece is written in. In most cases
the fret in question has already been fingered before so that there can be no
doubt, which fret is the correct one.
In the fourteenth measure of the following piece the second finger is already in
position on the letter c which had been fingered in the preceding measure. To
perform the HAMMERING ON we hold this fret, pluck the string with the right
hand and then hammer the left finger quickly thereafter onto the d-fret: (diagram).
In exceptional cases, when the HAMMERING ON is supposed to occur from a
note foreign to the respective sale, the required fret will be indicated beforehand:
(diagram)
If the HAMMERING ON occurs simultaneously with a bass note, as in our
example, the right hand plucks both strings at the same time and immediately
after that, the left hand executes the HAMMERING ON (diagram)
Page 18 Exercise 24: Menuet en Air (diagram)

During a Gigue the thumb occasionally leaves the bass strings and jumps up to
the third treble string (Spielcher) in order to pluck the higher C (diagram). The
thumb does not move close to the strings but performs an arch. This technique of
jumping with the thumb will be described in detail later. After playing a treble
course (Spielcher) the thumb does not fall upon the next string but is held floating
above the just-plucked string so that he can move on right away to the next string
he has to play.
For the first time we encounter here a chord of three letters on top of each other:
(diagram). The tablature tells us to use the ring finger for the uppermost string.
The lowest string is played by the index finger and the middle string, where no
finger is indicated, is played with the middle finger. We first practice the attack
with three fingers (and thumb) on empty strings. First we play each note of the
chord by itself, then we play 3 strings, and finally all four strings.

Now we will be able to do the Gigue.
5th piece Gigue (diagram 26) tablature according to the original.

The attack with the ring finger must be practiced some more. Let us attempt the
following chord sequence (27).
Note: in order to give the student a better understanding of the harmony
structure, chord exercises are accompanied by chord letters which have become
standard in guitar playing. The letters indicate the bass notes. Capital letters
indicate a major triad, small letters indicate a minor triad. While the bass note
indicated by letter is the same as that in the tablature indicated bass string the
triad which goes along with it must be fingered on the treble strings. The basic
chord contains root, third and fifth, in numbers 5
3
1
If a chord is to be played which is not in root position numbers above the
letter indicate the required intervals. The numbers are used according to the
rules of figured bass so that the students become well acquainted with this form
of abbreviated notation which every lute player used to know by heart.
Playing the chords won’t work too well at first, to get a really smooth, even sound
from the attack we first must break up the chords and emphasize the single
notes. Thus we play exercise 27 in four different ways.
1, With the accent on the ring finger; 2. Accent on the index finger; 3. Bass note
followed by plucking the chord; 4. Quick change.
Then we repeat the complete chords as in 27 and are glad that it works already a
lot better.
From this first suite we gained a certain advantage for our lute playing, namely
the ability to read letters which follow one another as chords and to finger them
accordingly. That was a rather simple thing to do with these
Page 20 pieces since most of the chords were broken the same way. It becomes more
difficult in the first piece, the entrée of the next suite. This suite is from the same
source. Here the first three letters belong together and the following four letters
belong together, in the fourth measure the first four notes belong together
(diagram)
However, in the beginning it is not necessary to know the structure. The ability to
associate the letters one reads in the tablature with the chords they belong to is
acquired with constant practice. Just remember that the fingers of the left hand
hold the fret which they finger as long as possible, then after paying close
attention to the tablature the chord fingerings will become apparent.
Page 21 Parthie in d minor 1. Entrée (28) from the lute book of the Princess of
Württemberg, around 1740.
The following menuett introduces us to higher positions on the fingerboard, twice

we encounter ‘h’, the 7th fret. Here are the letters for fret 6 through 13
2. Menuett (29)
Page 22 In the following menuet we want to pay attention to leave the fingers on the
fingered frets to emphasize the cord effect as it was intended. In the fourth
measure of the following menuett we find the broken A major chord, we find this
chord also in the fourth measure of the variation.
3. Menuet (30)
Page 23 4. Variation (31)

We could play these two suites without retuning any of the bass strings because
they were written in parallel keys; i.e. keys which have the same key signature (in
this case, F major and d minor). If we change keys, the free vibrating bass strings
must be tuned to the new scale.
To be able to play the following suite in C major we have to retune bass string 5,
which in the F major scale was tuned to b-flat, to b. We know how to do this
already from the general tuning instructions. We find instructions before the
beginning of the first piece of the next suite (diagram). This means that we are
supposed to finger the C fret of the sixth string and tune the bass string 5 to this
note.
Page 24 Suite in C major: 1. March, German around 1740 (32)
In the measures 16 and 18 of this piece two chord fingerings resulted from
leaving the left hand fingers on the frets. We should memorize these chords well,
their fingering can be used in different positions to produce other chords
(diagram) . The first chord is the G major chord, played two frets lower we have
the F major chord (diagram) and further: E major (diagram)
Page 25 This fingering can also be used to barre (33), In the same manner we can move
the other chord fingering. The new following menuet is an example for the
movement of the bass which we first encountered in introductory exercise (4):
The skipping over one bass string: The thumb, after plucking bass string 4 does
not fall upon ///a, but glides across this string without playing it and thus reaches
//a which will be plucked, etc. In measure 9 we encounter an unusual sign: two
letters above each other connected with the next pair by arches (diagram). This
is the Deppeleinfall (double hammering on). We right away face both forms, one
originating on an empty string (measure 11). The execution of the first version is
pretty easy. As indicated by the parenthesis the two c are to be fingered by
barring them with the first finger. Thus we strum with the right hand the two
empty strings and then hammer the first finger of the left hand on to the c-fret of
the two strings (diagram). The execution of the figure in measure 9 is more
difficult (diagram). First we barre the c-fret of the three upper strings with the first
finger of the left hand, then we strum with the right hand and then, with the with
the index finger of the left hand remaining in position, its fourth finger hammers
down on ‘e’ and its second finger hammers down on ‘d’. Both fingers have to
hammer down simultaneously. The movement of these two fingers may initially
be inhibited by the index finger which is barring the three strings, however with
diligent practice this should not remain a problem.
2. Menuet (34)
Page 26 In the very ‘singing’ second menuet we should give special attention to producing
a nice singing tone with the right hand. The left hand has no special
assignments. By now we are completely used to keeping the left hand fingers in
place until they have to be moved, this is very important for measures 13-17 and
25-29. The dots in measure 25 indicate that measures 25-32 are to be repeated
(Note: Dave, I think he is not talking about the second but the third minuette
which follows)
3 Menuette (25)
In this piece we encountered a new fingering for the C major chord, namely the
fingering in measure one. By moving this fingering we have chords for other keys
(diagram, p27, top)
Page 27 This time not the octave of the bass note but the fifth of the bass note occupies
the highest string. Thus we differentiate between OCTAVE-FORM and FIFTH-
FORM. Let us memorize: Chord fingerings; (36). This diagram shows the two
forms for the indicated chords.
Octavgriff = OCTAVE-form
Quintgriff = FIFTH-form
The Gigue is an excellent exercise for the jumping with the thumb. We can only
achieve perfect aim if the supporting little finger always rests in exactly the same
place. So let us concentrate on never changing the position of the little finger as
we are playing. Do not press the finger onto the top, just rest the fingertip lightly.
If the thumb has to cover any larger distance it does not slide across the strings
in-between, but is lifted over them. Look for example at the skip over two octaves
in measure 2: at the beginning of the measure the thumb rests on bass string 4,
a slight pressure moves the thumb to string ///a, from there the thumb describes
and arch which brings it to the third treble string.
The further the distance to be covered, the higher the arch of the thumb must be;
the shorter the distance, the lower the arch of the thumb. Plucking of treble
strings with the thumb is not done, as in the case of bass strings, by applying
pressure to the string and letting the thumb fall upon the next string. Instead, the
thumb attacks the string from above with a sideways plucking motion. We use, of
course, the inside of the thumb. The thumb does not touch any neighboring string
but is lifted immediately after the attack and held suspended above the string.
Note: this rule, namely that the thumb, when playing a treble string does not fall
upon the next string, does not apply to the lowest treble string, the 5 string, which
is commonly treated like a bass string.
Page 28 4. Gigue (37)

