Composer:	Various
Edited by:	Alison Stephens
Instrumentation:	mandolin solo
Mandolin Grading:	Intermediate
Size:	Pages : score 16 pages
Astute code:	am514-37
ISMN:	979 0 57031 056 2

 De La Reine de Golconde – P. Denis

Favourite Mandolin Solos from the 18th Century

1. Allegro from Fantasie No.11 for solo violin (1735) – G.P. Telemann
2. Allemande en Rondeau – G.B Gervasio
3. Bourrée No.1 from Suite No.3 for solo 'cello – J.S Bach
4. Bourrée No.2 from Suite No.3 for solo 'cello – J.S Bach
5. Preludio from Partita III for Solo Mandolin – F. Sauli
6. Corrente from Partita III for Solo Mandolin – F. Sauli
7. Partita in C from Sonate e Partite for Solo Mandolin – F. Lecce
8. Partita in G from Sonate e Partite for Solo Mandolin – F. Lecce
9. Minuetto No.1 from Suite No.1 for solo 'cello – J.S Bach
10. Minuetto No.2 (Trio) from Suite No.1 for solo 'cello – J.S Bach
11. Soave from Fantasie no.11 for solo violin – G.P. Telemann
12. Vivace from Fantasie No.9 for solo flute – G.P. Telemann
13. De La Reine de Golconde – P. Denis

These pieces have been specially selected and adapted to suit approximately grades 3-5. Some of the pieces are originally mandolin solos and some were originally written for other instruments. In each piece some sections have been slightly simplified or adapted to allow them to sit comfortably on the instrument. Ornamentations have either been omitted or simplified.

The idea behind this book is to present a selection of attractive solo pieces from the 18th Century that a player of Intermediate level should be able to work up to an acceptable concert standard without some of the usual more advanced challenges of music from this period. In each case the editor has endeavoured to keep the integrity and nature of the piece whilst bringing it to a more accessible technical level.

Performance Notes:
Each piece in this book has a few lines of text to help the player. These pieces span most of the 18th century and range in style from baroque to early classical. Generally the player should aim for a clean sound with good attention to dynamics, tone colour and musical direction.

All dynamics and tone colour markings are editorial. Plectrum markings and fingerings are intended as guides only. There are frequently many different ways to play music of this era. The player could try experimenting with different positions and using different plectrum strokes to enhance phrasing.

Alison Stephens