SKU: CL.011-4677-01

The fascinating world of Renaissance music comes to life as your band performs this spirited setting of three dances from Susato’s Danserye. Harmonic, rhythmic, and dynamic surprises abound as the piece begins with a light and delicate Ronde, continues with a lively boisterous Salterelle, and finishes with a stately grand Ronde/Aliud. This masterfully scored arrangement remains true to Susato’s original while taking advantage of the many colors available in the modern concert band. Your developing players, and the audience as well, will be delighted by this journey into such an exhilarating time in music’s history.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

SKU: GI.G-9739

ISBN 9781622773398. English.

The Renaissance era, lasting from the mid 1400s to about 1630, is one of the most distinctive and revolutionary periods in the arts, and music is no exception. Composers like Dufay, Josquin, Tallis, Victoria, Palestrina, Gabrieli, Praetorius, and Byrd were visionaries whose transformational music developed alongside the paintings and sculptures of Botticelli, da Vinci, Michelangelo, and Raphael. In this remarkable book, a companion to Performance Practices in the Classical Era and Performance Practices in the Baroque Era, noted scholar and conductor Dennis Shrock draws from primary sources to document and explain authentic performance practices of Renaissance era music—in many cases eye opening and rarely employed today. Insightful chapters cover topics including vocal and instrumental sound, tempo, articulation, phrasing, ornamentation, and expression. Like a restorer uncovering the original brilliance of the ceiling of the Sistine Chapel, Shrock’s work reveals the rich and colorful nature of this wonderful music as originally intended. Performing Renaissance Music—together with Shrock’s companion recording Renaissance Reborn—is an insightful, colorful, and comprehensive portrait, certain to assist anyone who seeks to better understand the music of the great Renaissance composers. This book is a vital resource for any conductor, performer, or aficionado of Renaissance music. Dennis Shrock is author of six books published by GIA: Performing Renaissance Music (2018), Performance Practices in the Baroque Era (2013), Performance Practices in the Classical Era (2011), Handel’s Messiah: A Performance Practice Handbook (2013), Music for Beginning Conductors (2011), and A Conductor’s Guide to Choral/Orchestral Repertoire, co-authored with James Moyer (2017). In addition, Dr. Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009), Choral Scores (2015), and Choral Monuments (2017). Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at conferences of the American Choral Directors Association. He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,” Westminster Choir College granted him an “Alumni Merit Award,” the state of Oklahoma conferred on him a citation for “Contributions of Excellence,” and the University of Oklahoma granted him two “Distinguished Lectureships” and named him a “Presidential Professor.” Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. The cover artwork is a depiction of monks singing the office from a Gradual illuminated in the 1440s and used by the Olivetan Benedictines.

SKU: BT.DHP-0970945-010

9x12 inches.

This three-part suite is rich in dances and full of contrasting styles and dynamics. The title of the work is a pun on the term ‘concerto grosso’, a piece in parts for a group of solo instruments and orchestra. In Contrasto Grosso small groups in the band perform as soloists, interpreting contrasting renaissance style fragments.

Deze dansrijke suite bestaat uit drie delen die worden gekenmerkt door contrasten in stijl, dynamiek en instrumentatie. De titel van de compositie is een woordspeling op het concerto grosso, een meerdelig werk voor een groep solo-instrumentenen orkest. Ook in Contrasto Grosso treden kleinere groepen in het orkest solistisch op met contrasterende, renaissancistische tussenfragmenten.

Contrasto Grosso est une suite dansante en trois mouvements de caractères et de styles variés. Le titre de l’œuvre dérive du terme concerto grosso, une forme musicale dont la structure se caractérise par une instrumentation alternant les passages orchestraux en tutti et les passages instrumentaux joués par des groupes solistes. Le changement de couleurs sonores et la diversité des nuances obtenus par cette alternance donnent l’œuvre une expressivité très contrastée. Dans chacun des trois mouvements de cette œuvre, Jacob de Haan confie de petits groupes solistes l’interprétation de fragments écrits dans le style de la musique de laRenaissance et qui offrent ainsi un contraste saisissant avec les passages en tutti basés sur une écriture classique ou traditionnelle.

SKU: BT.DHP-0981313-060

This three-part suite is rich in dances and full of contrasting styles and dynamics. The title of the work is a pun on the term ‘concerto grosso’, a piece in parts for a group of solo instruments and orchestra. In Contrasto Grosso small groups in the band perform as soloists, interpreting contrasting renaissance style fragments.

Deze dansrijke suite bestaat uit drie delen die worden gekenmerkt door contrasten in stijl, dynamiek en instrumentatie. De titel van de compositie is een woordspeling op het concerto grosso, een meerdelig werk voor een groep solo-instrumentenen orkest. Ook in Contrasto Grosso treden kleinere groepen in het orkest solistisch op met contrasterende, renaissancistische tussenfragmenten.

Diese dreiteilige Suite ist ein Wortspiel auf das Concerto Grosso“, ein mehrteiliges Werk für eine Gruppe von Soloinstrumenten und Orchester. Die fünf Solostimmen ins diesem Werk können beliebig besetzt werden. In allen drei Teilen interpretieren die Solisten häufig kontrastierende renaissanceartige Fragmente, während das Orchester die folkloristischen Elemente zum Ausdruck bringt.

Contrasto Grosso est une suite dansante en trois mouvements de caractères et de styles variés. Le titre de l’œuvre dérive du terme concerto grosso, une forme musicale dont la structure se caractérise par une instrumentation alternant les passages orchestraux en tutti et les passages instrumentaux joués par des groupes solistes. On obtient alors une grande diversité de couleurs et de nuances donnant l’œuvre une expressivité très contrastée.

SKU: MH.1-59913-054-8

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.