In the third measure of the above gigue we find the last major chord fingering,
which we have been missing so far, here the third of the chord is fingered on the
highest treble string. This form is the THIRD-Form (Terzgriff) (diagram)
Page 29 Now we can complete our chord system
G Major D Major C Major

Octave=Third=Fifth Third=Fifth=Octave Fifth=Octave=Third
(38) (Diagram)
For F major we move all frets up one from E major, for B major we move one fret
down from C major. In a similar way we can deduct the fingering of other chords
by looking at them as lowered or raised notes of one of the above-mentioned
chords.
ll
Second Level
Content Exercises No Pieces
Attack techniques RH* Alternating attack 39 Parthie in C
Running technique 39 1. Menuett/Trio 45
Rule for attack Crossing over to other 2. Pasterelle 47
Breaking 54 strings, runs 40 3. Menuett 48
Walking in octaves: 4. Gigue 52
Moving hand up 61
on the upper 6 strings 49 Passepied @ Gigue 54
(changing timbre by moving
lower strings 50
place of attack)
both lower and upper 51 Suite in D
Brushing
1. Entrée 60
Slowly (melodic) 62
Attack exercise in G 56 2. Gavotte 61
Faster (chords) 66 1. closed index and 3. Paisane 64
Deadening of string middle finger 4. Menuet 66
(rests) 65 2. emphasizing upper 5. Capriccio 67
With attack fingering voice
3. accented ring finger Count Gaisruck,
4. unaccented ring finger Menuet 68
With flat hand
5. clear attack with three
fingers March and Menuette
in D 69/70
Fingering techniques LH Changing timbre by
Stretching moving chord position 71 Johann Seb Bach
In runs 41 Air 74
While pulling off 69 Attack exercise in b-minor
# Vibrato 46 Quick brushing across
X Trills 48 2-3 middle strings 73
Accurate aim on the Scale studies
fingerboard 55 F-major 42
~ Pulling off at hammering on d-minor 43
connected 60 C-major 44
~ Mordent 60 G-major 53
Chord table 57 D-major 59
Chord theory b-minor 72
Chord sequence G 56
Chord sequence D 56
(identical chords in various
positions)
Chord sequence in b (h-moll)
* RH = Right hand; LH = Left Hand
Page 33 Quote by Lesage de Richée “Last it is to be noted /that one must handle the lute
tenderly / and not roughly / for otherwise it will lose its grace / and lute playing
becomes more like sandpapering than music.”
Runs Rule The observant student will have noticed – maybe to his aggravation – that the
two attacking fingers of the right hand constantly alternate even when playing
notes that are located on the same string. This alternating attack is indeed
extremely important for playing evenly balanced runs. The rule is that in runs the
accented note is always played with the middle finger, the unaccented one
always with the index finger. It does not matter whether the run is played on a
single string or hurries across several strings. Crossing strings does not
invalidate the standing rule.
A clean and even, flowing run technique can only be achieved with diligent
constant practice, while strictly following the indicated fingering. A few
preparatory exercises are designed to help us in this task”
Ex 39 Exercise (39) Alternating attack (diagram)

Alternating
Attack In case things don’t work out right away leave out the bass and rest the thumb on
a bass string. Only when the attacking fingers feel secure play the exercise with
the bass.
The next exercise helps us to gain agility in crossing strings:

Ex 40 Exercise (40) Crossing strings (diagram)
Crossing
Strings
Page 34 This third exercise unites the fingering hand and the plucking hand in the manner
that the plucking hand executes the very simple alternate attack on one string
and the fingering hand stretches in order to finger the indicated frets according to
the fingering instructions.
Ex 41 Exercise (41) Stretching the left hand (diagram)

Stretching Identical exercise on the 4th and 5th treble course (Spielcher)
Exercise (diagram)
Page 35 After these introductory exercises the following runs in F-major, d-minor, and C-
major will present little or no problems. For playing runs the following rule goes:
the fingers remain on the frets only as long as that does not hinder the balance
and evenness of the run: the finger stays down on the fret if another fret on the
same string, a fret higher up the string, is fingered; the finger is lifted if the
following letter is on a different string. Only if we follow this rule exactly will the
run sound smooth and even:
Scale study
Ex 42 Exercise (42) Scale study in F-major (diagram)
Ex 43 Exercise (43) Scale study in d-minor (diagram)
Ex 44 Exercise (44) Scale study in C-major (diagram)
A small suite will reward us for our efforts: the low position in which it moves is
well known to us after the run exercises:
Page 36 Exercise (45) Parthie in C from the lute book of the Princess Luise of
Württemberg around 1740
Ex 45
Suite 1. Menuet Alternativement
Trio
Page 37
#
Vibrato We will encounter a new symbol in the 10th measure of the following Pasterelle. It
is a cross, similar to the one used for raising a note in the regular notation (#).
Like all symbols for ornamentation or embellishing it appears behind the letter it
belongs to and indicates Vibrato. The Vibrato is produced on the lute in the same
manner as on a string instrument. While finger sits firmly on the fret it is forced by
a continuous swinging movement of the hand, to bow forward and backward in
the direction of the string. This movement slightly influences the pitch of the note
and gives it more life and expression. The movement of the hand must originate
from the wrist and is not to involve the arm, it must be swift and relaxed. The less
pressure the finger exerts upon the string, thus the string is pressed less upon
the fingerboard, the more we can influence the tone.
Vibrate is easiest with the third finger (diagram)

it is more difficult with the second finger (diagram)
A good Vibrato with the first or fourth finger is only possible, when the hand is
very relaxed and loose (diagram).
The Vibrato effect can also be extended to two fingers, even whole chords, thus
giving the music much more soul:
Ex 46 Exercise (46) (diagram)
Vibrato In the Pasterelle we want to attempt, to accent the melody in the upper voice with
a smooth, full attack of the right hand
Page 38
Ex 47
X
Trills 2. Pasterelle (fingering for the left hand according to the original)
Falling in (Verschlag, hammering on) may be repeated several times, thus
creating a trill effect. A trill is indicated by a cross X behind the letter and
commonly constitutes a doubling of the hammering on (Verschlag) from above.
However, the player is free to extend the duration of the trill, if the piece allows to
do so. Then the trill should begin slowly and become faster and faster. In the
measures 4, 12, and 14 of the following pieces let us attempt the doubling of the
hammering on (Verschlag) in the following manner:
after pulling off the finger the first time, we at once hammer it upon the fret on
which it rested before, then pull it off again, without plucking the string with the
right hand:
Diagrams: for trills in measures 12, 4, 14
When barring with the first finger at the beginning of the piece, keep the hand as
high above the fingerboard, as possible so that the fingers have room to move.
48 3. Menuet (48) (fingering for the left hand according to the original)
Page 39
Octave runs
Ex 49
Ex 50 The Gigue introduces in the measures 14/15 and the repetitions octave runs and
broken chords with the use of the ring finger. The latter should pose no
difficulties, since we practiced them in 27/II in the same manner.
Octave runs are very simple on the lute, since the strings, which are an octave
apart, are always fingered on the same fret.
(Diagram) 49 Octave runs

