{"id":449,"date":"2024-04-19T14:02:26","date_gmt":"2024-04-19T19:02:26","guid":{"rendered":"https:\/\/toot.org\/nwp\/?page_id=449"},"modified":"2025-01-24T13:52:44","modified_gmt":"2025-01-24T19:52:44","slug":"summer-toot-2025-class-topics","status":"publish","type":"page","link":"https:\/\/toot.org\/nwp\/summer-toot-2025-class-topics\/","title":{"rendered":"Summer Toot 2025 Class Topics"},"content":{"rendered":"\n

Here’s a list of the classes each teacher will be offering this summer, including an enticing description as provided by the instructor! The form for selecting your classes will be out as soon as we have formed a schedule, probably in the last week of April or beginning of May. Meanwhile, start savoring the possibilities… <\/p>\n\n\n\n

Annette Bauer will teach:<\/strong><\/h3>\n\n\n\n

From Ave Maris Stella to Stella Splendens – Imagery of Light in 13th-15th c. Music<\/strong>
Lower intermediate and up, recorders and viols<\/p>\n\n\n\n

\u201cAve Maris Stella\u201d (Hail, Star of the Sea), and \u201cStella Splendens\u201d (The Shining Star) – are often evoked in descriptions and prayers to the Virgin Mary. The term “lux magna” or “lux luminis”, great illuminating light, is an image in sacred music used as a representation for the power of religious faith. This class explores musical repertoire from the 13th-15th centuries using imagery of light in the text. Music from Bamberg\/Montpellier Codices, Libre Vermell, Old Hall MS, and by composers such as Dufay, Fayrfax, and Dunstable.<\/p>\n\n\n\n

Improvisation\/Ornamentation:<\/strong> \u201cBringing the Hidden Notes to Light – Diminutions and Simple Harmonization\u201d<\/strong>
Intermediate and up, recorders and viols<\/p>\n\n\n\n

The notes written on the page are not usually the end of the story, but a starting point for interpretation and ornamentation. This class focuses on two aspects: diminutions and harmonization. We will explore how to approach a melody in the style of 16th century diminutions, and how to create an accompaniment part on recorder for an existing single melodic line. Harmonization exercises range from creating simple and moving drones to simple chord progressions. For the diminutions, we will explore a series of short practical exercises with opportunity for improvisations and your own short notated compositions.<\/p>\n\n\n\n

Early Notation: Introduction to Mensural Notation<\/strong>
All welcome!<\/p>\n\n\n\n

A hands-on, week-long exploration of some of the key concepts of 16th century mensural notation, including note shapes, clefs, and basic concepts. You will successfully play music from 16th century facsimile by the end of the week!<\/p>\n\n\n\n

(Siesta) – O Rosa Bella – Oh, beautiful Rose<\/strong>
Intermediate and up, recorders and viols (for recorders: Renaissance instruments a plus. Ideally should be able to read alto up)<\/p>\n\n\n\n

This class will trace the famous 3-part secular chanson ascribed to either John Dunstable or John Bedingham (the musicologists have been of several minds about which 15th century composer to credit for this beautiful work of music), and its different versions and re-workings in the later 15th century. Imitation as the highest form of flattery – this saying definitely holds true for the creative reimagining of this chanson by different composers of the time.<\/p>\n\n\n\n

Carol Deihl will teach:<\/strong><\/h3>\n\n\n\n

Beginning Viol: An introduction to all sizes of viols, open to all.
<\/strong>You don\u2019t need any string instrument experience. Also good for rusty players to get back into the swing! Try a new size or clef, or bring your questions and problems. Various viols provided, or bring your own!<\/p>\n\n\n\n

Marenzio Madrigali, 5-part from “Il secondo libro de madrigali”:<\/strong>
Intermediate and up: voices, viols, recorders, and other instruments.<\/p>\n\n\n\n

