Lady Hunnsdon's Puffe
Written in D with the third string tuned to F#, it can be transposed to the original key of F by using a capo on the third fret. The musicologist Dianne Poulton cites two sources for this piece: Manuscripts Dd.2.II;Dd.9.35 at the Cambridge University's Library, and The Dowland Lute Book in the Folger Library, Washington DC. These two sources present different endings, which are incorporated in the present transcription by repeating from measure 12.

The Most Sacred Queen Elizabeth, Her Galliard
Written in E with the third string tuned to F#, it can be transposed to the original key of G by using a capo on the third fret.
A Galliard is a lively Renaissance dance in triple meter. For this piece, being dedicated to his patron, Dowland composed a regal section before the dance as an introduction.

Ecco di dolci raggi
The original version of this short madrigal for soprano was published in the slim collection Scherzi musicali (Venice, 1632). The present arrangement, transposed to E minor from the original in G minor, is intended for baritone or mezzo-soprano and guitar. The realization of the continuo is based on the urtext with some modifications (like a "picardy third" in the final cadence).

The translated text is as follows:
Behold the soft ray of the sun battling with winter,
shooting the florid season of soft love,
inebriated sleep and silent wind given to Clorida.
The tale, however is lustful, with scents rolling tremulously,
now the florid herbal song of the earth, of the sky,
blows arduous love to each arduous love of every heart.

The appropriate singing style is what is called "stile concitato," invented by Monteverdi. Unlike most of his madrigals, the pieces in Scherzi musicali adopt a metrical rhythm instead of one based on Italian speech rhythms.

Eri già tutta mia
Also from Scherzi musicali, this madrigal for soprano was also transcribed for baritone/mezzo and guitar from the original in C major. Like the transcription above, it is in strophic form. However, on the repetitions the bass line is repeated identically beneath a vocal line which is varied at every strophe.

The refrain and the first strophe are translated as follows:
Once you were all mine, your soul mine, and your heart mine.
Who has led you away? A new bond of love?
Oh beauty, Oh valor! Oh marvelous faithfulness,
now where are you?
Once you were all mine, but now you are gone.

In the case of Eri già tutta mia the refrain is sung in a very rhythmic way, in contrast with the strophes that should be sung in recitative style.

Fantasia 66
Written in D minor with the third string tuned to F#, this Fantasia by the Italian lutenist Francesco da Milano can be transposed to the original key of F minor by using a capo on the third fret. Da Milano, a.k.a. "El Divino" (The Divine), has a style influenced by Josquin des Prez (e.g. polyphonic treatment, imitation, uneven phrasing, etc.). There is no time signature indicated in the transcription due to the irregular phrasing. Bar lines indicate strong sense of downbeat and/or cadence. Most of the fingerings are derived from the six-course Italian tablature, although some changes has been done to accommodate a modern guitar. Runs in thirty-seconds can be best done with p-i, in addition to modern standard right-hand fingerings (combinations of i-m-a).

Cello Suite No. 3
A performer's edition. The third in a series of six suites for cello without accompaniment is in six movements, whose original key is C major, was composed in Bach's years in Cöthen (1717-1723), possibly before 1720. The key chosen for this transcription is A, which is played without sccordatura. However, it can be also transposed into G or left in its original key (6th string down to C and 5th string down to G).

Chaconne from Violin Partita No. 2
This is a performer's edition, transcribed between 1998 and 1999. It was the core of Rodolfo's Master's Thesis (available in writings) on the process of transcription for the guitar of this timeless musical monument.