The low position is more difficult (diagram) 50
Page 40
Ex 51 Diagram (51) Now we play on the entire fingerboard
Ex 52 4. Gigue (52) (up to measure 22 the fingering is according to the original)
Page 41 Now we change the key to G-major and thus have to tune the f-bass string to f-
sharp. The instruction goes as follows (diagram) finger the b on the 4th treble
string and tune the bass string to this note. Now we can play the G-major scale to
familiarize ourselves with the position of the notes
53 Exercise (53)
Page 42 The lively Passepied contains in measure 29 a new symbol (diagram)
. This diagonal line between two letters position on top of each other
demands a breaking of the attack, an even breaking according to the rhythm of
the piece. Thus the 29th measure is played in the following manner (diagram)
54 Passepied (54) German around 1710

Note to measure 28: Execution of the repeat dots: first play through the second
part. Then begin again at the dots in measure 24 and play through to the end.
Then repeat the ending again from the dots in measure 28. In exactly the same
manner the second part is played again.
Page 43
55 Gigue (55) Remember to repeat the ending from the dots
Page 44 The last two pieces move us into the higher positions on the fingerboard. In order
to be able to hit each of the 9 frets immediately and accurately it is necessary to
divide the fingerboard in a clear manner:
Accuracy
Aim In the middle of the neck is the f-fret; i.e., the area in which the f-fret is fingered;
two frets higher the h-fret; again two frets higher the k-fret, the last fret which is
wound around the neck. Then we have to remember the n-fret as the middle of
the string, the octave. From these frets as points of orientation we can easily find
the others, which are in-between the ones mentioned. If we hold the lute during
playing in always the same manner and position soon the left hand will get used
to the various positions required by various frets so that it will soon be able to hit
the main frets f and h without trouble and soon all the others too.
Before we leave the key of G-major, let us take a look at all the chords familiar to
this key and their positions on the fingerboard. Let us use the here indicated
chord row as an exercise for the right hand
Ex 56 Diagram (56) chords related to G-major

G, D, e, b, C, D, G, D7, G
We practice this pieces in the following manner:
I. Attack with closed (?) index and middle finger (diagram

II. Emphasizing of the upper voice, soft accompaniment (diagram)
III. Jumping (skipping) exercise for the thumb (diagram)
IV. Accented ring finger (diagram)
V. Unaccented ring finger (diagram)
VI. Clear attack with three fingers (diagram)
Page 45 In the second part of this exercise we encountered two minor chords: the fifth
form (Quintgriff) for e-minor and the octave form (Oktavgriff) for b-minor. Let us
include these two chords in their respective place in our fingering table (34).
Since we have used B-flat major in this table, for easier organization, and not B-
major, we have to read the b-minor Octave form a fret lower. (diagram) The only
missing fingering for the Third Form (Terzgriff) for minor chords is a barre chord
across the upper three strings for d-minor, e-minor, g-minor (diagrams).
With the help of these three minor chord forms we can now easily supplement
the still missing chords of our chord table: Octave Form b-minor; moved up a fret
turns to e-minor; moved two frets up turns into d-minor; two frets lower than b-
minor it is a-minor; two more frets down and it is g-minor: (diagrams)
We use the same system with the Fifth Form and will then have a complete table
of all minor and major chords with all their inversions:
Chord table
57 Exercise (57) chord fingering table
G (g) D (d) C©
Octave=Third=Fifth Third=Fifth=Octave Fifth=Octave=Third
form form form
Page 46 By retuning another bass string we now prepare the lute for another key
(diagram). This means that the C string no longer is to be tuned to the d-fret of
the 6th string but instead to the e-fret. We therefore have to tune it up a half step
to C-sharp. Now we can play in the keys with two sharps, D-major and b-minor
(diagram 58).
Ex 58
Ex 59 Now a small scale study (diagram 59)
~ In the first piece of the following suite we get to know a new form of
embellishment: Connecting Hammering on and Pulling off. Measure 5 requires
(diagram)
In order to be able to tie theses three letters together I at once put the second
finger upon the d-fret and simultaneously the fourth finger upon the e-fret. After
plucking the string with the right hand I first of all pull off the fourth finger and
hammer it again upon the e-fret. In other words, the second finger always
remains upon the d-fret (diagram for measures 19 and 20)
Mordent If this figure is executed very swiftly it produces what we call a mordent.
The symbol for the mordent is
If we use the mordent in our example the following picture results: (diagram)
We will return to the mordent later and will study it in detail in several pieces.
Page 47
Ex 60 Exercise (60) Suite in D-major
1. Entree in D#, from the lute book of the Princess Luise of Württemberg around
1740.
Note: Play through the first part without heeding the Fermata in the last measure.
Incorporate into this last measure (of the first part) the upbeat for the beginning
and repeat. Play this repetition only through to the Fermata, second beat in the
last measure. Hold the Fermata until it is time for the second part. Play through
the second part and repeat from the dots in measure 13, then play the second
part again with the same repetition.
Page 48 If we are playing a short repetition at the end of a piece, we can emphasize it by
moving the right hand and the supporting little finger closer to the Rosette and by
attacking the strings close to the lower edge of the Rosette. Thus the tone will be
sweeter and more soulful. While moving the hand up the supporting finger glides
very relaxed from its old position to the new position, always parallel to the
highest string. The following piece gives us opportunity to practice the change of
position with the right hand:
Ex 61 2. Gavotte (61)
Brushing Usually the attacking fingers of the right hand are not allowed to touch the next
string after they have plucked one string. But there are cases when the index and
middle finger are to be treated in the same manner as the thumb, thus falling
upon the next string after attacking a string. Thus we produce a sort of “brushing”
effect of two notes which are positioned on two neighboring strings. This
“brushing” effect is indicated by a diagonal line (left to
Page 49 right) under the letters. This “brushing” (Streifen) effect is done especially by the
Ex 62 index finger which is then held completely stretched out: Exercise 62 (diagram)
Ex 63 The following figure is most common: Exercise 63 (diagram).
The next piece requires various “brushings” (Streifer) from the second string to
the third string
Ex 64 3. Paisane (64) continues on page 50
Page 50 The “brushing” (Streifer) can be executed so quickly that it gives the impression
of an attack on two strings. We encounter this case in the measures 4, 12, 16
and 34 of the following Menuet. Here we have either a three-voiced chord which
is to be played by only two fingers (diagram) or an unaccented note following an
accented note (Nachschlag). We encounter the following symbol: the dot under
the first letter, which is to be played with the index finger; and a diagonal line, this
time in front of the two letters to be “brushed” (Streifen). In order to gain the effect
of a chord sound, let the notes follow each other in the following manner
(diagram). The notes must follow each other so quickly, that the impression of
hearing a chord exists.
rests For the first time we encounter the symbol for a rest in measure 28 and 30. That
means that for the duration of this symbol no string should sound. We produce a
rest by muting the notes plucked last at the necessary time. We mute notes and
chords by resting the fingers used to pluck the notes back on the string, as if we
wanted to pluck the chord again.
Ex 65 Exercise 65 (diagram) rests
Page 51 We gain a more effective muting effect if we use the entire right hand to stop the
vibration of the strings by laying it flat across all strings. Thus all strings, those
which have not been plucked at all too, are prevented from vibrating. The
execution of this rest is more difficult for we do not want to lose the support of the
little finger while putting the hand flat across. Let’s try to play the exercise in this
manner. The rest with the use of the entire hand must be used to mute chords of
4 and more notes!
The last piece of the suite is a very good exercise for thumb plucking on treble
strings. We have to pay attention to what was discussed earlier, namely that the
thumb does not fall upon the next string when it plays treble strings. Like the
other fingers it is lifted immediately after the attack and stays above the string
Page 52 it just played (see 37). The only exception to this rule is the 5th treble string, the
lowest treble string, which is treated like a bass string. The final repetition in this
piece sounds better if we emphasize it by moving the pace of attack closer to the
Rosette.
Ex 67 5. Capriccio (67)
We find a great number of Hammering On (Einfall) are written into the Menuet by
the Count of Gaisruck. This piece, which goes up to the m-fret, also uses Vibrato
(#).
Page 53
Ex 68 Menuet (68) by Count Gaisruck around 1720
The execution of Hammering On or Pulling Off is decidedly more difficult if not all
fingers are free but some are fixed to a certain fret. The easiest of these cases is
when besides the two fingers used to Pull Off a third finger is needed to hold
down a fret. We encounter this case in measure 2 and 8 of the following march
(diagram)
Page 54
Ex 69 March and Menuett: German around 1750
March (69)
The following Menuett gives us the opportunity to practice a slow brushing
(Streifer)
Ex 70 Menuett (70)
Page 55 Finally we want to study the chords of this key. All chords formed on the upper
three strings can be played on the 2nd, 3rd and 4th string with the same voicing but
with a different, darker timbre. The fact that one can play the same note on
several strings in different positions was one of the main reasons for preserving
the system of tablature. A short example shall enlighten us:
Ex 71 Exercise (Diagram 71)Chords D, G, A, D in various positions.
Let us practice the exercise in 6 different ways:
I. Accented thumb (diagram)
II. Unaccented thumb (diagram)
III. Changing fingers in the chord (diagram)
IV. Syncopation effect through strong thumb attack (diagram)
V. Brushing (Streifer) (diagram)
VI. Fast Brushing (Schnelle Streifer) )diagram
By moving this exercise up 1, 2, 3 or 4 frets respectively, the player can

