2016 Friday Night "One-Time" Sessions
8:30-10:00 p.m. [after General Meeting]
INSTRUCTOR
ROOM
CLASS: All playing levels welcome in all classes
Louise Austin
Katchel
“Saturday night Festivities with Louise” Large band works for
two or three choir. Loud Band presentation. We may also
dance the standard bransle combination, with live music.
Shelley Gruskin
6
Lisette Kielson
1
“Double Canons and Ricercari from the 16th Century”
(intermediate) Around 1500 there was a minor vogue among
the highly skilled composers of the Franco-Netherlandish orbit
for neat little double canons, which were often based on
popular tunes.” (from Bernard Thomas’ Introduction to Seven
Double Canons) We’ll explore 4-part vocal double canons by
Willaert, Mouton, and Josquin and 3-part instrumental ricercari
from Willaert’s 1559 collection of contrapuntal music. Open to
recorders, singers, crumhorns, cornetti, sackbuts, and viols!
Laura Kuhlman
3
“Bagpipe Madness” (all levels) Come learn to work the little
renaissance pipes so popular with the common folk. Limited
number of pipes available but fun nonetheless! There may be
a chance to purchase a pipe if you are interested.
Mona Mann
2
Beginner Recorder – We will meet as a group, play through the
first few lessons in the “Recorder Guide” and set up schedules
for the A and B sessions on Saturday and Sunday.
2055
“An Hour with the Reed Doctor” (all levels) Whether you are
new to reeds, or a seasoned, veteran rackett player, I will
guide you to a new understanding of that pesky reed. I will
cover how to care for your reed, make adjustments, and how
to manage & diagnose problems for both cane & plastic reeds.
Open to All.
Gayle Neuman
Paul Neuman
Patrick O'Malley
“Caioni Connection: Music of Early Transylvania” (lower
intermediate) Found in a monastery wall and containing over
300 pieces, the 17th century manuscript Codex Caioni gives
us a varied picture of the exciting musical life of Transylvania
in the early baroque era. It has a little of everything; dances,
folk songs, motets, and much more.
2069
“Folk Songs of the British Isles” (intermediate) Intermediate
duets for alto/tenor.
Laura Osterlund
Light Auditorium
“Arranging Renaissance Music for Recorder Consort” (all
levels) This course will provide an overview of challenges and
considerations when arranging renaissance polyphonic music
for recorder consort. We will explore issues of range,
transposition, number of voices, rewriting, sources, editionmaking, and attribution, along with questions of what repertoire
recorder players and other instrumentalists likely played during
the renaissance. We will also come away with the beginnings
of our own editions for future performance.
Katherine Shuldiner
1005
“Viola da Gamba” (all levels) During the Friday night viola da
gamba meet and greet, we will start Whitewater Early Music
Festival off right by exploring Jenkins’ four, five, and six part
fantasias.
Karen Snowberg
2080
“Loud Band” (all levels) Courtly shenanigans and soaring
sacred compositions for cornetti, sackbuts, shawms, racketts,
dulcians, and capped reeds.
Todd Wetherwax
5
“Musica Chromatica or What Key Are We In?” (all levels)
Pam Wiese
2
Beginner Recorder – We will meet as a group, play through the
first few lessons in the “Recorder Guide” and set up schedules
for the A and B sessions on Saturday and Sunday.
ARRANGE COACHING SESSIONS or PRIVATE LESSONS DIRECTLY
WITH FACULTY MEMBERS IN ADVANCE
NOT INCLUDED IN THE COST OF THE WORKSHOP
2016 SATURDAY-SUNDAY CLASSES
It is recommended to pick ONE “A” class and ONE “B” class for the weekend
in order to get the most out of the workshop; however, it’s your choice!
Feel free to change if you make a wrong choice the first (or even second) time.
INSTRUCTOR
ROOM
A Session (3) — FOCUS: Description
B Session (3): — FOCUS: Description
Shelley Gruskin
6
“Music of Henry Purcell:
Chamber” (advanced)
“Early Medieval Polyphony: Motets,
Conductus, and Melismatic Organum”
(advanced)
Lisette Kielson
1
Practice Makes Permanent (intermediate)
And we thought it was “practice makes
perfect”! In this technique class we will
practice practicing! We will identify and
target challenging aspects in the music (i.e.
high notes, 16th note passages, lack of
breath or weak tone in slow movements,
etc), and we will work on how to approach
and improve on them. Through various
technical exercises, duets, and music you
bring to class, we’ll strategize a way to
practice that is efficient, effective, and even
enjoyable! Open to soprano, alto, and
tenor recorder players.
