only if we're doing it wrong....or very very right lol

Tsire

To: CalontirDance@yahoogroups.com
From: mlagemann@...
Date: Tue, 7 Apr 2009 20:31:34 -0500
Subject: RE: [CalontirDance] Tesara





















             I am up for it!



Wait... does this combine dance with bondage?



Ermenrich



________________________________

From: CalontirDance@yahoogroups.com [CalontirDance@yahoogroups.com] On Behalf Of
Tsire Tuzevo [tsire@...]

Sent: Tuesday, April 07, 2009 12:43 PM

To: calontirdance@yahoogroups.com

Subject: [CalontirDance] Tesara



Hey there everyone,



As you may have heard at the Bellewode event, I've got a new dance mission. I'd
like to put together a group to rehearse and perform Tesara. It's a cute, easy,
15th c. Italian dance for 10 with ribbons. It's a set of 4 couples plus two
'shuttles' who move these people around. It all ends in a massive hey figure.
FUN FUN FUN!



Who wants to do it?



Tsire



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Sure

________________________________

From: CalontirDance@yahoogroups.com on behalf of Tsire Tuzevo
Sent: Tue 4/7/2009 12:43 PM
To: calontirdance@yahoogroups.com
Subject: [CalontirDance] Tesara




Hey there everyone,

As you may have heard at the Bellewode event, I've got a new dance mission. I'd
like to put together a group to rehearse and perform Tesara. It's a cute, easy,
15th c. Italian dance for 10 with ribbons. It's a set of 4 couples plus two
'shuttles' who move these people around. It all ends in a massive hey figure.
FUN FUN FUN!

Who wants to do it?

Tsire

__________________________________________________________
Rediscover Hotmail®: Get e-mail storage that grows with you.
http://windowslive.com/RediscoverHotmail?ocid=TXT_TAGLM_WL_HM_Rediscover_Storage\
1_042009
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e1_042009>

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I do, provided I'm at the event this is at.  :)

-Constantia K.

--- In CalontirDance@yahoogroups.com, Tsire Tuzevo <tsire@...> wrote:
>
>
> Hey there everyone,
>
> As you may have heard at the Bellewode event, I've got a new dance mission.
I'd like to put together a group to rehearse and perform Tesara. It's a cute,
easy, 15th c. Italian dance for 10 with ribbons. It's a set of 4 couples plus
two 'shuttles' who move these people around. It all ends in a massive hey
figure. FUN FUN FUN!
>
> Who wants to do it?
>
> Tsire
>
> _________________________________________________________________
> Rediscover Hotmail®: Get e-mail storage that grows with you.
>
http://windowslive.com/RediscoverHotmail?ocid=TXT_TAGLM_WL_HM_Rediscover_Storage\
1_042009
>
> [Non-text portions of this message have been removed]
>

Greetings Sinead,

I will be wrangling the Lilies Ball on Wednesday evening at the war.  I'd be
delighted to have you sit in with us.  I am currently working on a website that
will list a lot of info about dance & music at the war and hope to have it
deployed within the next few days.  I'll post here though, as soon as I have the
music list finalized, as well as announcing when the website is live.  Feel free
to email me in the meantime if you have any questions.

Thanks for your interest!

Lucia


--- In CalontirDance@yahoogroups.com, "Stephen Allie" <allies@...> wrote:
>
> I attended the Bellewode event this weekend and really enjoyed the music
sessions.  Christian and Kasha hosted the classes that I was able to attend and
I really was able to get a lot of information from them.  I looked at some of
the postings on this site and saw that there is a ball planned for Lillies. 
Would it be possible to get a listing of the dance music songs usually played
(and what key they are in in case there are other versions) and where the sheet
music can be purchased so I can practice before Lillies?  I would like to sit
in, if possible.
>
> Sinead
>

Where would I look for the handouts that Christian was posting, I believe on
this site.  He had some great on-line sources for research!

Sinead

Last weekend, at the Bellwode event, I presented a lecture on
"Orchestration under Fire".  The first half hour described a
hypothetical group of musicians who answer a call to be a local music
group, as a basis for a discussion of various facets of local music
group dynamics.  The second half hour addressed organizing musicians
at events.

I had many more people sitting in on the lecture than I had prepared
handouts, and some people asked me to post the outline here.  With
some emendation and explanation, here's what I talked about:


The hypothetical performers in question are an autoharp player, a
'cellist, her 15-year-old sister who plays viola, three people with
soprano recorders --one of whom is a novice, another of whom really
loves Celtic music--  and a trombone player.  (Honestly, when I first
started a music group in the SCA, the collection of people who
gathered were just about as motley!)

The goal of the discussion is to provide guidance in how to run a
standing musical ensemble in a volunteer organization.

Our first question: Who’s allowed in?

1) My experience has directed me to allowing people to join a group
whether or not they have appropriate or period instruments.  If
someone can play a saxophone or beat out chord-riffs on a guitar,
welcome them and let them know that there are Renaissance analogues
for their instruments.  But first, find something that they can do, to
their satisfaction.

In particular, I think it's silly for me to shake my Yamaha plastic
Baroque recorder at somebody else and say that their instrument isn't
period.

A more serious issue might be instruments that are beyond your skill
at orchestration.  For example, in our hypothetical ensemble, the
autoharp player is going to need somebody to write out chords; the
violist is probably going to need music written in that bizarre "alto
clef" notation, and the trombone is likely to be louder than all the
rest of the ensemble combined.  Consider this your opportunity to
learn about chord theory, alto clef, and mutes for brass instruments.
Don't let this overwhelm you.  One good resource is "The Essential
Dictionary of Orchestration", ISBN 0-7390-0053-5, published by Alfred
Publishing Co.  It's designed to help composers write for different
instruments, but it's great for arrangers, too, and that's essentially
what you've become.  Another good resource is the other members of
your ensemble.  We'll discuss this later under the subject of
leadership, but for now, just bear in mind that the group needs to
figure out how to work all these instruments into a coherent ensemble;
you don't have to do it alone.