transcribe the exercise into the keys of E-flat, E-major, F-major and F-sharp.
Page 56 A short scale study takes us to the parallel minor of D-major, b-minor (72)
Ex 72 Brushing (Streifer) can also be played across several strings as we see in the
next piece (diagram). The diagonal line in front of the letters demands brushing
(Streifer) across c-b-a. If you played this slowly you would hear the notes in the
following manner (diagram). However, execution of this figure must be so swift
that the attacks almost seem to flow together in one attack. Thus the impression
of a chord is created. The next piece also uses the slow brushing (Streifer).
In terms of fingering technique the key of b-minor differs essentially from the key
of D-major. Now we cannot play the sequence of e-fret c-fret any longer just with
the fourth and first finger since frequently a b-fret will follow the c-fret (diagram).
In order to be able to play this fingering the fingers need to be stretched. The
player is forced by the prescribed fingering to assume the technically best
position with his fingers: to stretch the fingers apart to an extent that they do not
touch each others. The fingers should be totally independent from each other
and not be influenced by each others’ movement. They should not even touch
when they sit next to each other on the same fret.
Let us practice the quick brushing (Schneller Streifer) within a chord a bit more,
for it is of utmost importance.
Ex 73 First across two, then three strings Exercise (73)
Then we conclude the second part of our study with this beautiful, majestic Air.
Though it has been handed down to use anonymously, it could only have been
composed by J.S. Bach.
Ex 74 Air (74) Possibly by Johann Sebastian Bach?
lll
Third Level
Content Exercises No. Pieces
Attack Techniques Right Hand Double pulling off Aria: Lusinghiere
Hammering on upon Attack exercise a-minor86 m’in gaunaste 75
three letters 1. Index finger brushes
Two fold pulling off 78 both middle courses Hagen Minuett 76
2. bass with followup
chord brushing Th A Arne
Continuous trill 79 3. Simultaneous bass 1. When Fanny blooming
Brushing of chord 80 attack index finger fair 77
brushing 3 strings 2. How sweet are the flowers
78
Brushing with Run exercise a-minor 87 JB Hagen
Middle finger 80 1. Thumb attack Aria 79
Back of hand moves down 2. Alternate stroke with
to change timbre middle/index finger Courante 80
(echo effect) 81 3. Alternate stroke with Echo 81
Fingering Technique Left Hand thumb/index finger Rondeau 82
4 types of barring 82
1. Small/Empty bass
Muting exercise02 Suite a-minor
2. Small/Fingered bass
3. Large/Across 6 courses 1. Allemande 88
4. Large/At times upper strings left Separate attack of two 2. Courante 89
empty strings of a course 103 3. Gavotte 90
Slur 82 4. Aria and
Scale study a-minor 87 Alternativement 92
Double pulling off 83 5. Bouree 93
Neighboring course 6. Gigue 94
Distant courses
Double trill 85 Suite
1. Cappricce (a) 95
Hammering on with 4th finger/free hand 99 2. La Tournee (d) 96
Tight trill (Pralltriller) 3. Menuet (f) 97
Hammering on/Pulling off connected 100 4. Menuet (c) 98
Written out
~ Count Bergen
Symbol Menuet 99
Muting 101
Cappricce 100
// Menuet 102
Separate attack of
Two strings of course 103 WL v. Radolt
Thumb attack across Allemande 104
two courses 104
Chord theory: Vienna chimes 105
Chord row a-minor 86 (by Count Losy?)
Page 61 “Lute is an art / if one does it well / who does not want to learn it right / should not
even try it.”
~Petrus Fabritius
Lutebook 1603
So far throughout the exercises in this book the bass notes were of less
importance than the busy Descant. In most cases the bass was limited to
repeatedly played roots. Now in the following pieces we want to learn to combine
a melodic bass line with a melodic line in the upper voice. We tune back to G-
major.
Ex 75 Aria Lusinghiero m’in gaunaste (75) from the Augsburg lutebook of the 18th
century.
In the menuett of the Bayreuth Lutist Joachim Bernhard von Hagen we find,
besides many Hammering on and Pulling off, three letters, connected by an arch.
In the next to last measure of each part the following figure occurs (diagram)
Page 62 This signifies a Hammering on on three letters. Here two letters hammer upon
the string, one after the other. After plucking the empty string the second finger
hammers upon the c-fret and then the fourth finger hammers upon the d-fret
while the second finger remains in position. We encounter the same figure in the
following song by the Englishman Arne.
Ex 76 Menuett (76) by Joachim Bernhard Hagen around 1750
Ex 77 When Fanny Blooming Fair (77) by Thomas Augustin Arne 1710-1778
Page 63 Similar to the Hammering on to three letters is the double pulling off (Beiderlei
Abzug) which we find in these two pieces as well (diagram). The first and fourth
finger are put upon the indicated frets simultaneously and after the string is
plucked first the fourth and then the first finger are pulled off. We will practice this
figure also with the other fingers (diagram)
Ex 78 How sweet are the flowers (78) by Thomas Augustin Arne. Vivace.
Page 64 Hammering on can be done from the empty string upon any fret, Pulling off can
be done from any fret to the empty string (diagram) In the Aria by Hagen we find
the Hammering on (Einfall) upon e-fret and f-fret as well as Pulling off (Abzug)
from e-fret to the empty string.
Continuous
Trills
xx If the cross symbol for a trill is repeated after the letter the trill is supposed to be
continued. We find an example in the next piece at the end of the first part.
This aria also for the first time takes advantage of the possibility to indicate the
neighboring note (Vorschlags-note) for the Hammering on by giving the auxiliary
letter for this not by putting it behind the bow indicating hammering on as a small
letter.
Ex 79 Aria (79) by Joachim Bernhard Hagen around 1750
Repeat from the row of dots which is marked with an “R” for repeat.
Page 65 We just had to play a trill running on through two beats, the now following
Courante extends the trill for five beats. The short diagonal line between letters
on top of one another we already know as the symbol for breaking the chord.
This must be done – as mentioned before – in the rhythm of the piece. Thus we
have to play this measure in the following manner (diagram)
The two final measures introduce a new form of brushing (Streifer) (diagram).
This way of playing a chord was much used in the 17th century and is played as a
fast brushing (Schneller Streifer), executed by the index finger alone, which is
indicated by the dot under the highest letter and the diagonal line running
downward in front of the three letters.
For the first time we encounter brushing with the middle finger in the following
measure (diagram). A diagonal line in front of the two letters, neither of them
showing a dot, marks this brushing (Streifer). The addition of the Hammering on
makes this figure especially difficult since not the letter “f” but the preceding d-fret
must be used for the brushing. The figure has to be played in the following
manner (diagram)
Ex 80 Courante (80) German lutebook 1722
Page 66 In pieces we played before we have already used the moving of the hand in
order to change the timbre of our notes. We changed the timbre by attacking the
string at a different place and thus accented repetitions. When we did this, we
moved the hand far enough toward the fingerboard that it would attack the string
above the rosette. Thus the note would sound softer, mellower but also not as
clear.
If we now move the right hand the opposite direction, toward the bridge, the
notes lose their softness and mellowness and sound harsh and brittle, dry. It is
exactly this sound which is perfectly suited for producing a kind of echo effect.
The following piece with the title “Echo” gives us the opportunity to practice this
right hand move. During the repeat which is required after every two measures
we move the right hand back, until the little finger does not support the hand
above but below the bridge. If we simultaneously weaken the power of the attack
by right and left hand, thus playing softer, the echo effect will be perfect.
Ex 81 Echo (81) German lutebook of 1722
There are four kinds of barring fingerings with the first finger which we practice in
the following Rondeau. They are the following:
1. Small barré with the index finger across the three highest treble strings with
the bass being plucked empty (diagram)
2. Small barré across the highest treble strings with fingered bass (diagram)
3. Big barré across six strings (diagram)
Page 67
4. Big barré during which the highest strings are at times left empty while the
index finger holds down the fret in the bass (diagram)
with the four letters connected by a wavy line we encounter for the first time the
slur (Schleifer) which here is composed of double pulling off and hammering on
(Doppelabzug und Einfall). A slur may, as we know, contain as many connected
pulling off and hammering on figures as desired and may continue across several
courses. The slur is indicated through the wavy line under the letters which is
composed of the arches for pulling off and hammering on. Only the first letter is
plucked with the right hand, all other letters are played only with the left hand
(diagram)
Ex 82 Rondeau (82) German lutebook of 1722
The second middlepart of this rondeau gave us a short look at the key of e-minor
which will be dealt with later because it is very difficult to finger.
In the Aria by Kleinknecht which follows under (84) we find the double pulling off
(Doppelter Abzug), that is the simultaneous pulling off of two letters written below
one another (diagram). The execution of this pulling off figure is not all that easy
Page 68 because the string in between the two cannot be touched.
So let us first practice the two following figures (diagram) and only then the
pulling off figure which occurs here in the piece (diagram). The double pulling off
figure cannot only be played upon two empty strings but also down to two other
letters (diagram). In doing this one puts down all four fingers at the same time
and after the right hand attack pulls off the fourth and third finger simultaneously
while the first and second finger remain down on the strings.
Ex 83 Let us retune (diagram) and collect all the various (3) double pulling off figures in
one exercise (Ex 83 diagram)
At the beginning of the preceding piece we were instructed to retune the bass
string /a. Thus we have tuned the f-sharp back to f. Thus the empty bass strings
produce the c-major scale (diagram). Thus we can now play in the keys of C-
major and a-minor. The now following Aria shows us the already known
diagonally ascending line not under but before the letters. In this case the notes
are not to be broken up in the rhythm of the piece, they are to be attacked shortly
following another from the lowest to the highest (like and arpeggio) so that the
chord becomes quite obvious to the ear.
Page 69 Aria (84) by Kleinknecht around 1750

