6 English Country Dances

A Selection of Renaissance TunesInstrument : treble recorder and pianoNombre de Pages : 56Steven Rosenberg writes in the preface:This book is intended to give recorder players a repertoire of solo pieces from the Renaissance. Solo literature for the recorder is often dominated by music of the baroque era, while the music of Renaissance is primarily preformed by consorts. I hope that this collection will expand the solo repertoire by bringing to recorder players some of the most beautiful melodies of this period. I have performed all of these pieces in public and have taken care only to include music that is of performance quality. Some of the pieces are grouped in suites, but you should feel free to play them in the order of your choice. For those of you equally at home on descant (soprano) and treble (alto), fell free to intersperse pieces from the companion book for descant recorder.The edition is part of the ABRSM Summer 2006 syllabus (grades 1-3) and the Trinity syllabus 2007 (grade 6).Content : Four Elizabethan Masque Dances: 1. The Fairy Masque (Johnson) - Four Elizabethan Masque Dances: 2. Wilson's Love (Anon) - Four Elizabethan Masque Dances: 3. The Witches - Second Dance (Anon) - Four Elizabethan Masque Dances: 4. The King's Mistress (Anon) - Three English Country Dances from John Playford's Dancing Master: 1. The Merry Milkmaids - Three English Country Dances from John Playford's Dancing Master: 2. Dissembling Love (or The Lost Heart) - Three English Country Dances from John Playford's Dancing Master: 3. Newcastle - Two Country Dances from John Playford collection: 1. Bellamira - Two Country Dances from John Playford collection: 2. Pell-mell - Allemande (1) (Susato) - Allemande (2) (Susato) - Lady Bannings Almand (Sturte) - Le coeur est bon (Susato) - Pass et medio (Susato) - Pavane Mille regretz (Susato) - Recercada quinta (Ortiz) - Recercada segunda (Ortiz) - Recercada segunda sobre 'O Felici Occhi Miei' (Ortiz) - Ronde Mon amy (Susato) - Ronde III (Susato) - Ronde IV (Susato) - Ronde V (Susato) - Ronde VI (Susato) - The Leaves be Green (Phalese) - What if a Day (Dowland) - Woodycock (Anon)

for Recorders-The Artistic Directors of the award-winning Terra Nova Consort have been in residence at the Oregon Shakespeare Festival for over ten years. This their first publication contains over 40 arrangements for recorders of RenaissanceEnglish and Scottish Country-Dance music as early as Playford and up to the present. The arrangements in this book were written and performed by Patricia O'Scannell herself an accomplished recorder player in the context of musicbeing set for dances balls and workshops and are an excellent tool for aspiring players. The settings are for two to four recorders allowing for numerous combinations of voicing depending on what the players have at hand andinclude O'Scannell's insightful comments about style and technique. The music may also be played on a variety of other instruments common to the genre and used by aficionados seeking arrangements for Scottish and Englishrepertoire to play with dancers. Written for intermediate through advanced players with some parts appropriate for beginners this collection will appeal to all serious recorder players.

Six Country Dances is an anthology of tunes from Playford’s ‘The English Dancing Master’ selected and arranged by Richard Rodney Bennett. Playford’s collection was first published in 1651 and contained 535 popular tunes for country dancing. Richard Rodney Bennett’s skilful and inspired arrangements are perfect for intermediate standard players adding as they do a contemporary slant to these classics of the English folk repertoire. This edition is for Viola and Piano.

Par CURNOW JAMES. Throughout the colonial period in America, country dancing was the principal recreation of all social classes. Americans had inherited this tendency from Elizabethan England, and many continental Europeans also took up English country dancing as their own. Four Colonial Country Dances feature country dance tunes that were indigenous to New England and particularly to the Boston area. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band

Par CURNOW JAMES. Throughout the colonial period in America, country dancing was the principal recreation of all social classes. Americans had inherited this tendency from Elizabethan England, and many continental Europeans also took up English country dancing as their own. Four Colonial Country Dances feature country dance tunes that were indigenous to New England and particularly to the Boston area. / Niveau : 5 / Répertoire / Concert Band ou Harmonie

The Chester Books Of Madrigals offer an exciting collection of secular European madrigals, partsongs and rounds from the 16th and early 17th centuries, newly edited from early sources by Anthony G. Patti, who contributes copious historical notes to each volume. <br>The majority of the settings are for SATB and simplified keyboard reductions. Texts are in the original languages, with an English translation (for non-English texts) provided at the head of each piece. / Classique / Partition /

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Adagio (Mozart) * Allegretto (Haydn) * Bouree (Telemann) * Concert Duet in Three Movements (Snell) * Dance (Snell) * Daniel Cowper (English Country Dance) * English Folk Tune (Traditional) * The Hunters of Kentucky (American Traditional) * Intrada (Graupner) * Legend (Snell) * March (Anonymous) * Minuet in G (Bach) * The Music Box (Snell) * Norwegian Folk Song (Traditional) * Red River Valley (American Traditional) * Scottish Folk Song (Traditional) * Sea Shanty (American Traditional) * Serenade (Turk) * Three German Dances (Haydn).

Par SPARKE PHILIP. Kentish Dances (“Danses du Kent”) est une commande du Bromley Youth Music Trust pour le Bromley Youth Concert Band (Orchestre d’Harmonie Junior de Bromley) placé sous la direction de Michael Purton. L’oeuvre a été donnée en création par la formation dédicataire, le 16 mars 2008 au St John’s, Smith Square à Londres. La ville de Bromley est située dans le comté du Kent à l’extrémité sud-est de l’Angletrerre. Le Kent possède un riche patrimoine culturel traditionnel et notamment de nombreux airs de danses comme beaucoup d’autres régions anglaises. Connue en Angleterre sous le nom de country dancing, la contredanse fut plébiscitée par les classes moyenne et aiséeanglaises à la période élisabéthaine, supplantant les formelles gaillardes et pavanes en vigueur à la cour royale. La contredanse connut une telle notoriété que de nombreux ouvrages lui furent consacrés tels que l’ English Dancing Master de Thomas Playford, publié en 1651, qui constitue la plus importante source de mélodies de danses traditionnelles léguée à la postérité. Michael Purton, Directeur du Bromley Youth Music Trust, suggèra l’idée d’une oeuvre basée sur des airs de danses typiques du Kent. Philip Sparke accepta et composa cette suite de danses en trois mouvements. Le premier mouvement est construit sur un moto perpetuo qui développe deux mélodies pétillantes en 6/8 : Dover Castle et The Fair Maid of Wickham. Le mouvement central s’articule autour de l’air Blackheath dont la sombre mélodie contraste de façon charmante et opportune avec la mélodie Bromley Bells. Le finale expose les sémillants We Are All Right at Canterbury et Ramsgate Pier. La valse cadencée Northdown Waltz offre un délicieux contraste expressif. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie