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Semper Dowland SEMPER DOWLAND 25 pieces by lutenist JOHN DOWLAND Newly arranged for guitar by Jeffry Hamilton Steele SEMPER DOWLAND 25 pieces by lutenist JOHN DOWLAND Arranged for Guitar by Jeffry Hamilton Steele ALMAINS PAVANS Mrs. Clifton’s Almain Piper’s Pavane Lady Hunsdon’s Puffe Lachrimae Semper Dowland Semper Dolens GALLIARDS Captain Digorie Piper’s Galliard FANTASIES Melancholy Galliard A Fancy (#6) Galliard to Lachrimae A Fancy (#7) John Dowland’s Galliard A Fantasie Mrs. Vaux’s Galliard A Fantasia Lady Clifton’s Spirit Farewell (an “In Nomine”) Earle of Essex, His Galliard Forlorn Hope Fancy Mr. Knight’s Galliard A Galliard (on a Bacheler galliard) OTHER A Galliard (on Walsingham) Mrs. Vaux’s Jig The Shoemaker’s Wife, A Toy Weep You No More, Sad Fountains Aloe When I played once for a man who both built and per- “Semper Dowland Semper Dolens”, where I used ideas formed on lutes he enthused that my Michael Cone guitar, from the Jane Pickering Lute Book. While I generally made with its greater projection and sustain, brought something use of the Poulton/Lam rendering of voicings, I frequently to lute music that his period instruments could not. And, reinterpreted voice movement – either out of technical or with its bright high end and thin bass, it didn’t have the motivic considerations. Bearing in mind that many of inappropriately lush sound of the modern guitar. these pieces came down to us from one-of-a-kind lute This inspired me to re-examine The Collected Lute books written out in the hand of a particular player (often Music of John Dowland (Faber Music, Diana Poulton and an amateur), I have made composer’s choices in passages Basil Lam, editors), which I had purchased twenty years that I felt could help the music better live up to its earlier. Here I found that while some of the pieces “sang” promise, in its new life on the guitar. on guitar when fingered as intabulated, many others did I have highlighted stretto (imitative) melodies and not — each offering a puzzle to be solved. With the help motifs with grey rectangles to assist the player in bringing of notation software, I could print up versions of Dowland them out. Keeping in mind that most professionals prefer pieces in a variety of keys until each one somehow fell to finger their own music, I limit my fingering suggestions into place. to the “Specific Notes” section. In addition to specifying Out of the 25 pieces I chose as favorites, only four the tuning, I’ll say only that the notes in each voice are to seemed to mandate that the third string be tuned down a be sustained to their full notated value in most every case. half-step (as was the lute’s). A number of others worked I sequenced the pieces for this collection so that retun- best fingered in the lute “keys” but with the retention of ing and page turning would be kept to a minimum — standard tuning. But when pieces made use of the lute’s which is why some otherwise related pieces do not imme- diapason (extra bass string), I pitched them higher to diately follow each other — while maintaining reasonable maintain the full range of the notes. Another challenge variety from one piece to the next. comes from the guitar’s longer string length, making I am also indebted to Diana Poulton’s 1972 book, John many of the stretches routinely used by lutenists impossi- Dowland (U. of CA Press), which I found at a college ble for most of us. I found many solutions to this problem library. I recommend it for information about these pieces through mixing and matching open strings or natural har- and the people named in them, some of which I relate in monics with regularly fingered notes. To those purists my notes below. Here is where I