In the following Andante we find the double pulling off figure and the double trill
(diagram). The trill is played as a double antecedent (Vorschlag) thus being in
practice a repetition of the pulling off figure. The execution looks like this in
tablature (diagram.
We already know the symbol for the mordent: . In this case the mordent is
to be executed in the following manner: Measure 7 (diagram); Measure 2
(diagram)
Page 70 Andante (85) from Lutebook of Augsburg 18th century
Before we attempt to study a Suite in a-minor, let us first look around a little in
that key: First of all, we memorize the various positions of the most frequently-
used triads in that key by playing some chord exercises:
Page 71 Ex 86 (diagram) using this chord row we practice the brushing attack in the three
following ways:
1. The index finger brushes the two middle strings (diagram)
2. Bass with following chord which is brushed by the index finger across
three courses (diagram
3. Simultaneous bass attack and brushing with the index finger across three
courses (diagram)
Then we play a scale study with four different attack possibilities:
Ex 87 Exercise 87 (diagram)
1. Attack with the thumb
2. Alternate stroke with middle and index finger
3. Alternate stroke with thumb and index finger
4. Two-fold alternate stroke with thumb-index finger and middle-index finger.
The now following Suite in a-minor serves predominantly the development of a

good technique for playing runs with the alternate stroke using middle- and index
finger.
Page 72 Suite in a-minor (88) German around 1730