Music:
Participants are encouraged to bring a
movement or short piece on which they are
currently working and having difficulty
(please bring extra copies or PDF it to
Lisette Kielson)
Lerich, Im Hagedorn (Schott 4261) and
other various duets for SA
Rooda, Dexterity Exercises and Dances for
sop/ten (Hargail Music Press, HRW 3)
Rooda, Dexterity Exercises and Dances for
alto (Hargail Music Press, HRW 4)
Duschenes, Studies in Recorder Playing:
79 Daily Exercises for sop/ten (Berandol
1013)
Duschenes, Studies in Recorder Playing:
79 Daily Exercises for alto (Berandol 1014)
Theater and
“The Perfect Storm: movements from
Vivaldi’s concertos (advanced) Bring your
chops and double tonguing for this fast and
furious exploration of Vivaldi’s virtuoso
concerto
movements.
Selected
movements taken from the following
publications:
Concerto op3 no10 for AAAAB/bc –
Heinrichshofen, N 2303
Allegro (last mvt from L’Estro Armonico
op3 no12) for AATB - Polyphonic
Publications, PP 118
Concerto à Quattro (RV110) for SSAB –
Dolce, DOL 338
Concerto à Quattro (rv153) for SATB –
Dolce, DOL 337
All Classes 20166
Laura Kuhlman
3
“Next Level Consort Skills”
(lower
intermediate) You’ve got the hang of the
soprano, alto, tenor and bass and now you
want to play in a group or at your chapter
meeting. Come learn sight reading skills,
how to decide which recorder goes on
which line, all the while playing delightful
arrangements of dances, chansons and
maybe even some pop tunes! A great class
to hone some skills on recorders that are
new to you or you want to freshen up your
skills. Also a great class for teachers and
ARS chapter leaders.
Mona Mann
“Mixin’ It Up” (lower Intermediate) So you
thought that renaissance and baroque
music was only for advanced players? No
way, I say! Continuing the theme of
building on consort skills with more
fantastic music of the renaissance,
baroque and a little jazz. Ever want to try
playing a crumhorn or cornamuse? This is
the class! Instruments available for trial.
Open to all double reeds and recorders.
“Advanced Beginner” This class will focus
on ensemble playing at a beginning level.
Students should be familiar with both C
and F fingerings. Students should also be
familiar with counting rhythms in 3, 4 and
6/8. This is the class to take the leap and
begin switching instruments. Simple 2, 3,
and 4 part music will be provided. There
will be tenors and basses available if you
would like to try your hand at playing the
larger instruments.
Gayle Neuman
“The A, B, Cs of Renaissance Song”
(intermediate and above) Discover the
music of John Attey, bask in the
magnificence of William Byrd, and revel in
the songs of Thomas Campion. We will
explore the vocal style of the renaissance
and how it applies to voices, recorders and
viols.
“Palestrina Madrigals” (intermediate and
above) More well-known for his masses
and motets, Palestrina also wrote
wonderful madrigals. We will concentrate
on Italian pronunciation, tone production,
phrasing and intonation. Open to all
voices, recorders and viols.
Phil Neuman
“From Adams to Zawinul: The Roots and
Branches of Jazz” (intermediate and
above) In this class we'll explore all facets
of jazz influence, from ragtime to big band,
bossa nova to Weather Report. These are
fun, challenging arrangements you are
sure to enjoy.
“Antique Gold and Ancient Armor: The
Music of Erik Satie” (advanced) Explore
Satie's eccentric genius through his
unusual, challenging, and often humorous
piano suites arranged for recorders with
titles like "Genuine Flabby Preludes for a
Dog," "Of the Holothurian (sea cucumber),"
and "Matters Thoroughly Discussed," along
with their enigmatic instructions like "play
like a nightingale with a toothache."
All Classes 20166
Patrick O'Malley
Laura Osterlund
2069
“The Musical Clock” (Advanced) AA duets
by Handel, composed for a musical clock,
focusing on high range. TT duets by Glen
Shannon. Introduction to tenor reading
bass clef, using duets by Orlandus Lassus.