Luca Marenzio (c.1553-1599) was regarded as the greatest of all madrigalists, with an influence all across Europe and even into England, where his compositions helped inspire the English madrigal movement. He composed more than 400 madrigals in 24 books, and a lot of other music as well! We’ll explore selections from his second collection of Italian madrigals.<\/p>\n\n\n\n

Matthew Locke, The Little Consort:<\/strong>
Intermediate and up: viols, recorders, winds.<\/p>\n\n\n\n

Matthew Locke (c.1621-1677) wrote his first collection of music, The Little Consort, in 1651 for some young English pupils. In the preface, Locke says that he had “endeavoured to comply with the Hands, Ears and Patience of young Beginners”. These lovely and quirky three-part suites of slow and fast mostly dance movements (pavans, ayres, courantes, sarabands, etc) in various keys were originally for viols, but are also great for recorders.<\/p>\n\n\n\n

(Siesta) – Peter Phillips, Jubilate Deo a 8 (Two equal choirs of SATB)<\/strong>
Voices and all instruments, Intermediate and up.<\/p>\n\n\n\n

Peter Phillips (c.1560-1628), born Catholic in Elizabethan England, travelled extensively around Europe before settling in the Netherlands. His second volume of “Cantiones sacrae” for 8 voices double choir includes this wonderful “Jubilate Deo” in the Italian style.<\/p>\n\n\n\n

Jennifer Carpenter will teach:<\/strong><\/h3>\n\n\n\n

Musical crossroads
<\/strong>Intermediate and up recorders<\/p>\n\n\n\n

Why is that Englishman playing a bagpipe? Is that a Polish dance in a German suite? Composers frequently adopted exotic musical idioms, particularly of Eastern Europe, and integrated them into their own styles. We\u2019ll explore some traditional Hungarian pieces then delve into the musical crossroads of Byrd, Schmelzer, Vivaldi, and others.<\/p>\n\n\n\n

Rhythm is gonna get you<\/strong>
Advanced recorders<\/p>\n\n\n\n

Complex rhythms have plagued musicians from the medieval era to modern day. Dive into a challenging piece from the Ars Subtilior, confront a formidable renaissance fantasia, and face those demanding 20th\/21st-century rhythms influenced by jazz, ethnic, and theatrical idioms. Once we crack the rhythmic codes, the music takes shape in wonderfully mellifluous ways!<\/p>\n\n\n\n

Mystery composer (Wassenaer)
<\/strong>Upper-intermediate to advanced recorders and viols<\/p>\n\n\n\n

Count Unico Wilhelm van Wassenaer was a Dutch nobleman whose composer identity was a secret for over two hundred years. Experience a sampling of movements from his set of 6 Concerti armonici (1740) and learn a little about this mysterious man and his music!<\/p>\n\n\n\n

(Siesta) \u2013 Playford
<\/strong>All instruments, all levels<\/p>\n\n\n\n

Last summer, I introduced the Siesta class to the arranging possibilities within the simple Playford tunes. We\u2019ll continue to explore new tunes and the possibilities within for improvisation, creating your own or playing my written-out examples. Beat the after-lunch doldrums with Playford\u2019s The English Dancing Master! You don\u2019t need to have attended the last class to take this one.<\/p>\n\n\n\n

Glen Shannon will teach:<\/strong><\/h3>\n\n\n\n

Cesario Gussago: Venetian Wannabe
<\/strong>Lower intermediate and up recorders and viols.<\/p>\n\n\n\n

Originally from Brescia, Cesario Gussago (fl.1599-1612) was the first Italian to use the word \u201cSonata\u201d for instrumental works, and published his music himself in 1608. We will play sonatas and canzonas for 4, 6, and even double-choir pieces for 8, plus pieces by his Venetian contemporaries. Big basses welcome.<\/p>\n\n\n\n

Dearly Departed, Celebrating Lives Lost
<\/strong>Intermediate and up recorders and viols, 4-6 parts<\/p>\n\n\n\n