1. Allemande
Page 73 2. Courante (89)

Page 74 3. Gavott (90)
Page 75 4. Aria (91)
Alternativement (92) Repeat Aria !
Note : usually the movements in A-major require returning (diagram). However,
in this case we do not require this in order to not disrupt the flow of the
Alternativement between the first and second piece.
Page 76 5. Bouree (93)

6. Gigue (94)
Page 77 If one does without the bass strings 5 and 6 one can play in several keys without
retuning the bass strings. The 11 course lute was mainly used in the 17th century
but lute masters write this convenient instrument into the 18th century. The
following Suite unites the keys of a-minor (Capprice), d-minor (La Tournee), F-
major (Menuett I) and C-major (Menuett II). These pieces use almost all the
symbols we have encountered so far.
Suite: German Lutebook of 1722

1. Capprice (95) a-minor
Page 78 2. La Tournee (96) d-minor
3. Menuett (97) F-major
Page 79 4. Menuett (98) C-major
Page 80 Hammering on with the fourth finger from the free hand is used in the next piece.
Exercising this form of hammering on is well suited to give the fourth finger the
mobility and strength needed for fluent playing:
Menuet (99) F-major by Count Bergen around 1720
The next pieces are in d-minor, they do not indicate that we have to tune any
string differently, thus the Lute is supposed to be tuned in the basic tuning for the
key. Since our bass string 5 is still tuned to b we have to retune it (diagram). The
combination of hammering on and pulling off, a written out trill is practiced in the
following Capprice:
Capprice (100) German Lutebook of 1722
Page 81 If one, after attacking a note, lets the next plucking finger of the right hand fall
quickly on the same string, the sound of the note will be cut off abruptly. For this
cutting off of a note there is a special symbol // , two diagonal lines behind the
letter. Let us practice it in several different ways:
On a single string (diagram)
Attack with index finger (diagram)
On a course (diagram)
Cutting off with the middle finger (diagram)
Attack with the middle finger, quickly cut off with the index finger (101) (diagram)
The symbol may appear after accented or unaccented notes. The most common
use of this sign is its use for the separation of two of the same notes a//a.
In this manner we encounter the symbol used in the next piece
Ex 102 Menuet (102) German Lutebook of 1722
Page 82 In the work of a Vienna master we encounter a further enrichment of the attack.
We see capital and small letters which are joined with an arched line:
This tells us to pluck at first only the bass string of the bass course and then later
we pluck only the octave string. This split up of the bass course appears in the
heyday of lute music in the second half of the 17th century. Commonly the
masters make only sparing use of the peculiar sound effect, it appears usually
only in slow movements. The movement presented in this book is an exception
for the accumulation of this figure and thus presents an excellent opportunity to
practice this figure. After the pressure of the attack the thumb does not land upon
the next course but on the octave string of the same course. The amount of
pressure (force of attack) need not be lessened. To the contrary, the single
string demands a stronger attack than a course, thus we move the place of the
attack closer to the bridge:
A vertical line in front of two bass strings on top of each other points to the
attack with the thumb. Even without the line those two courses would have to be
plucked with the thumb, the line only emphasizes the thumb attack which must
be so swift, that both courses melt into one.
Page 83
Ex 104 Allemande (104) by Wenzel Ludwig Edler von Radolt, 1701
Page 84
Ex 105 We conclude Part Three with the “Chimes of Vienna“, attributed to the famous
bohemian Count Losy. This Gigue demands extreme mobility of all fingers of the
right hand and the left hand upon the treble strings.
Exercise 105 Carillon Des Cloches de Vienne German Lutebook of 1722
lV
Fourth Level
Content Exercises No. Pieces
Attack technique Right Hand Run exercise B-flat major 107 B-flat Major
Pulling off neighboring course Attack exercise B-flat major108
106 1. Two fingers/middle note Minuett 106
followup
Brushing through 106
2. Faster moving Menuet 110
Counter stroke 120 3. Brushing Minuet 111
4. Follow up with brushing index Menuett 112
finger Aria 116
Reverse stroke 121
with thumb Rondeau 117
Transposing exercise 109
with index finger Cappricce en Gavotte 119
Missing high frets and empty
Fingering Technique Left Hand strings 113
Barring with 4th finger across 4 1. As sound effect Suite c-minor
courses/bass empty 127 2. To avoid position change 1. Allemande 127
4th finger across 4 courses with 2. Courante 128
fingered bass 129 Run exercise E-flat major 118 3. Aria 129
Tight trill (Pralltrill) 133 Attack Exercise E-flat major122 4. Gavotte 130
Long mordent 133
Changing fingers on a fret 1. Brushing and reverse brushing Johann S Bach
without interrupting the note133 2. Tremolo Suite g-minor
Chord theory 3. Reverse brushing with attack 1. Prelude 133
4. Arpeggio/brushing and reverse 2. Allemande 134
Figured basses brushing
B-flat major 108 3. Courante 135
5. Brushing through 4. Sarabande 136
E-flat major 122
6. Counterstroke 5. Gavott I 137
c-minor 126
g-minor 132 6. Gavott II 138
Run exercise c-minor 123 7. Gigue 139
Scale studies Attack exercise c-minor 126
B-flat major 107
E-flat major 118 Thumb attack on treble strings
c-minor 123 2. Large skips with thumb
g-minor 131 3. Finger change within chord
4. Repetition of highest note
5. Outmost mobility of thumb
Run exercise g-minor 131

Attack exercise g-minor 132
Counter-melody with:
1. Index finger
2. Ring finger
3. Middle finger
Page 87 “Luteplaying, you noble art/
you bring joy to the heart/
and favor to the player”
~Melchoir Newsidler in German Lutebook of 1574
After our circle through the keys with sharps we have arrived at our point of origin
and now we will turn our attention toward the keys with flats. Meanwhile we have
encountered all manners of the left hand and all means of plucking with the right
hand as well. From now on, new symbols will be soon be clear as more
extensions of already familiar things.
In the following piece we get to know a special way of pulling off (diagram). Here
not the string being played is pulled off, but the neighboring string is pulled off.
After the first pulling off the “e” is held – according to the rule – and
following the attack of the next “f” the “e” is pulled off upon the “A” of the empty
string. The correct way of writing this out in tablature would be the following way
(diagram). This way, however, is never used for it is too difficult to read.
In the second part of the piece we encounter a chord which shows only the
symbol for the thumb (diagram). This is the sign for brushing with the thumb: the
thumb brushes one after another, like an arpeggio, all strings except the highest
which is plucked by the middle finger toward the thumb. Doing this, the thumb
treats the treble strings exactly like bass strings, that means, the thumb comes to
rest on the next string after plucking one string. The opposite of brushing across
all strings with the thumb is the brushing with the index finger which we
encounter here right in the first measure and with which we are already familiar
(diagram). While the first chord is plucked with the help of the ring finger, the
second chord is to be accented through fast brushing with the index finger:
Ex 106 Menuett (106) German, about 1740
Page 88 After retuning the “E” course, as required at the beginning of the last piece, we
are now in the keys with two flats, B-flat major and g-minor. In order to get
acquainted a bit more with these keys we play a little scale study in the key of B-
flat major.
Then we do a chord exercise which we also use as a plucking exercise by
following the instructions about breaking the chords in various ways. In addition
to the sequence of chords the bass is indicated in notation with the numbers of
the figured bass also provided. What the lute is playing is nothing more than the
actual execution of the figured bass.
Variations of 108
1. With two fingers, plucking the middle letter after the other two
2. Faster moving
3. Brushing
4. Follow up attack with the brushing index finger
Page 89
Ex 109 Exercise 109 the same as 108 but played on lower strings looks like this
(diagram)
The whole thing can easily be transposed into another key. If one, for example,
moves all frets which are fingered down one fret, one is playing in A-major; if one
plays two frets lower, one is in A-flat major; three frets lower in G-major
(diagrams for all three examples)
The other keys we can reach by moving version 108 up”

