The MIDI page

NOTE: most of these midi files were generated by a music publishing program. The advantage of this is that you can load these into your own music publishing program and create your own scores. The disadvantage is that they don't sound much like music, they're basically just a glorified metronome.
The "Music Minus One" files, on the other hand, were actually played into a sequencer, so these have a much more "musical" feel to them.
The "played" midi files are distinguished by the graphic:.
NAVIGATION: Clicking on any horizontal bar will bring you back to the table of contents.
COMMENTS: If you have any questions or comments, please feel free to email me at:


Table of Contents

Medieval music
O homo considera
Organ Estampie
Procurans Odium

Renaissance music (with diminutions)

Pierre Bonnet
Juan del Encina
Claude Gervaise
Tielman Susato

Other Renaissance pieces

Orlando Di Lasso
Alfonso Ferrabosco II
Vincenzo Galilei
Johannes Ghiselin
Thomas Lupo
Thomas Morley
Juan Ponce
Thomas Ravenscroft

Baroque music

Johann Sebastian Bach
Georg Friedrich Handel
Henry Purcell

Music for (large) groups

Giovanni Gabrieli
Johann Heinrich Schmelzer

"Music Minus One" files

Antonio Vivaldi
Franz Joseph Haydn

Transcriptions of ethnic music

Roumanian dance
Bulgarian dance


Medieval music

O homo considera - Isorhythmic motet of early 14th century origin.
The full title is: O homo considera / O homo de pulvere / Contratenor /Filiae Jerusalem. This piece is in the Oxford Anthology of Medieval music. I have taken the liberty of changing two notes in the published edition that don't make any sense to me: measure 44, 3rd voice (Contratenor) original D, measure 67, 3rd voice (Contratenor) original quarter note D.

Organ Estampie "Retrouvé"
Procurans Odium


Renaissance midi files with diminutions

Pierre Bonnet
Alors, que mon coeur

Juan del Encina (1468 - 1529)

Amor con fortuna
Triste España
Pues que ya
Ay, triste que vengo

[Midi versions of the 4 Encina pieces recorded on the CD Landscapes]

Claude Gervaise (XVI century)

Bransle 2
Bransle Gay II - from the CD Landscapes
Bransle Gay VII - from the CD Landscapes
Bransle X - from the CD Landscapes

Tielman Susato (XVI century)

Nachtanz I & II


Other Renaissance midi files

Orlando Di Lasso (c.1532 - 1594)
O la, o che bon eccho!

The text is as follows: [where "/" = bar line]
O / la, / o / che bon / eccho / Pigliamo/ci / pia/cere / Ha, ha, ha, ha, / ha! / Ri/diamo / tutti. / O bon com/pagno, / Che / voi tu? / Vo/ria che tu can/tassi / una / can/zona. / Perche? / Perche / si? / Perche / no? / perche non / voglio / Per/che non voi? / perche / non mi piace / taci, di/co / Taci / tu! / O gran pol/tron! / Signor, / si! / Or/su no piu! / An/diamo! / A/dio, bon'ec/ccho! A/dio, bon'ec/cho! / Rest'in / pace! / Basta, / ba/sta, ba/sta, ba/sta! / basta, / basta! / ba//sta

Mais qui pourroit estre celuy

Alfonso Ferrabosco II (ca. 1575 - 1628)"

Fantasia (on a hexachord)
Pavana III ("Four Notes Pavan")

Vincenzo Galilei (ca. 1520 - 1591)

Ricercare del quarto tuono
Ricercare del ottavo tuono

Johannes Ghiselin (ca. 1460 - ca. 1535)

La Alfonsina

Thomas Lupo

Fantasy a 3

Thomas Morley (1557 - 1604)

Il Lamento - from "The First Booke of Canzonets to Two Voyces", 1595

Juan Ponce (ca. 1480 - ca. 1530)

Ave Color Vini

This composition is structured like a religious hymn in obviously sarcastic contrast to the original Latin text. Here is a translation of the text:
All hail to thee, colour of clear wine; hail, taste without parallel. By your power you are worthy of inebriating us. O how happy is the person guided by the pure vine. May every table be made easy by your presence. How pleasing in hue, how fragrant a bouquet, how titillating to the palate, what a sweet slur to the tongue. How happy is the belly which you enter; happy the gullet that you numb; happy the mouth that you cause to stutter; O blessed lips! Therefore, let us all praise wine, let us exalt topers. Let us drinkers never be brought to confusion for ever and ever. Amen.