Music: Haendel 18 Stuecke fuer eine
Spieluhr fuer 2 Altblockfloeten, Amadeus
BP 1680
“Shannon Duos” Vol. 1, for Soprano or
Tenor Recorders, Glen Shannon Music,
GSM 1021
“Cantiones Sine Textu Magnum Opus XIIXXIV” Mercury Music Corporation, MC 1624, which is out of print. Copies will be
provided.
“Festive Switching” (Intermediate) Trios for
SAT recorders. Frequent changes from C
to F fingering. Intermediate.
Music: George Frideric Handel “Festive
Pieces” arr. Bergmann, Hargail Music
Press, H-146.
Handel, “Second Handel Album” arr.
Bergmann, Schott RMS 918 (out of print).
Monteverdi, “Eight Pieces” No. 11, arr.
Colin Sterne. Hargail HCA-11.
“Four Early Tudor Trios” arr. Cannell.
Schott RMS 486.
“Early Notation” (intermediate) A crash
course mensural notation from the 15th
and 16th centuries primarily and reading
from facsimile. We will learn the basics of
deciphering early notation and lay the
groundwork for future sight-reading,
focusing largely on musical editions by
Ottaviano Petrucci.
“Dance 101” (lower intermediate) What is
a bransle? An estampie? When were
allemandes and courantes first paired?
How fast can a pavane be played? These
and other questions will be addressed in
class aimed at familiarizing players with a
variety of popular early dance forms and
performance issues.
All Classes 20166
Katherine Shuldiner
2080
Viola da Gamba “Technique and
Reading” (all levels) Have you ever
had a question about viola da gamba
technique that needed answering?
Have you ever wondered about how
to become a better sight-reader?
Well, look no farther. The first half of
each A session will be devoted to any
technical questions you might have.
No question is too small or too big;
together we will tackle them all. On
the second half of these sessions we
will learn the ins and outs of sightreading through composers such as
Ward, Lawes, Gibbons, and more.
Viola da Gamba “ Ward and friends” (all levels)
As viola da gamba players, we are familiar with
composers such as William Lawes and Orlando
Gibbons, but have you heard of their lesserknown contemporary John Ward? We tend to
think about Ward as a simple composer but in
this class we will dive into his music and
discover if “simple” is really the right word. We
will also take a look into Lawes and Gibbons to
help us put Ward’s music in context.
Karen Snowberg
Light
Aud.
Stage
“Immersion class in reading "alto up"
and "tenor down"”
(lower
intermediate) Reading alto up is an
expected skill for alto recorder players
once they reach the intermediate
level. Reading bass clef on the tenor
recorder is not a required skill, but it is
a very handy skill for recorder players
to have in their bag of tricks. A book
of diverse music will be provided to
gradually usher participants into these
new skills.
“Spanish Music of the Renaissance - Featuring
works of Guerrero, Morales and Victoria”
(intermediate) Though given less attention than
Renaissance music from other countries, the
Spanish repertoire contains gems that are well
worth our study and performance. The
polyphonic music of these three composers was
influenced by their time in Italy and they, in turn,
influenced the music of other Spanish
composers.
Todd Wetherwax
5
“Not All Quarter Notes are Created
Equal” (intermediate) Music with
syncopation, hemiola, and other
meter altering devices. Repertory
from 16th and 17th centuries.
“Consort Playing” (intermediate) Reading
music from 15th century to contemporary in a
small group (1 to a part if possible). Working
interactively with others in the ensemble to
refine articulation, tuning, entrances, cut-offs,
and all the little musical things that always drive
us crazy.
Pam Wiese
2
“Technique”
(Beginner Recorder)
Depending on the schedule we create
on Friday evening, we will work
through sections of the Recorder
Guide in private or small groups.
Students will also have time to go off
and practice assigned passages on
their own. We may or may not meet
as a whole group during this time,
depends on class need.
“Beginning Ensemble” (Beginner Recorder)
Depending on student level, we will work
through some of the duets in the Recorder
Guide or I will provide you with some simple SA
and SAT ensemble pieces. We will work on
facility of reading, confidence in playing and
listening to the other parts.
All Classes 20166