B-major (H-dur) (diagram)
C-major (diagram)
It is advisable that the student works this exercise in all the major keys, in C-, D-,
E-, F-, G-, and A-major.
Page 90
Ex 110 Menuet (110) German, about 1740
Ex 111 Minuet (111) German, about 1740
The next piece again uses the quick muting, indicated by this symbol: //
Page 91
Ex 112 Menuet (112) German, about 1740
On the lute we produce a peculiar and delightful effect by mixing high (treble?)
frets and empty strings in diatonic runs:
C-major: (113 diagram)
F-major (114 diagram)
B-flat major (115 diagram)
During these runs the hand never has to move out of its position. The first finger
either rests upon the “f” fret or hovers above it. Mixing high frets and empty
strings thus also aids us in staying in one position, a means employed in the next
piece as seen as the melody moves into a high position:
Page 92
Ex 116 Aria (116)
Page 93 Aria continued

And now a Rondo in B-flat major
Page 94
Ex 117 Rondo Ex B (117) Lute book of the Princess Luise von Württemberg, about 1740
Note: repeat from beginning and play through up to fermata!
Page 95 After retuning the bass string 6 to a-flat we are in the keys of E-flat major and c-
minor; not always do pieces in these keys demand such returning.
Generally there is no rule that demands that bass strings are always to be tuned
diatonical in the scale of the key the piece is in. If the tuning of a bass string
differs from the basic tuning, this is to be indicated at the beginning of a piece- or
at the beginning of the first piece of a suite. If there is no retuning indicated, the
basic tuning remains, not only in F-major and d-minor but in other keys.
An example for different tuning of the bass strings provides the occasional
practice to tune the bass strings in the tonic major of the minor key. Thus the
pieces is in g-minor and the bass strings are tuned to G-major. Since none of the
following pieces demand a retuning of bass string 6 we leave the string the way it
is tuned and do a study in the E-flat scale
Page 96
Ex 119 Capprice en Gavotte (119)
The large arches at the end of the first and second part in the preceding pieces
are the end arches commonly used in 18th century music. They indicate that one
plays, in repeating, the last note under the arch instead of the first note and that
one is to leave out all notes enclosed by the arch. In accordance with the repeat
dots the second part should look like this: Measure 10-19/10-20, first beat/13,
second beat, to 18/ then 20 right away.
The final chord of this piece had the symbol for brushing with the index finger as
well as the symbol for the attack with the thumb. Indeed both ways of attack are
to be united in this chord. While the index finger brushes downward, the thumb
plucks upward. This attack is called “counterstroke” (Gegenschlag). Such a
counterstroke can be used with as many successive chords as desired.
Ex 120 (diagram)
The index finger has to brush over the thumb in order to reach the lowest string.
All fingers can execute the attack with the fingernail instead of with the inside of
the finger. However, this way of plucking was only sparingly used to produce
some special effect. This attack is called the backstroke (Rückschlag).
In order to indicate the backstroke, where the finger must attack the string in the
opposite direction as up to now, the symbol for the finger is placed in front of the
letter, the symbol for the thumb is placed above the letter. The line indicating
brushing now runs from down-left to up-right. Let us practice the regular attack
and backstroke with the thumb
Ex 121 (diagram)
By using both these strokes alternately one can produce a tremolo effect, a fast
repetition of the same note or chord. The most natural and most easy
accomplished way of the backstroke is the brushing back with the index finger
which is indicated by a dot in front of the lowest of several letters written above
each other. With the lowest letter the index finger begins the brushing
Page 96 back with the fingernail and brushes all following notes up to the end of the
diagonal line:
across 2 strings (diagram)
The brushing back ends with the end of the diagonal line (diagram).
During the last example the index finger quickly brushes across three strings
while at the same moment the middle finger plucks toward it. We use all these
various ways of attack in a chord exercise:
Page 97
Figured bass (diagram)

Execution Exercise 122
1. Brushing and brushing back
2. Tremolo, brushing back and forth with the index finger
3. Brushing back index finger, at the same time plucking with the middle finger
4. Arpeggio, brushing and brushing back
5. Brushing through with thumb, highest string middle finger
6. Counter-stroke, thumb and index finger
Page 98
Ex 123 A short scale study brings us to the key of c-minor (diagram
Ex 124 Same study with pulling off and hammering on
Figured bass for the same study (diagram)
Ex 125 Three voices for the same figured bass (diagram)
Ex 126 Full chord fingering for the same figured bass (diagram)
Page 99 Again we break the chords in a new manner:

1. Attack with thumb on treble strings, no bass (diagram)
2. Large skips with the thumb (diagram)
3. Changing fingers within the chord (diagram)
4. Repeating highest note
5. Outmost mobility of the thumb
Following these preparatory exercises we attempt to study a Suite in c-minor.

The Allemande introduces a new type of barre fingering: barring with the fourth
finger. This form of the barre fingering is sometimes applied to treble strings. The
fourth finger is stretched out completely straight and held at its root in a 90-
degree angle to the hand. In this manner it can cover 2, 3 or even more strings
comfortably (diagram)
and as it is used twice in the Allemande (diagram)
The following Courante makes use of the same fingering only this time the notes
are dissolved in a different manner (diagram)
Page 100
Ex 127 Suite c-minor (127)
1. Allemande, German about 1730
Note : the last two measures have been supplemented
Ex 128 2. Courante (128)
Page 101 Barring with the fourth finger becomes more difficult when the first finger has to
work simultaneously as is the case in the following ARIA (diagram). In this case
all fingers of the hand are stretched out and held at a right angle to the hand.
Page 102
Ex 129 3. Aria (129)
Earlier we noted that a barre fingering may be interrupted shortly on one string in
order to pluck an empty string. The following Gavotte gives an example that such
partial interruption may occur several times in a row (diagram)
Page 103 The “b” fret fingered with the first finger is to be held throughout the entire
measure and lifted only at the end of the big parenthesis. Meanwhile the first
finger is lifted on the “a” enough so that these empty strings can be played in-
between:
Ex 130 4. Gavott (130)

