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Level 3 - Digital Download

SKU: A0.1133711

By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711).

This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:
https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS

As a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.

Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes.

Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on.

Working with this publication

For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Various
$12.00 11.4 € PDF SheetMusicPlus

Large Ensemble Bouzouki,Flute,Guitar,Harpsichord,Mandolin,Piano,Violin - Digital Download

SKU: A0.1017680

Composed by Gordon Jackson. Celtic,Classical,Folk,World. Score and parts. 1 pages. Gordon Jackson #6440601. Published by Gordon Jackson (A0.1017680).

Appledore

This a little piece I have – rather pretentiously – described as a pastoral. To be frank, unlike most of my compositions (jigs, reels, hornpipes, strathspeys etc), I had no particular dance form in mind when I wrote it.

Appledore is scored for octave mandola (or bouzouki tuned GDAE). It could be played on mandolin, I suppose, but it’s a bit fiddley. Performance tip: try picking this with your finger, rather than with a plectrum; the 2-, 3- and 4-note chords can be played as broken chords, which makes the whole tune rather more interesting (and more of a challenge!).

Appledore is a very pretty village in Kent, just north of Romney Marsh. I nearly moved there a few years ago but … didn’t.




Appledore

$4.99 4.74 € PDF SheetMusicPlus

12-String Guitar,Accordion,Acoustic Guitar,Banjo,Bass Voice,Bouzouki,C Instrument,Cello,Celtic Harp,Double Bass,Electric Violin,Flute - Level 2 - Digital Download

SKU: A0.1317797

Composed by Traditional Great Britain. Arranged by Tom Aufrance. 19th Century,Christmas,Early Music,Folk,Holiday. 1 pages. Mary Kay Aufrance #906480. Published by Mary Kay Aufrance (A0.1317797).

Tom Aufrance's arrangement of this familiar carol and traditional tune is compellingly beautiful yet simple. 

This A Mixolydian arrangement is inspired by playing with smallpipes (bagpipe parlor pipes) that are tuned to A.  The score has D as the key, and students of music theory will recognize it as A Mix. 

Our ensemble for performing this arrangement includes the pipes, guitar, accordion and bass.  However, we think this lovely arrangement can be enjoyed using a variety of instruments.

What Child Is This? (Greensleeves)

$2.00 1.9 € PDF SheetMusicPlus

Large Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Organ,Violin - Digital Download

SKU: A0.1017677

Composed by Anonymous. Arranged by Gordon Jackson. Classical,Folk,Multicultural,Renaissance,World. Score and parts. 1 pages. Gordon Jackson #6435545. Published by Gordon Jackson (A0.1017677).

The short mesure off my Lady Wynkfylds rownde

In English Keyboard Music Before the Nineteenth Century John Caldwell writes: ‘There can be little doubt that this music was intended for performance at the court of Henry VIII.’ Caldwell goes on to say that this tune may have been composed by Hugh Aston (born c1485 – buried 17 November 1558, so presumably – we would hope – he died a short time before that).

It's a pretty tune to which I’ve composed a counterpoint. I’ve also added chord names for those who want them.



The short mesure off my Lady Wynkfylds rownde
Violon

$4.99 4.74 € Violon PDF SheetMusicPlus

Accordion - Level 1 - Digital Download

SKU: A0.1099857

By Assi Rose. By Traditional. Arranged by Assi Rose. Children,Folk,Jewish,Multicultural,Traditional,World. Score. 5 pages. Assi Rose Methods #703740. Published by Assi Rose Methods (A0.1099857).

