Mountain Collegium 2014 class offerings and descriptions
FIRST PERIOD
Recorder, viol, or vocal consort and technique: Various faculty; all levels. We sort you into classes based on your self-evaluations.
Some violins may be accepted into viol technique classes based on ability.
Sackbut consort and technique: Erik Schmalz. Designed for sackbut players; cornetto can be accommodated. Though all levels are
included, this is for participants who consider sackbut or cornetto their main instrument.
Ensemble for plucked strings: Lorraine Hammond; all levels; harps, dulcimers, lutes, guitars, mandolins, etc. Gentle percussion also
welcomed. We will learn some of the traditional songs that have long marked seasons and celebrations. Although the emphasis will be
on learning tunes by ear, standard notation will usually be available.
Irish Pennywhistle for Beginners: John Maschinot; all levels. With the help of printed music, you will learn to play tunes from the
basic forms of Irish music: the slow air, jig, reel and more. We will even venture off of the written page a bit and learn to play a basic
tune or two "by ear".
SECOND PERIOD
Recorder Trios of the 20th Century: Jody Miller; intermediate; recorders. As the early music revival came into full swing,
composers began writing new music for recorder trios of S, A, and T. Now that bass recorders are everywhere, we seldom revisit these
works. We will have our own revival of quaint pieces by Benjamin Britten, Imogen Holst, Paul Hindemith, and others.
Scheidt’s Folk Music: Barbara Weiss; intermediate and up; all instruments (or viols only). A survivor of dark times, Samuel Scheidt
often used street music and drinking songs as a starting point for his consort compositions. We will bring out the humor and fun that
inspired Scheidt to use these folk tunes.
Reading Early Notation: Pat Petersen; intermediate and up; all instruments and singers. C'mon in, the water's fine!!! Take the
plunge into reading from Renaissance notation. Whether you've dabbled in it before, or whether it's entirely new to you, you'll have fun
and success reading from 16th century (and perhaps earlier) prints and manuscripts. Easier and harder parts, for the novice and more
experienced player. (You'll do better if you practice reading some music in alto and tenor clefs a bit ahead of time!) All
instruments/voices accommodated.
Byrd and the “B’s”: Martha Bishop; intermediate and up; viols only. Music by Byrd and the likes of Bassano, Bull, Bach, Brade,
Buxtehude, Brucker, and maybe even Bishop! Some doubling possible.
Early Brass for Beginners: Erik Schmalz; intermediate and up. This is for players who have never played a brass instrument (or just
feel you need to start from scratch). We have instruments to loan if you don’t have access to one.
Staying in Shape(-note): Robert Bolyard; all levels of singers (including the novice singer). An overview of early American choral
music that includes an exploration of the Sacred Harp tradition and shape notation.
Quit Your Day Job: Anne Timberlake; intermediate and up; recorders and other instruments. Telemann and Handel were supposed
to be lawyers. Farnaby built furniture. Yet, these composers and others ended up throwing over (or working around) their “day” jobs to
make music. We’ll survey the work of composers who almost took the road more travelled.
Build-A-Book: Valerie Austin; all levels; all instruments. During her many years introducing college-aged students to recorders and
other early instruments, Valerie has compiled a gig book and she invites you to explore her latest edition. Not only will you read plenty
of music for suggestions to take home, you will also be able to participate in classroom discussions that revolve around building the
right book for you and your ensemble.
Medieval Music: Lisle Kulbach; all levels; singers and instrumentalists. Singers are especially welcome. We will focus on music by
Machaut, Dufay, and other early masters.
The Breeze from Erin: Learning to Play Your Wind Instrument "By Ear" Like a True Irish Folky! John Maschinot;
intermediate and up (but comfortable on your instrument and not easily frustrated!); all instruments (including pennywhistle). For
generations Irish folk musicians have passed along "tunes" (thousands of them!) aurally. In this way a musical heritage has been
preserved not only in the vast body of traditional Irish music but also in the "lift", or lilt that is the soul of the music that's virtually
impossible to indicate on the written page. We will learn to play a "set" of tunes complete with basic ornamentation, with a wee bit of
the lore and history of Irish music for good measure!
Party of the Muses: Gwyn Roberts; intermediate and up; all wind and string instruments. Ouvertures, dances and character pieces by
Lully's talented and irascible disciple Johann Sigismond Kusser, from his collection Festin des muses (pub. 1700). Open to all wind and
string instruments.
(3rd and 4th period classes listed on the reverse)
THIRD PERIOD
Ogni Sorti: Martha Bishop; intermediate and up; mixed instrumental ensemble (or viols only). Play a hit parade of renaissance songs
used as canti firmi. We will read from score and from facsimile notation.