Now we change to the parallel key of B-flat major and first of all pay a scale study
in g-minor (diagram)
Ex 131
Page 104
Ex 132 Then an exercise with following figured bass (diagram)
1. Execution:
a. accented index finger (counter-melody) (132a)
b. In higher position without the first string (132b)
c. The fingerings played under (a) transposed upon the 3 courses tuned an
octave lower (132c)
2. Execution:
a. accented ring finger (counter melody) )132, 2a)
b. an octave lower, slow brushing (132, 2b)
c. Again the chord row played under (a) transposed upon the lower strings
Page 105 3. Execution
a. Accented middle finger (counter melody) (132, 3a)
b. The same on lower strings (132, 3b)
c. An octave higher than (a) (132, 3c)
The student should transpose the exercises 1a, 1c, 2b, 3a into the higher keys a-
flat minor, a-minor, b-flat minor, b-minor, c-sharp minor, and d-minor; then
transpose the exercises 1b, 2a, 2c, 3b, and 3c into the lower keys f-sharp minor,
f-minor, e-minor, and e-flat minor. The bass is to be played on the empty strings
and, if necessary, single notes are played in the lower or higher octave.
Finally we summarize everything we have learned in this method in the g-minor

suite by Bach. Among the many symbols we encounter in this work only two are
unknown to us as of now:
The long mordent
and the tight trill (Pralltriller)
The execution of these two symbols should not be difficult. We already practiced
the pralltriller in its written out version in Exercise 100. This trill is played in the
following manner: one plucks the indicated fret and holds it, then hammers on the
next higher note and immediately pulls off to the original fret (two diagrams). The
long mordent is simply a doubling of the common mordent (diagram). The
mordent usually is produced with the help of the lower minor second, playing the
lute we thus use the neighboring lower fret to play the mordent (two diagram)
Another new challenge for the left hand is the finger change on one and the
same fret, which is requested several times: (four diagrams, Courante,
Sarabande, Gavotte I, Gigue).
This finger change must be made undetectable, the plucked and held note must
not be affected in any way:
Page 107
Ex 133 Suite g-minor by Johann Sebastian Bach
1. Prelude (133) turn
Page 108-109 Continued
Page 110 2. Allemande (134)
Page 111 3. Courante (135)
Page 112 4. Sarabande (136)
5. Gavotte I (137)
Page 113 6. Gavotte II (138) Gavotte en Rendaux
Repeat Gavotte I
Page 114 7. Gigue
Appendix
Symbols: Right Hand
No of
Symbol Example Meaning Part
Exercise
(diagrams) (diagrams) Index finger
1
Middle finger
Ring finger
Thumb
I
Simultaneous attack:
Simultaneous attack of two letters written above
18
each other
(diagrams) (diagrams) Breaking: even breaking up within the rhythm of
54 II
a piece
Back of hand moved upwards: change of timbre
61
through change of place of attack
Brushing with index finger
62
Slowly: melodic
Faster: with chord attack 63
Muting the strings for rests
With the plucking finger 65
With the flat hand
(diagrams) (diagrams)
Brushing with middle finger (fast) 80 III
Back of hand moved downwards: change of
81
timbre through change of place of attack
Muting strings
With index finger 101
With middle finger
Separate attack of the two strings of a course 103
Thumb stroke across two courses 104
Brushing through 106 IV
Counterstroke: simultaneous brushing through
120
with thumb and counterstroke with index finger
Reverse stroke
With thumb
Index finger reverse brushing 121
Tremolo
Appendix
Symbols: Left Hand
No of
Symbol Example Meaning Part
Exercise
(diagrams) (diagrams) Index finger
Ring finger
1 I
Middle finger
Little finger
Barring: laying the first finger across the strings
enclosed by the parenthesis for duration of
parenthesis
Pulling off:
19
Written out: tie
24
Symbol: appoggiatura from above
Hammering on:
written out: tie 24
Symbol: from below
Double hammering on 34
Vibrato 46 II
Trill 48
Pulling off and Hammering on connected
Written out: tie 60
Symbol: mordent
Hammering on upon three letters: tie 76 III
Twofold Pulling off: tie 78
Continuous trill 79
Double pulling off 83
Hammering on and Pulling off connected
Written out: tie 100
Symbol: Pralltriller (tight trill)
Pulling off of a neighboring course: 106 IV
Long mordent 133
An English Translation of Edition Schott 3638
Schule fur
“ die
Barock Laute
von F.J Giesbert
2009 v1.1
To suggest translation improvements,

please post a comment or send a message to
Dale Young at the lute site
http://lutegroup.ning.com
so that he can update Dave Phillips’
gift of this translation.

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An English Translation of Edition Schott 3638

he exact drawing of a baroque lute provides complete information about

T construction, wood types and measurements of the instrument as well as the

May this work help to regain the lute

The numbers next to the frets determine the string gauge.

Page 7 Tuning of the Lute

The upper 6 courses are tuned to a d-minor chord, the following

Exercise 2: Exercise in the described direction

Page 12 but with the lower edge of the fingertip.

1.) Pasterella in F-major (Exercise 17)

Exercise 22: Second Menuett (diagram)

Page 17 Exercise 23: Third Menuett (diagram)

A quickly executed HAMMERING has the effect of a gracenote from below. As

Page 18 Exercise 24: Menuet en Air (diagram)

Page 19 Exercise 25 (diagram)

Page 20 Exercise 27 (diagram)

The following menuett introduces us to higher positions on the fingerboard, twice

Page 23 4. Variation (31)

Page 28 4. Gigue (37)

Page 29 Now we can complete our chord system

G Major D Major C Major

* RH = Right hand; LH = Left Hand

Ex 39 Exercise (39) Alternating attack (diagram)

The next exercise helps us to gain agility in crossing strings:

Ex 41 Exercise (41) Stretching the left hand (diagram)

Vibrate is easiest with the third finger (diagram)

(Diagram) 49 Octave runs

54 Passepied (54) German around 1710

Ex 56 Diagram (56) chords related to G-major

I. Attack with closed (?) index and middle finger (diagram

The symbol for the mordent is

By moving this exercise up 1, 2, 3 or 4 frets respectively, the player can

Page 69 Aria (84) by Kleinknecht around 1750

Page 70 Andante (85) from Lutebook of Augsburg 18th century

The now following Suite in a-minor serves predominantly the development of a

Page 72 Suite in a-minor (88) German around 1730

Page 73 2. Courante (89)

Alternativement (92) Repeat Aria !

Page 76 5. Bouree (93)

Suite: German Lutebook of 1722

Menuet (99) F-major by Count Bergen around 1720

Capprice (100) German Lutebook of 1722

Ex 102 Menuet (102) German Lutebook of 1722

Ex 103 Exercise 103 (diagram)

Exercise 105 Carillon Des Cloches de Vienne German Lutebook of 1722

Run exercise g-minor 131

The other keys we can reach by moving version 108 up”

Page 93 Aria continued

Figured bass (diagram)

Page 99 Again we break the chords in a new manner:

Following these preparatory exercises we attempt to study a Suite in c-minor.

Ex 128 2. Courante (128)

Ex 130 4. Gavott (130)

Finally we summarize everything we have learned in this method in the g-minor

von F.J Giesbert

To suggest translation improvements,

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