learned that Dowland who argue that natural harmonics are not appropriate to rhymes with Poland. early music I say: if you can open to hearing this music on John Dowland’s music has much of the timeless uni- guitar in the first place, you can open to hearing judicious versality, and classical mastery of contemporary idiom, use of the instrument’s inherent resources. one finds just over a century later in the music of J.S. Bach. All of these pieces were written for lute solo except With the inclusion of a Leonardo image on the cover, I “Weep you no more” which I arranged from the song for propose a third genius — from one century earlier in this voice and lute, much as Dowland had done with many of case — who also might opt to keep company with his other songs. For the remaining pieces, I worked from Dowland and Bach in the pantheon of universal masters. the Poulton/Lam transcriptions except in the case of Jeffry Hamilton Steele SEMPER DOWLAND Selected Lute Music of John Dowland TABLE OF CONTENTS Mrs. Clifton’s Almain ➅-D 1 John Dowland’s Galliard ➅-D 2 Piper’s Pavane ➅-D 3 The Shoemaker’s Wife, AToy ➅-D 6 Captain Digorie Piper’s Galliard ➅-D 7 A Fantasie ➅-D 9 Semper Dowland Semper Dolens ➅-D 11 Lachrimae ➅-D 13 A Galliard (on Walsingham) 15 Lady Hunsdon’s Puffe 16 Galliard to Lachrimae 17 Aloe 19 A Fantasia 21 Melancholy Galliard 25 A Galliard (on a galliard by Daniel Bacheler) 27 A Fancy (#6) 29 Mrs. Vaux’s Galliard 31 Mrs. Vaux’s Jig 32 Forlorn Hope Fancy 33 The Right Honorable The Lady Clifton’s Spirit ➂-F# 35 A Fancy (#7) ➂-F# 37 The Right Honorable Robert, Earle of Essex, His Galliard ➂-F# 41 Weep You No More, Sad Fountains ➂-F#,➅-D 43 Farewell (an “In Nomine”) ➂-F#,➅-D 44 Mr. Knight’s Galliard ➂-F#,➅-D 46 Specific Notes 47 Index 49 Mrs. Clifton's Almain John Dowland (1563-1626) ➅-D œ œ œ œ œ œ œ œ. œ. œ ## œ. œ œ œ œ œœœ œ œ œ œ œ. œ œ œ œ œ. & c œ œ œ œ œ œ œ œ œ œ œ. œ œœ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ œ œ œ œ J J œ œ œ 4 # œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ #œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ \\ ‰ œ œ œ œ œ œ. œ J J œ œ œ œ œ œ. œ œ 6 # œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. & # œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ j j # œ œ œ œ œ œjœ œ #œ œ. j 8 # œ œ œ œ œ #œ œ œ œ œ œ œ nœ œ j œ œ œ & #œ œ œ œ œ œ\\ œ œ œœ J œœnœ œ nœ œ œ œ œ œ œ œ œ œ œ. J J J j j œ œ œ œ œ œ j 10 # œ œ œ j œ œ œ œ œ œ œ œ œ # nœ œ œ œ œ œ œ œ œ œ œ. œ œ. œ. œ & œ ‰ œ œ œ œ #œ œ œ. œ. \\ nœ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ. J j j # œ œ#œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ‰‰œ 13 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ & œ œ. œ œ œ œ ≈ œœœœœ œ œ œ œ. œ nœ œ J œ. J J ‰ ‰ œ j ‰Œ œ œ 15 # œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ #œ œ œ #œ œ œ œ œ ˙ œ #œ œ œ œ nœ nœ œ œ ˙ œ œ œ œ œ œ œ œ œ SEMPER DOWLAND Arranged for Guitar by Jeffry Hamilton Steele - 1 - ©1999 Prism music http://jeffrysteele.com John Dowland's Galliard ➅-D . œ œ œ œ œ ˙œ œ œ œ œ b 3 œ˙ œ œ œœ #œ œ. œ œ ˙ œ & 4 ˙ œ œ œ ˙. #œ ˙. œ œ ˙ j ‰ 5 œ œ ˙ œœ œ œ. œ œ. œ & b œ œ nœ #œ ˙ œ œ œ œ œ œ œ #œœ.. œœ . ˙ œ œ œ ˙ œ œ œ œ œ œ. œ œ . œ œ. œ œ œ œ œ œ œ 9 b . œ. œ œ œ œ œ œ & . ˙. nœ œ. nœ ˙ ˙. œ. ˙. œ. œ œ œ nœ . œ œ ˙. œ. œ ‰ œ œ œ 13 b œ. œ œ œ nœ nœ œ œ œ œ ˙ . & œ œ œ. ˙ œ #œ ˙ . œ. œ. œ œ J œ œ ˙ ˙. SEMPER DOWLAND Arranged for Guitar by Jeffry Hamilton Steele - 2 - ©1999 Prism music http://jeffrysteele.com Piper's Pavane j œ œ œ œ . nœ œ œ œ ➅-D . œ œ œ œ œ œ ˙ . ˙ bcœ˙ œ œ œ Œ œ œ #œnœ œ œ . œ œ œ œ œ . œœœ ˙œ ˙ & ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ #œ œ. œ œ ˙ ˙ J #œ ˙ ˙ ˙ j œ œ #œ #œ œ œ œ œ j œ œ j 5 b nœ œ nœ œ œ œ œ œ œ nœ œ .
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