Ensembles: Various faculty. Ensembles for all instruments. Put “ensemble” as your choice, ALONG WITH THE INSTRUMENT OR
VOICE you’d like to use. If you have a preference for an all-recorder, all-viol, all-voice, or mixed ensemble, or for Renaissance or
Baroque repertory, indicate that too. We will do our best to make well-matched ensembles while accommodating your wishes!
Death and Other Ailments: Barbara Weiss; intermediate; all instruments and singers. We will use vocal music of Thomas Morley as
we improve ensemble skills, tuning, and blend. We will use the words to make decisions about tempi, articulations, mood and
dynamics. This will probably be the only group to be working on music "to be played before the corpse!”
Appalachian Repertoire–North Georgia: Lorraine Hammond; all levels; singers and instrumentalists. Ballads and banjo tunes,
dulcimers and Sacred Harp; North Georgia has a rich legacy of traditional music. Class will include some lecture/presentation time
tracing the culture that has preserved this music, but mostly we will sing and play.
Name That Tune: Holly Maurer; intermediate and up; mixed consort (or viols only). We will explore a variety of pieces from
different places and eras that use well-known tunes as part of the melodic material. Tunes such as “Flow my tears” and “L’homme
arme” as well as chants and the “In Nomine” have been used for centuries. Learn the tunes and play the pieces.
English Madrigals: Robert Bolyard & Gail Ann Schroeder; upper intermediate and up; viols (limit 6) and voices. The gorgeous
English repertoire offers much for voices and viols: madrigals, anthems, masses, and consort songs. The music will include
compositions by William Byrd, William White, Orlando Gibbons, and others. This team-taught class will have the voice and viols
separated at times and combined at others.
Orff-Appropriate: Valerie Austin; all levels of instrumentalists. As an Orff-certified teacher, Valerie will share her expertise with
anyone who needs to work with children either in or out of the school setting. This method of teaching takes the student from speech to
body movement to instruments.
Le Bourgeois Gentilhomme: Anne Timberlake; upper intermediate and advanced; recorders, viols, and other baroque instruments.
Jean-Baptiste Lully and Molière—a match for the ages. The flamboyant dancer-composer and the theatrical impresario collaborated on
several comedies-ballets, culminating in their masterpiece, the tale of the social climging M. Jourdain. Let’s put on airs with some of
Lully’s most ingratiating music!
Hey, Now, What’s That Sound? It’s the Capped Reed!: Jody Miller; all levels. This can be an introductory experience if you learn
quickly and without fear; or for the seasoned capped reed player if you feel there are gaps in your training. This is an opportunity to
learn how to deal with crumhorns, cornamuses, and other capped reeds. It helps if you have some (even very modest) capped reed
experience and good breath support. Instruments available for loan, but you can bring your own, too! Visit the Kelischek Workshop at
www.susato.com for some reasonably-priced instruments.
Twentieth Century Music: Lisle Kulbach; upper intermediate; viols and recorders. Contemporary music by Lanoue Davenport, our
own Jack Kitts, some jazz by Brian Bonsor, a Suite in G by Timothy Moore, some arrangements by Gerald Moore, and more, if there is
time.
FOURTH PERIOD
Recorder free-for-all: Pat Petersen; all levels; recorders. A drop-in class with lots of sight-reading, easier & harder parts, problem
solving, and tips for better reading. Fun!!
Voices & Viols: Holly Maurer; all levels; voices, viols, and 8-foot recorders. Your chance to sing &/or play old favorites & new finds.
Gorgeous sacred & secular music for this unbeatable combination. Please list your instrument/voice range for this class. Players of
tenor & larger recorders also welcome.
Loud band for brass & open reeds: Erik Schmalz; intermediate and up; sackbuts, cornettos; shawms, etc. Though this class isn’t
exactly for the novice, the musicians
can congregate with their own kind and make a lot of noise!
Folk Ensemble: Appalachian/Celtic Connections: Lorraine Hammond & John Maschinot; all levels; all instruments and singers.
All instruments welcome, and singers too, as we give fresh voice to repertoire from both sides of the big pond. Playing by ear, in the
folk tradition, will be encouraged, but we will also have notation for much of the music.
Performance Seminar with Alexander Technique: Gail Schroeder & Gwyn Roberts. Open to upper level soloists and ensembles.
This is a performance class for any instrument in a masterclass setting. We will use Alexander principles to explore optimal
performance. This class will address issues including performance anxiety, tension, and breath support.
We reserve the right to cancel and/or substitute classes as enrollment requires.