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Friday Night Classes
Miyo Aoki: An "Ensalada" by Mateo Flecha  (Advanced)
For those who want to work in-depth on one heftier piece, we will explore one of the delightful "salads" of Mateo Flecha through his work "La Bomba".  This piece is essentially a quodlibet that has it all - sacred, secular, vocal and instrumental all rolled into one narrative work.  This is a great way to explore multiple styles and genres within one piece of music, with some fun rhythmic and time change challenges! SATB, participants should be able to beat half notes and play some fast figures (or know how to leave out what they cannot play).

Mark Davenport: "The Art of the Netherlands: Dufay, Ockeghem and Josquin." (upper intermediate to  advanced): Ensemble players in this class will have the opportunity to explore the glorious music by the central figures of the Franco-Flemish School: Guillaume Dufay (ca. 1397-1474);  Johannes Ockeghem (ca. 1410-97); and Josquin des Prez (ca. 1450-1521). Participants will be  introduced to editions that closely resemble the original manuscripts (individual partbooks in  original note values with no bar lines).
2023 B Classes
Charles Fischer:   Playing appoggiaturas and cadential trills in baroque music (alto recorders)
David Lee Echelard: "The European Renaissance Chanson!
We will explore the secular, lyric driven Renaissance 3 and 4 part polyphonic French, Italian, Spanish songs that are based on popular tunes and pre-existing melodies.
We will explore the Parisian chanson, motet chanson, High Renaissance chanson, Spanish Villancicos, Villanelle and the  Italian villotta.
We will explore a variety of Chanson compositions by  Janequin, Certon, Sermisy, Josquin, Lassus, Azzaiolo, Verdelot, Willaert, Marenzio, Issac, Encina and our old friend Susato.
Come enjoy the  accessible polyphony, memorable tunes, and a variety of comical, light or melancholic texts set to  some really fun and interesting music.
All voices are welcome.  All instrumentation is welcome.
Come play any instrument, sing, or feel free to go back and forth from singing to playing your instruments.
Music is provided.
https://youtube.com/playlist?list=PLcUNXyYi2Gl8_u9bsuMz3xOTzyK3YVy38&si=lx_LoqvExAwzz6zE
Shelley Gruskin: "The Art of the Fugue: It isn't all about Bach" (Lower Intermediate)  A survey of this form leading up to its great master, an analysis and execution of the machinery of these jewels of invention.
Lisette Kielson: "Practicing vs Playing: why and how to do both!"  Intermediate SAT recorder
Do you practice minutes or even hours a day, but choke at a lesson? ("I played it much better at home!") Do you start to play a favorite piece but stop and grumble at mistakes unable to continue joyfully to the end? In this class we will practice and play! We will explore the differences (and similarities) between the two and discuss the purpose and process of both endeavors. Technique topics will include tone, rhythm, articulation, finger dexterity, and more. Come with questions and/or examples of specific musical challenges you encounter in your individual process.
Class Music:
15 Sacred two-part Compositions (SA), Ut Orpheus Edizioni (HS 06)
English Duets of the 17th and 18th Centuries (SA), Schott (ED 10358)
Marg Hall's More RazzJazz for Two (SA), Peacock Press (P 315)
Laura Kuhlman: "Band of Brothers" (Advanced)
Envision a picturesque city in Northern Italy. The powerful Gonzaga family has made their city into the premiere cultural and musical hubs of all of Italy. It is the city where Claudio Monteverdi, Giovanni Gastoldi, Glaches Wert, Lodovico Vianda and a virtusoso Jewish violinist and composer, Salamone Rossi came together to create some of the most iconic music of the Italian Renaissance and early Baroque.
Intriguing, yes?! Come play some of the hits from these five composers as we explore the life and times in which they were created. Learn about the development of the Italian opera (Monteverdi), the "best seller" balleti of 1591 (Gastoldi), the rich sacred motets of Wert, the development of the figured bass (Vianda), the beautifully crafted Song of Solomon (Rossi).
A little something for everyone willing to take a chance on something new. Sometimes challenging but not impossible. All sizes of recorders, strings and voices are welcome to partake!
Dale Taylor:"Old Spain in a New World."  The musical scene in Spain's New World empire was incredibly rich, bringing the finest in European music of the day to the Americas. Shawm bands played in Santa Fe. The New World's first operas were written in Peru and Mexico. Jannequin and Ureede were performed in missions and cathedrals. And native composers wrote new music which has survived. This class will survey some of the literature, taking the time to work up a few details as we go. Intermediate. Not all music will have parts for soprano, altos may have to read up, and basses are needed.
Liza Malamut: "Renaissance Loud Band"
This class is for Renaissance reeds, brass, and cornetto. We will explore Renaissance polyphony by composers such as Rore, Lassus, Victoria, Vivanco, and more. Players should be able to read bass clef and treble clef, including octave treble clef. We will read from modern notation on A440 instruments. Shawms should be prepared to read at pitch (meaning if your instrument sounds up one step, please be prepared to make this adjustment as parts will not be transposed down a step). Players should have intermediate facility on their instrument.
Mona Mann:  "Advanced Beginner Consort"
The Advanced Beginner group will provide a supportive environment for participants to focus on basics such as rhythms, time signatures, key signatures, and fingerings for C and F recorders.  We will explore pleasing duets and trios of dances, working to improve our music reading and recorder playing skills at a manageable pace.  We will also discuss techniques and strategies for practicing effectively.
John Mark Rozendaal:  "30/60"
Start the day right with thirty minutes of warm-ups and technique, and an hour of consort repertoire. We will start with works of William Byrd: fantasies for three parts, and In nomines for four and five voices.  Tune to A440.
Todd Wetherwax: "16th and 17th century music Sight-Reading"  Basic consort practices (the usual musical things - rhythm, articulation, starts/stops)
Pam Wiese: "Technique"  (Beginner Recorder)  We will work through sections of the Recorder Guide in small groups.