This is A Jewish traditional song from the Yiddish culture originated in Russia. It is a love song. Tum is the Yiddish word for sound and Balalaika is a stringed musical Russian instrument, very similar to a Mandolin or to a Bouzouki. The lyrics: Shteyt a bokher, un er trakht Trakht un trakht a gantse nakhtVemen tzu nemen un nit farshemenVemen tzu nemen un nit farshemenChorus:Tumbala, Tumbala, TumbalalaikaTumbala, Tumbala, TumbalalaikaTumbalalaika, shpil balalaikaTumbalalaika (also Shpil balalaika), freylekh zol zaynMeydl, meydl, kh'vil bay dir fregn,Vos ken vaksn, vaksn on regn?Vos ken brenen un nit oyfhern?Vos ken benken, veynen on trern?(chorus)Narisher bokher, vos darfstu fregn?A shteyn ken vaksn, vaksn on regn.Libe ken brenen un nit oyfhern.A harts ken benken, veynen on trern.(chorus)Vos iz hekher fun a hoyz?Vos iz flinker fun a moyz?Vos iz tifer fun a kval?Vos iz biter, biterer vi gal?(chorus)A koymen iz hekher fun a hoyz.A kats iz flinker fun a moyz.Di toyre iz tifer fun a kval.Der toyt iz biter, biterer vi gal.(chorus).

Tumbalalaika
Accordéon
Assi Rose
$5.55 5.27 € Accordéon PDF SheetMusicPlus

Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - Digital Download

SKU: A0.1017678

Composed by Anonymous. Arranged by Gordon Jackson. Baroque,Celtic,Classical,Folk,Irish,Multicultural,World. Score and parts. 4 pages. Gordon Jackson #6436745. Published by Gordon Jackson (A0.1017678).

Staines Morris

The song, Staines Morris, is very well known by singers of traditional songs. It’s a 17th century song. It’s a 19th century song. Actually, it’s both! The lyrics were certainly published, and probably written, by Robert Cox for his play Actaeon and Diana, published in 1656. The tune was first published in John Playford’s The English Dancing Master in 1651. There is no evidence that, in the 17th century, the lyrics were sung to this melody. That didn’t happen for two hundred years, when William Chappell put the two together for his Popular Music of the Olden Time, vol. 1 (1859).

I have added chords to the melody. Whilst humming the tune to myself, I found myself moving into 6/8 time, and that inspired me to compose a galliard based on it, complete with ‘divisions’ (runs of semiquavers or 32nd notes) and counterpoint.

The song melody and the galliard can be played separately or as parts of one piece, perhaps with the galliard played between two of the verses. I put the galliard in A minor, to provide a contrast with the D minor song melody, but play them in whatever key takes your fancy.

I have also added below the lyrics, as most often sung today.



Come ye young men, come along
With your music, dance and song
Bring your lasses in your hands
For ’tis that which love commands

  Then to the Maypole haste away
  For ’tis now our holiday

It is the choice time of the year
For the violets now appear
Now the rose receives its birth
And the pretty primrose decks the earth

And when you well reckoned have
What kisses you your sweetheart gave
Take them all again, and more
It will never make them poor

When you thus have spent your time
And the day be past its prime
To your beds repair at night
And dream there of your day’s delight




Staines Morris

$4.99 4.74 € PDF SheetMusicPlus

Level 2 - Digital Download

SKU: A0.1372693

By Alicia DomĂ­nguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomĂ­nguez Arcos. Film/TV,Multicultural,Pop,Praise & Worship,Singer/Songwriter,World. 30 pages. Alicia Dominguez #957004. Published by Alicia Dominguez (A0.1372693).

In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum” (Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.
Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.
The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:
Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.
And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.
And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.
With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.
And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.
Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.
The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterråneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.
Instrumentation:
Flute
Guitar 1 (1st voice melody)
Guitar 2 (2nd voice melody)
Bass (accompaniment and chords)
Buzuki
Saz
Darbuka
Tombak
Voice 1st
2nd voice
SMATB Voices
1st violin
2nd violin
Viola
Cellos
Double basses.

Mediterraneo - Score Only
Alicia DomĂ­nguez Arcos Sonay
$9.00 8.55 € PDF SheetMusicPlus






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