Instrumental Solo,Piano - Level 3 - Digital Download

SKU: A0.1228118

Composed by Various and compiled by Michael Praetorius (1612). Arranged by Colin Kirkpatrick. Instructional,Renaissance. Score and individual part. 17 pages. Colin Kirkpatrick Publications #824216. Published by Colin Kirkpatrick Publications (A0.1228118).

Dances from Terpsichore (Michael Praetorius)

These are eleven of the most well-known dances of the Renaissance, selected from the famous collection entitled Terpsichore, pubished in 1612 by Michael Praetorius. They are sure to be a welcome addition to the recorder player's repertoire. The notes of the recorder part have been kept well within the intermediate range.

By the time Michael Praetorius published his dance collection, he was one of the most famous musicians in Germany. The name is pronounced “terp-SI-cory� and rhymes with the word “hickory�. The original publication consisted of 312 dances in four, five and six parts. Although the dances were probably conceived for string ensemble Praetorius was well aware that in practice, they would be played by any instruments that happened to be available.

These arrangements for recorder (or recorders) and keyboard are based on the original 1612 publication. The music sounds more authentic using a harpsichord rather than a piano, or the harpsichord sound of a digital keyboard. The keyboard part may be interpreted quite freely with ornamentation added as appropriate. During the Renaissance, it was common practice to combine separate dances to create something of more substantial duration. A similar practice is used in these arrangements which are as follows: 1. Three Gavottes; 2. Two Ballets; 3. Two Bourées; 4. Two Courantes and 5. Two Voltas. The audio sample contains numbers 1, 2, 3 and 5.

Piano Solo - Level 3 - Digital Download

SKU: A0.835771

Composed by Paul Burnell. Contemporary. Score. 21 pages. Paul Burnell #3110459. Published by Paul Burnell (A0.835771).

Subside

(from choleric to phlegmatic and back again)

Composed 2004

Duration 6:00 approx.

For ensemble and percussion

This work was written in February 2004 in response to a call for pieces on the theme of 'The Four Temperaments'. This was part of CoMA’s Open Score project, made possible with funds from the Esmée Fairbairn and PRS Foundations.

Programme note:

'Subside' outlines a slow mood change from controlled violent anger to tenderness, then a sudden flip back to anger again.

Technical notes:

Percussion is essential, with the choice of instruments left to the discretion of the player(s), using the directions in the one-page score as a guide. The percussionists play on the 2nd and 4th beats throughout the piece - accenting the 4th beat.

Other instrumentalists are divided between Parts 1 - 4. Parts are available in numerous transpositions - though it should be possible for instruments in C to read from the score.

The dynamic markings in the score apply to all the parts.

The size of the ensemble is not indicated, but ideally there should be enough players to allow for a reduction in the number of people playing two bars before letter D, and a further reduction to solo instruments six bars before letter E. However, this guidance can be ignored and the piece played by quite a small group; for example - violin, piano and percussion, or organ and percussion.

If flutes and violins play Part 1 - the flutes may play an octave higher than written until letter A, and the violins may play tremolando until letter A.

Keyboard players can play combinations of all parts. In addition, or alternatively, the keyboard players may double parts 3 and 4 an octave lower than written where indicated by the horizontal brackets, for example in the third and fourth bars.

The allocation of instruments to the parts is left to the discretion of the musical director / performers - but should take account of the dynamic markings and expression indications.

The last 2 bars of the piece are played 5 times in total.