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Faculty Members
13th Summer Toot - 2011

The Summer Toot is privileged to offer an outstanding faculty of both local and guest instructors for our participants. This section includes biographical information on each of the individuals or ensembles teaching at the Toot this year.

Faculty by Last Name: Faculty by Instrument:

Annette Bauer
Becky Baxter
Bruce Brogdon
Jennifer Carpenter
Saskia Coolen
Carol Deihl
Scott Horton
Daniel Johnson
Jane Leggiero
Susan Richter
Frank Shirley
Mary Springfels
Keith Womer
Tom Zajac

Recorders: Louds, Ensemble: Voice: Viols and other Bowed Strings: Lute and Harp: Harpsichord / Continuo:

Saskia Coolen — Recorders (back to top)

At the Texas Toot Summer 2011, Saskia Coolen will teach:
English consort music Music of Byrd, Gibbons, Lawes, etc. Intermediate — advanced recorders
Masterclass Focusing on Dutch Baroque repertoire. A repertoire can be provided in advance for those interested; email "info@toot.org". Advanced recorders
T'andernaken class Focusing on early composers: Obrecht, Senfl, etc. Upper intermediate — advanced recorders
Siesta: variations How to make van Eyck variations on your own favorite tune. All recorders

Annette Bauer — Recorders (back to top)

At the Texas Toot Summer 2011, Annette Bauer will teach:
Medieval Music from England Not many complete sources of medieval music survive from England, but the huge number of fly-leaves and partial codices hints at the rich, blooming tradition. This class will explore some of the English polyphony from the 12th through early 15th century (music from the Worcester Fragments and Old Hall MS, among others), as well as the examples of instrumental pieces in English sources (Nota, Ductia, Estampie, for example from the Robertsbridge Codex). Intermediate — upper intermediate recorders and viols
Das Glogauer Liederbuch 3- and 4-part settings from this charming German song collection of c. 1480, the first to be written out in partbooks. The Lieder are equally divided between sacred and secular texts, and there are also textless pieces intended for instrumental ensemble -- possibly the earliest such collection to survive. Upper intermediate recorders and viols
Early notation 101 A practical approach to mensural notation - 100% success rate guaranteed! A plaine and easy introduction to the mysteries of reading from facsimile sources. This is a practical approach (yes, as in: playing our instruments) to reading music from original notation used in the 16th and early 17th centuries. We will discover the note shapes and their rhythmic values, get exposed to already-familiar and soon-familiar clefs, read gorgeous, accessible polyphonic music from original parts, and explore some of the beautifully illuminated manuscripts and prints. Modern notation of the pieces covered will be provided to anyone who thinks it will be necessary (it won't be, since you will be as fluent in 16th century notation as a fish in water by the end of this week.) Give it a try! All levels, all welcome
Siesta: A session of Gregorian chant Discovering the roots from which all of Western art music blossomed. We will sing, learn short medieval chant phrases by ear, explore some of the traditional chant notation, go over Latin pronunciation and translation, the modes... examples of evening and morning chants, and the hymn Ut queant laxis, where all of hexachord theory began... For all, instrumentalists and singers alike - but we will sing.

Jennifer Carpenter — Recorders (back to top)

At the Texas Toot Summer 2011, Jennifer Carpenter will teach:
The Golden Age of the Dukes of Burgundy A sumptuous court of pageantry and music existed during the years 1364-1477 in Burgundy as Philip the Bold, Philip the Good, and Charles the Bold lavishly patronized the arts. We will explore music of Binchois, Busnoys, and others who worked for the Court of Burgundy and helped solidify the Burgundian school of composition in the fourteenth and fifteenth centuries. Intermediate — upper intermediate recorders and viols
Tenorlieder The principle type of German polyphonic secular song from around 1450-1550 was the Tenorlied. We will explore examples of this genre by Hofhaimer, Isaac, Finck, and Senfl Intermediate recorders
Humorous motets and chansons of Lassus Lassus frequently played with his music settings of texts, choosing playful, witty, and sometimes burlesque texts while sometimes matching the wit musically, and other times, cloaking these verbal jokes in exquisite musical settings. Come experience the humorous side of Orlande de Lassus Intermediate — upper intermediate recorders and viols
Siesta: Potluck Performances Many of you have your favorite ensemble pieces that you want to hear performed. I will provide the 'meat' (one or two of my favorite pieces) and you can bring a 'side dish' (your favorite piece) for us to read through in this class (copies can be made on site). If you know the name/composer, but do not have the music, contact me beforehand (jlcarpenter1@gmail.com) and I will see if I can locate it. Open to everyone.

Frank Shirley — Recorders (back to top)

At the Texas Toot Summer 2011, Frank Shirley will teach:
German Masters of Counterpoint: Bach and Buxtehude (but mostly Bach) We will investigate the various contrapuntal devices that Bach and Buxtehude used so magnificently in their music. Along the way we will play selections from Bach's Motets, Bach's "The Art of the Fugue" and a Buxtehude Missa Brevis. Upper intermediate — advanced recorders
Dance Music of English and German Masters Music of John Dowland, Anthony Holborne, and Michael Praetorius Intermediate — advanced recorders
Overture to the Barber of Seville and Other Fun Arrangements Kick back and relax at the end of the day with some music to play just for fun -- Ragtime, Light Classical Works, and maybe a Sousa march or two. (We will, however, work to play them well). All recorders

Mary Springfels — Viola da gamba (back to top)

At the Texas Toot Summer 2011, Mary Springfels will teach:
The King's Men go on the Road Dutch and German music based on Elizabethan Jigg tunes, by Schop, Sweelinck, Scheidt, Simpson and others. 4-5 parts. Intermediate — upper intermediate violins, viols, recorders
T'andernaken The evolution of an old German ballad, from Brumel to Henry VIII. Advanced viols
Ludwig Senfl, pioneer northern humanist Motets by one of the greatest Renaissance masters, 4-6 parts. Intermediate — upper intermediate viols
Siesta: Who was Johann Schop? 5- and 6-part dances by a little known Dutch Master. Upper intermediate to Advanced viols.