Nicolas Gombert (c.1495-1560) composed a moving 6-part motet mourning the death of his friend Josquin de Prez in 1521. Other composers followed suit through time, honoring a late monarch or such. Now, over 500 years later, I have also had commissions to write pieces in memory of beloved members of our recorder community who have passed on. We will sink into the lush sounds of the Gombert, and enjoy a variety of moods and musical styles in other historical pieces by Henry Purcell, Marc-Antoine Charpentier and others, mixed with my own contemporary odes.<\/p>\n\n\n\n

Advanced Contemporary Recorder Ensemble
<\/strong>Upper intermediate-advanced recorder players.<\/p>\n\n\n\n

Some of the music being composed today for recorders has very high expectations and technical demands, including fluid fingers and solid ensemble instincts. We will check out my \u201cFippalicious\u201d and \u201cRaclette\u201d along with pieces by Dietrich Schnabel and others.<\/p>\n\n\n\n

(Siesta) – Hide the Children: Bawdy Chansons from the French Masters
<\/strong>Intermediate and up, recorders and viols.<\/p>\n\n\n\n

\u201cCome on out to play, my little Perette! We\u2019ll dance on the grass and put our bodies to the test.\u201d Some of the beautiful chansons from the 15th and 16th centuries have lyrics that would make a sailor blush. We\u2019ll explore this high quality music by Sermisy, Janequin, Certon and others, revelling in the gossip, despair, and barely-veiled innuendo.<\/p>\n\n\n\n

Brent Wissick will teach:<\/strong><\/h3>\n\n\n\n

Viol Technique: Breathing and Bowing
<\/strong>All levels viols<\/p>\n\n\n\n

Learn to integrate breathing into your bowing technique, allowing your body and arms to be more flexible; and to use both intuition and knowledge in playing.<\/p>\n\n\n\n

Italian Madrigals for Viols and Voices
<\/strong>Intermediate and up viols and voices<\/p>\n\n\n\n

The early composers of Italian madrigals including Arcadelt and Cipriano used word-painting to set sensuous poetry. Explore some of these wonderful works where expressive text meets delicious sound.<\/p>\n\n\n\n

Byrd Consort Music and Consort Songs
<\/strong>upper intermediate and up viols<\/p>\n\n\n\n

William Byrd was one of the greatest composers of the Elizabethan era, combining brilliant counterpoint with catchy folk-like tunes, and pieces that can be done as songs or purely instrumental music. Pieces in 3-6 parts.<\/p>\n\n\n\n

(Siesta) – Odhecaton pieces for strings and winds
<\/strong>intermediate and up viols, recorders and other winds<\/p>\n\n\n\n

The famous Odhecaton \u2013 the first published music in movable type from Venice, 1501 \u2013 gathered secular songs without their texts to be played by instruments of all sorts. Many of the greatest composers of the late 15th<\/sup> century, such as Josquin, are represented here in a collection that became known throughout Europe and still grabs us. You won’t regret missing a nap playing these pieces.<\/p>\n\n\n\n

Joan Kimball will teach:<\/strong><\/h3>\n\n\n\n

Double reed technique and repertoire class
<\/strong>For dulcians and shawms of all sizes, all levels<\/p>\n\n\n\n

We\u2019ll hone our ensemble skills playing 16th century music, and with the help of exercises work out issues of fingering, tuning and articulation.<\/p>\n\n\n\n

Hail the mighty bagpipe!
<\/strong>All welcome, instruments available (limit of 4 students)<\/p>\n\n\n\n

Here\u2019s your chance to try out a Renaissance bagpipe (not nearly as daunting as those loud and noisy Scottish highland members of the family!) and learn the intricate technique of alternating your blowing and squeezing while fingering delightful melodies and dance tunes on the instrument\u2019s chanter.<\/p>\n\n\n\n

Loud Band
<\/strong>Intermediate and up shawms, dulcians and sackbuts<\/p>\n\n\n\n

