ptabBourree I & II John RenbournThe Black Ballon"Nicolas Vallet {Born around 1583} John RenbournCraig Rogers {Tellurian}craigrogers706@hotmail.comÿà "Bourree I & II" are from 'Le Secret des Muses", Book 2, dated 1616, a collection of lute solos arranged by Nicolas Vallet. The little I know about Vallet is that he was a Frenchman, born around 1583, and was based in Amsterdam, where this and others of his works were published. Arrangements of his that I have come across have always struck me as being concise, tasteful, and generally most attractive. Originally Bourree I & II would have been for the ten-course lute, tuned CDEF/GCFADG. As with most of the other pieces, though, there is an economy in the part writing that allows them to be adapted for the guitar without undue editing. One thing that stands out in these lute settings is the clear separation between bass and treble. I have tried to retain this distinction by using a low C tuning, CGCGCF, which extends the normal range of the guitar by a fourth. The tuning is, in fact, simply a variation of the old open-C tuning commonly found in parlour guitar music, and which is still current among folk guitarists. I like the sound of the low tuning on the steel-string guitar, but it may not be suitable for all guitars, in which case the music shoul be transposed to D and played in the dropped-D tuning, DADGBE. Vallet based most of the arrangements in "Le Secret des Muses' on popular songs, many of which are in dance rhythms. The bourree is a dance form thought to be French in origin. Along with the gavotte, it swept the nation at the beginning of the 17th century. These, then, are fairly early examples, but are still characterized by an opening phrase that falls on the third quarter of the bar, and should be played with an overall two-beat feel - 2/2 rather than 4/4. After the composition of these pieces, bourrees came to be grouped in pairs, but these two also feel as if they were meant to be together. Vallet follows one with the other, and the change to minor from major makes a fitting contrast. J.R.ÿÿCGuitarSteel String Acoustic Guitarh@StandardA<70+$ÿÿ CFloatingTextSee Performance Notess%Times New Roman€CGCGCF8›a©Times New Romanÿÿ CGuitarInÿÿ CTempoMarkerŒ €Ž € €ÿÿCSectionSymbol €$ ÿÿCSection2 $ €ÿÿCStaff!<ÿÿ CPositionÿÿ CLineData#€€ €"€€ €€ € €"€ € €#€ €€€C€€C€€ €€D€€ €€€"€€€#€€ €%€€"€"€"€$€#€%€ €" €€€€`€€ € €ƒ€€c€€b€€`€€€€€`€€ €€€"€@ÿÿ CMusicBar € A Bourree IR€ € R€ € R€ € €2 Þ € €$< €€ €€ €€ €"€€#€€€%€€€€€ €#€ €€ €#€ €"€€€C€€€€€ €"€€#€€€%€€€#€€ €"€€ €€€"€€€#€€ € €€"€€"€!€ €€€ €€ € € €ƒ€ €ƒ€€`€€€€€€@R€ € R€ € R€ € €2ø µ`€ €$6 €€#€€#€€€€ €€ €#€ €#€€€€#€€€"€€€#€€ €%€€#€€€%€€€€€ €#€€€€€#(€€€"€€ € €€C€!€ €€€c€€£€ € €`€ € €b€ €c€€£€€ƒ€€ƒ€!€¥R€ € R€ € R€ € €2Ï œ € €$<€€"€€€ €€€"€€ €#€€"€€€#€€€€€ €"€ €#€ € € € €€#€€ €"€€ €€"€€#€€%€€€"€€€"€!€€$€€"€(€€"€*€$€+€ €%€€€€€ƒ€ €`€ € €€c€€e€€@€€B€€D€€@€€€€$€D€&€@€(€€R€ € R€ € R€ € R€#‚ € €2¶ ˜$ 9€ B Bourree II€'<€€'€€'€€%€ €$€ € € € €€%€€ €'€€€€%€€%€€$€€ €%€€'€€'€!€ €€€`€€ € € € €`€€e€€¥€€€`€€ €!€‚R€)€ R€)€ R€)€ €2² p€ €'<€€"€€€ €€€"€€ €$€€"€€€$€€€€€ €€ €$€ € € € €€$€€ €%€€€€€€€€€€ €€€€€€€€€$€€ €"€€$€€ €€ €!€%€"€ €'€€€€ €`€ € €€€€€`€€ R€ € R€ € R€ € €2Š H€ €'<€€€€'€€ €€€%€€€'€€€€€ €%€ €€ €€€ €€€ € €€ €$€€€"€€€$€€ € €€"€€€ €€€D€€ €E€€"€€€$€€€€€ €€€$€€ €€ €!€D€"€ €E€€e€ €`€€€€€`€€ R€ € R€ € R€ € €2b € €$<€€"€€"€€"€€E€ €D€ €@€ €@€€"€€ € €€D€€@€€@€€ €€ €"€€$€€ €€ €!€'€€€€€b€ € €€€€€€€€`€€ R€ € R€ € R€ € €27 é€ €'0€€&€€€$€€€&€€ €'€€&€€€'€€€€€ €&€ €'€ €'€€D€€ € €€"€€€ €€€"€€ €$€€"€€€E(€€€D€€ €B€€D€€@€€@€!€"€"€ € €€‡€ € €@€ €€€€€€€b€€€€R€ € R€ € R€ € €2 Р€ €$<€€D€€@€€@€€€€ €€ €$€ € € € €€%€€ €$€€"€€ €€ €€D€ € €@€€ €@ €€€€€ €`€ € €€€€€d€€e€€g€ €`€€ R€ € R€ € R€ € €Untitled!h@Bass+&!€€2 }€€ ArialTimes New RomanTimes New Roman