77 Rounds And Canons

SKU: ST.MB93

ISBN 9790220223396.

This is the first complete edition of the rounds, canons and songs from Ravenscroft's four principal publications: Pammelia, Deuteromelia, Melismata and A Briefe Discourse. Thomas Ravenscroft (c.1582-c.1635) was a collector, editor and theorist as well as a composer, whose work was esteemed in his own lifetime and is valued today for its insights into the popular music of the period. Rounds and canons in this collection are all presented in resolved form, and the variety of subjects includes drinking songs, hunting songs and four songs in West Country dialect, as well as Latin-texted material. It is hoped that performers may be inspired to breathe new life into a repertoire that sheds fascinating light on a hitherto neglected area of Elizabethan music-making.

SKU: BC.415058

SKU: BR.CHB-5386

ISBN 9790004413876. 7.5 x 10.5 inches. German.

It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.

For three, four and six female voices a cappella.

SKU: BR.CHB-5386-02

ISBN 9790004413876. 7.5 x 10.5 inches. German.

It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.

For three, four and six female voices a cappella.

SKU: ST.B351

ISBN 9790220203084.

Of madrigals and partsongs, Volume 16 of the Byrd Edition contains the six items not included in the printed sets of 1588, 1589 and 1611 (distinguished by the lack of obligatory instrumental accompaniments); of the consort songs, the original versions of consort songs that were subsequently arranged as madrigals; and of canons and rounds, the two that can without doubt be attributed to the composer.

SKU: HL.49002272

ISBN 9790220100970. UPC: 073999257748. 9.0x6.0x0.06 inches.

3 soprano recorders.

SKU: GI.G-317036

UPC: 073999235180.

A creative collection of short pieces suitable as supplementary or performance material. The contrapuntal tunes allow each student to play the melody, a great teaching opportunity for teaching musicianship and ear training.

SKU: GI.G-317037

UPC: 073999170375.

A creative collection of short pieces suitable as supplementary or performance material. The contrapuntal tunes allow each student to play the melody, a great teaching opportunity for teaching musicianship and ear training.

SKU: MN.50-9809

UPC: 688670598098.

Writt en for 3 to 14 Voice Canons, with opt. Orff or Handbell ensemble. Comprised of selections from Pammelia, an early 17th century collection of rounds and canons compiled by Thomas Ravenscroft. Edition includes facsimiles of the original 1609 publication. The canons and rounds may be performed in concert as processionals and anthems representative of 16th and 17th century popular English songs. The canons and rounds may be sung in worship as processionals, anthems, introits, calls to worship, and psalm refrains throughout the Church Year.

SKU: ST.B945

ISBN 9790220224393.

Roun ds and Canons from Thomas Ravenscroft's Collections

Sacred and secular rounds and canons in Latin and in English from the collections of the 17th-century editor and theorist Thomas Ravenscroft, on a variety of subjects such as drinking, hunting and street cries: thirty-five pieces for three to eleven voices.

CONTENTS
For Three Voices
Follow me quickly
Hey ho! To the greenwood now let us go
I am a-thirst, what should I say?
I pray you, good mother
New oysters
Now God be with old Simeon
Now kiss the cup, cousin, with courtesy
O praise the Lord, ye that fear Him
Pietas omnium virtutum
The merry nightingale
Well fare the nightingale

For Four Voices
Ascendit Christus in coelum
Blow thy horn, thou jolly hunter
Descendit Christus de coelo
Fa, mi, fa, re, la, mi
Farewell, mine own sweet heart
Hey, down a down
Miserere mei Deus
To Portsmouth it is a gallant town

For Five Voices
Keep well your ray, my lads
Sing you now after me
Universa transeunt
Verbum Domini manet in aeternum
Vias tuas Domine demonstra mihi
White wine and sugar is good drink for me

For Six Voices
Benedic, Domine, nobis his donis tuis
Domine Fili Dei vivi miserere nostri
Joy in the gates of Jerusalem
Laudate nomen Domini (I)
Now thanked be the great god Pan

For Seven Voices
Laudate nomen Domini (II)

For Eight Voices
Let's have a peal for John Cook's soul

For Nine Voices
Delicta quis intelligit?
Hey ho, what shall I say?

For Ten or Eleven Voices
Sing we now merrily.

SKU: AP.49859

ISBN 9781470652043. UPC: 038081571737. English.

Encourage independent harmony singing with this carefully chosen collection of partner songs and canons. With accessible, mid-range vocal parts, universal themes, and a number of folk songs and classical melodies, this practical resource will be useful year after year. The music and lyrics will appeal to any age: fourth-graders just beginning their choral journey, developing middle schoolers, high school students in need of review and reinforcement, and even inexperienced adults. Includes reproducible student pages with isolated vocal parts, making it easy to find, follow, and mark parts. The piano accompaniment tracks may be used in rehearsal, for performance, or as an at-home tool for individual practice.

SKU: AP.49857

ISBN 9781470651596. UPC: 038081571713. English.

Encourage independent harmony singing with this carefully chosen collection of partner songs and canons. With accessible, mid-range vocal parts, universal themes, and a number of folk songs and classical melodies, this practical resource will be useful year after year. The music and lyrics will appeal to any age: fourth-graders just beginning their choral journey, developing middle schoolers, high school students in need of review and reinforcement, and even inexperienced adults. Includes reproducible student pages with isolated vocal parts, making it easy to find, follow, and mark parts. The piano accompaniment tracks may be used in rehearsal, for performance, or as an at-home tool for individual practice.

SKU: HL.49045639

ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.

Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.