From the pens of German composers in the second half of the 16th century, the likes of Lassus, Lechner, Regnart and Praetorius, comes rich music exemplifying the height of Renaissance polyphonic style. Mimicking the ubiquitous German \u201cStadtpfeiffers\u201d, we\u2019ll explore this repertoire on their standard combination of instruments.<\/p>\n\n\n\n

(<\/strong>Siesta<\/strong>) – <\/strong>\u201cColoring\u201d the music
<\/strong>Intermediate and up winds and strings<\/p>\n\n\n\n

What happens in the later Renaissance period when composers start inserting all those sharps and flats outside the \u201cgamut\u201d into their music? It must have sounded pretty outrageous at first to listeners at that time, but it extended the possibilities of range and color and led the way to new trends in the 17th<\/sup> century. We\u2019ll play music by Lassus, Cipriano de Rore, Gesualdo, and others.<\/p>\n\n\n\n

Mary Springfels will teach:<\/strong><\/h3>\n\n\n\n

14thC Mass Music in France (Medieval)
<\/strong>Upper intermediate and up, viols, recorders, all takers<\/p>\n\n\n\n

Tudor consort class
<\/strong>Viols, intermediate and up<\/p>\n\n\n\n

Viol technique class
<\/strong>Viols, all levels<\/p>\n\n\n\n

(Siesta) – the amazing Hugh Aston
<\/strong>Viols and winds, intermediate and up<\/p>\n\n\n\n

Therese Honey will teach:<\/strong><\/h3>\n\n\n\n

Beginning Harp
<\/strong>All welcome!<\/p>\n\n\n\n

First steps to plucking with exercises to improve hand position
Learn about historical harps, how to change strings, tuning
Ideas for adding harp to your ensemble
Bring your own harp or you can borrow one for the class<\/p>\n\n\n\n

Carolan\u2019s Welcome
<\/strong>Lower intermediate and up, harps and other instruments<\/p>\n\n\n\n

Turlough O\u2019Carolan (1680-1738) wrote over 200 tunes for the Irish harp. Some of his compositions first appeared in print in 1727. Edward Bunting transcribed the tunes harpers played at the 1792 Belfast Harp Competition, publishing his arrangements a few years later.<\/p>\n\n\n\n

Improvise on a Renaissance Ground<\/strong>
Intermediate and up, harps and other instruments<\/p>\n\n\n\n

A ground bass is a melody line in the bass clef with chords above it that is repeated throughout the piece. The class will practice chord inversions for the right hand then compose & improvise a melody.<\/p>\n\n\n\n

Hector Torres will teach:<\/strong><\/h3>\n\n\n\n

Song class (with Danny Johnson)<\/strong>
<\/strong>I<\/strong>ntermediate and up, singers and lutenists<\/p>\n\n\n\n

El Arte del Baile Espa\u00f1ol
<\/strong>All instruments, lower intermediate and up<\/p>\n\n\n\n

Back by popular demand! Ensemble settings for popular Spanish dances from the 17th and 18th century. Including Espa\u00f1oletas, J\u00e1caras, Fandangos, and others!<\/p>\n\n\n\n

The Plucks
<\/strong>Lutes and other instruments, all levels<\/p>\n\n\n\n

Ensemble music from the 16th and 17th centuries, for lutes.<\/p>\n","protected":false},"excerpt":{"rendered":"

Here’s a list of the classes each teacher will be offering this summer, including an enticing description as provided by the instructor! The form for selecting your classes will be out as soon as we have formed a schedule, probably in the last week of April or beginning of May. Meanwhile, start savoring the possibilities… […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-449","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/pages\/449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/comments?post=449"}],"version-history":[{"count":1,"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/pages\/449\/revisions"}],"predecessor-version":[{"id":520,"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/pages\/449\/revisions\/520"}],"wp:attachment":[{"href":"https:\/\/toot.org\/nwp\/wp-json\/wp\/v2\/media?parent=449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}