Thomas Ravenscroft (ca. 1582-ca.1635)

Tobacco fumes away

The text is as follows: [where "/" = bar line and "_" means a slurred syllable]
1. To-bac-co fumes a/-way all na-sty rheums, but / health a-way it / ne-ver_ lightly frets; / and nap-py ale makes mirth, make (as / April rain doth earth) / spring like the plea___-sant / Spring, where / ere it soak_ing / wets. But in_ that spring of / mirth such / mad-ness, mad-ness, mad-ness, mad-ness / mad-ness high dot_ grow. As fills a fool by birth, a / fool, a fool by birth with / crot-chets*, with crot-chets with / crot-chets, with ale and to-/bac-co, to-bac-co to-/bac-co, with ale and to-/bac-co, to-bac-co to-/bac-co, with ale and to-/bac-co.
*crotchets: whimsical fancies

2. One clears the brain, the / o-ther glads the heart, which / they re-tain by na-ture_ and by / art; / the first, the first by na-ture, / na-ture clears, by / art makes gid-dy will, / the last by na-ture / cheers, by / art makes heay-y / still. So we_ whose brains else / low, else low, swell / high, swell high, swell high, swell / high with crot-chet / rules. Feed / on these two, feed on these / two these two as fat as / head-y, as head-y, as / head-y, as head-y [and] / gid-dy, [and] gid-dy [and] / gid-dy, as head-y [and] / gid-dy, [and] gid-dy [and] / gid-dy, as head-y [and] / gid-dy fools.


Baroque music

Johann Sebastian Bach
Cantata BWV 106:
Actus Tragicus

This file is not really meant to be listened to. It contains ONLY the 2 recorder parts from Bach's Actus Tragicus. It has been placed here so that recorder players can save it to disk, open it with a music publishing program and print the parts after having done the necessary transpositions for performing at "modern" pitch. Curiously, in order to perform this piece at modern pitch, one must use "old pitch" instruments like a 392 alto (one step below 440) or a 415 voice flute (a recorder in D). In this case the instruments would be used as, respectively, an "E flat" and a "D flat" Alto.
For 392 alto(s) transpose this piece UP one step to F major
For 415 Voice flute(s) transpose this UP two steps to G major

Georg Friedrich Handel

Harp Concerto (Organ Concerto) in B flat major, Op IV, No. 6 for Harp (or Organ), 2 recorders and Strings
1st movement
2nd movement
3rd movement

Concerto in B flat major for Recorder, Bassoon, Strings and B.C.
[transcribed from the Harp Concerto, Opus IV, n. 6]

1st movement
2nd movement
3rd movement

Henry Purcell From his "Ode to St. Cecilia"

Here the Deities approve - for Alto voice, 2 vln, vla and b.c.


Music for (large) groups of Recorders (or other instruments)

Giovanni Gabrieli (ca. 1557 - 1612)
Canzona a 5
Canzon septimi et octavi toni a 12

J. H. Schmelzer (1623-1680)

Sonata a 7


Music Minus One midi files for Recorder(s) and orchestra

Antonio Vivaldi
C minor concerto for Recorder
1st movement
2nd movement
3rd movement

Franz Joseph Haydn

Concerto in C (performable with 2 Recorders, 2 Fr. horns and strings). Edition Doblinger D. 9953
1st movement
2nd movement
3rd movement (1st of three sections)


Transcribed ethnic music

Roumanian dance
transcribed from "Les Flutes Roumaines" (Arion CD: ARN 64004)
If you want to hear the actual sound file, write to me!

Bulgarian dance

Triti Puti
transcribed from "Village Music of Bulgaria" (Elektra/Nonesuch CD: 979 195-2).

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