Jane Leggiero — Viola da gamba (back to top)

At the Texas Toot Summer 2011, Jane Leggiero will teach:
Das Glogauer Liederbuch for viols Three- and 4-part settings from the German song collection of c. 1480 Intermediate viols
Technique class for viols This class will focus on Christopher Simpson, beginning with the exercises that preface his set of divisions. If we have time and interest, we might look at a prelude and a division to get a sense of what this kind of English music is all about. If you have a piece by Simpson, or another composer that is representative of the style, and you would like to play, please bring it! Intermediate viols

Carol Deihl — Beginning viols (back to top)

At the Texas Toot Summer 2011, Carol Deihl will teach:
Beginning viol Learn to play the viola da gamba from the very beginning, or hone your skills if you've already begun. All welcome; some instruments may be available.

Tom Zajac — Louds, Ensemble (back to top)

At the Texas Toot Summer 2011, Tom Zajac will teach:
New music from the court of Henry VIII Henry — humanist, music lover, amateur instrumentalist — attracted to his court some of the greatest musicians of the day. Although we tend to think of the light songs in the Henry VIII songbook (Pastime with good companie, Blow thy horn) when we think of his musical court, these composers wrote beautiful, experimental and profound motets, extended songs and instrumental works. Intermediate & up recorders, viols, plucked strings, singers, other soft winds
Josquin's Contemporaries Josquin was the most renowned composer of his day, but was really just a giant among giants. In this class we will look at four of Josquin's Netherlandish contemporaries, Busnois, Agricola, Ghiselin and Compère, one each day, each of whom contributed their own unique vision to the sacred and secular repertories of the day. Intermediate & up recorders, viols, plucked strings, singers, other soft winds
Music for the Stadtpfeiffer Loud band music for the German minstrels of town, court and chapel. Intermediate & up shawms, dulcians, sackbuts, cornetti

Susan Richter — Ensemble (back to top)

At the Texas Toot Summer 2011, Susan Richter will teach:
Krummhorn ensemble Music for krummhorns and other capped reeds, that is not for drinking beer by. Intermediate & up capped reed players; some instruments available.

Bruce Brogdon — Lute (back to top)

At the Texas Toot Summer 2011, Bruce Brogdon will teach:
Renaissance lute technique Open to beginners who want to develop a foundation for playing; with more experienced players we will use treble and ground duets to work on quick chord changes and treble lines. Other concerns include solos, equal duets, and reading from a score. All levels
Renaissance song (with Danny Johnson) Song arrangements of Senfl, Isaac, Regnart, Kapsberger and Nauwach will be offered. English, French, and Italian songs may also be included. Singers and lutes, intermediate & up
Lute, harp and viol ensemble Arrangements of 16th century lieder along with ensemble music of Praetorius, Kapsberger and Rosenmuller. Lutes, harps, viols, all levels

Scott Horton — Lute (back to top)

At the Texas Toot Summer 2011, Scott Horton will teach:
Baroque lute technique and repertory Focusing on German music of the 18th century, particularly Weiss and Bach. All levels; entrance on permission of the instructor.
Basso Continuo Basso Continuo on fretted instruments of the Baroque. Concentration on realisation and reading of figures. Entrance on permission of the instructor.
Continuo song (with Danny Johnson) Style and technique of 17th-18th century vocal rep will be explored. Singers, intermediate — advanced; Lutes, intermediate — advanced

Becky Baxter — Early Harps (back to top)

At the Texas Toot Summer 2011, Becky Baxter will teach:
Daily Warm-ups/Technical Drills For Harp This class will emphasize harmonic and melodic intervals, chords, and relaxation for all levels of harpists. Get ideas for daily exercises whether you are fairly new to the harp or have played for many years to get your hands technically in shape or to stay in shape. We will prepare an intabulation of a 16th century renaissance dance to put the results from our exercises to the test. All levels, harps
Improvising a Medieval Prelude A continuation of this "how to" class with emphasis on daily performances. A few examples of chant from Hildegard de Bingen (Germany) and English medieval song as the basis for improvisation. This class will also explore some ideas on how to improvise an accompaniment for medieval melodies as well. All harps
English Renaissance Music for Harp A brief survey of miscellaneous 15th and 16th century English repertory to play on harp. This class will involve a brief review of how to intabulate surviving music from keyboard and lute repertoire into harp solos. We will play in parts as an ensemble and solos. All harps
Siesta: Celtic Airs for Harps A quickie read through of one Irish air and one Scottish air. All harps

Keith Womer — Harpsichord & Continuo (back to top)

At the Texas Toot Summer 2011, Keith Womer will teach:
Harpsichord technique Harpsichord technique class, featuring Couperin's Art of Playing the Harpsichord and the teaching pieces of Bach and Purcell All levels
Siesta: keyboard temperaments Deciphering the mysteries of keyboard temperament. All levels

Daniel Johnson — Voice and Ensemble (back to top)

At the Texas Toot Summer 2011, Danny Johnson will teach:
Renaissance song (with Bruce Brogdon) Song arrangements of Senfl, Isaac, Regnart, Kapsberger and Nauwach will be offered. English, French, and Italian songs may also be included. Singers and lutes, intermediate & up
Continuo song (with Scott Horton) Style and technique of 17th-18th century vocal rep will be explored. Singers, intermediate — advanced

     
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