2) I've also been happy to include people who have, initially, limited
musical skills.  We've all be beginners, and there's a lot of music,
authentic to our period, interesting to play, attainable by people
with modest skills, and commercially available.  I like the advice,
"If you think you can judge someone else's level of ability, then you
bear responsibility for finding them something within that level that
they can do to be successful."

A good source for playable, simple music is a music education company,
Sweet Pipes.  I recommend their titles "Songs and Dances of Olde
England", "Renaissance Time", and "Piper's Fancy".  I'll also point to
the SCA dance arrangements by  Lady Phaedria d'Aurillac (Kristina
Pereyra) http://sca.uwaterloo.ca/~praetzel/phaedria.html and Mistress
Arianna of Wynnthrope (Karen Kasper) http://sca.uwaterloo.ca/Arianna/.
  Most of their arrangements have a very simple 2nd-soprano line,
intended to be practical for beginners.

Limited musical skills can also be addressed by giving people a chance
to practice music before rehearsals.  This is a judgement call; some
people think that an ability to sight-read music is an essential skill
for an SCA musician, and require it of anyone who joins their group.
That's not my position: if a new musician needs to take music home and
"woodshed" it for a week before he's comfortable playing the pieces in
a group, then I think it's my job to allow for that.

One other note: I've found it useful to implement the following
custom, which some people have taken to calling "Christian's Rule": if
you're trying your best, you aren't allowed to apologize.  Everybody
flubs notes and rhythms; sometimes this stuff is hard.  Do your best,
and don't apologize for it. (On the other hand, if you haven't
practiced, and you're not as familiar with the pieces as you should
be, then perhaps an apology would be in order.  But only one.)

3) On the other hand, I *have* refused to seat people in a local music
group, based on their levels of maturity (or professionalism, if you
like) .  The group I founded in the Twin cities, named the "Warwick
Consort," was built on an expectation that everybody would actually
practice and improve from one rehearsal to the next.  If someone asked
to join, but was interested in just treating the rehearsals as a
recreational activity, we recommended other performance opportunities
that were closer to that expectation.  (For example, we made sure to
come to weekly Baronial meetings and toodle in a corner, welcoming any
who would join us.)

I think this extends to other personality issues.  The Warwick Consort
gelled as a group of friends who trust one another, and there have
been people who insisted on joining but whom we felt would bring
unwanted drama or a lower level of trust to the group.  So we
declined. (But we had a certain freedom in doing this.  See the
discussion on "Naming the Group" below.)

Second question: What are the ensemble’s goals?

1)  It helps to start an ensemble with an expected performance with a
due date.  "We're going to enter Kingdom A&S".  "We're going to play
background music at feast for the upcoming Coeur d'Ennui event."
"We're going to sing two madrigals before court at Coronation."  It
helps focus people's attention. At least for me, I don't want to have
a rehearsal that's mostly people just chatting or filling each other
in on current events.  A looming deadline is an excellent means to
focus the mind.

What kind of performance venues are available in the SCA?  Honestly, I
would avoid spotlight performances at feasts.  People are there to eat
and talk with their friends, and asking everybody to shut up and
listen to a performance is an imposition on a captive audience.
(There are ways of minimizing the imposition, and if you're smokin'
hot, people will consider it worthwhile, but it's a risky sell for an
up-and-coming ensemble, and if people near you *don't* shut up, the
rest of the hall won't be able to hear you anyways.)

Instead, there's ambient background entertainment: during the day,
before court, during feast.  There's playing a processional or
recessional for court.  (Check with Their Majesties' chancellor and a
court herald first, of course.)  There's the music pit for dance
balls.  The Warwick Consort decided to work with some event stewards
and have small "house concerts" in quiet areas of events.

What do you do with members who can’t make the performance?  Well, you
want to keep them coming to rehearsals; if you tell them, "See you in
six weeks," you probably won't.  So, put them to work providing
solidity for weak parts, or listening to a run-through to check for
things like balance and coordinated articulations.

Eventually, you'll end up with a series of cascading short-term goals.
  You'll have a ball coming up in a month, and something fancy at a
court two weeks later, and a competition a month after that.  That's
terrific; if an ensemble member can't make one performance, they're
still involved because they might be able to make another.

Remember the hypothetical recorder player with a passion for Celtic
music?  How do you accommodate that interest into your group's
short-term goals?

2) You should have at least one long-term goal: developing a healthy
group.  By this, I mean an ensemble with a good group dynamic:
everybody feels welcome, they have an interior motivation for
practicing and performing at their best, they all trust one another.

Part of this might be an extended effort at recruiting.  Some
ensembles, for example the DragonLion Consort in Ansteorra, or the
Lion & Lily team in Atlantia, are really not looking for new members.
Other ensembles are.  It's not a cut-and-dried issue. Any new members,
even those ho get along great with the current roster, will change a
group’s social dynamics, and might require a change in orchestration
or repertoire.  This might be a good thing, but it shouldn't be a
*surprising* thing.

(Being open to recruiting new members is sometimes a good barometer of
the pressures the group has on the local SCA environs.  If there are
musicians in the local chapter who don't want to have anything to do
with your group, there's something going on that you might want to
address.  This might be a canary in a mine shaft.

One problem with recruiting new members into an established group is
that, with any luck, you've all gotten better as the ensemble has
practiced and rehearsed.  If everybody's ready to tackle Byrd's
Fantasia a 6 #2, or a crazy Spanish ensalada, what do you do when
somebody wants to join ho is just learning her instrument? The Mighty
Jararvellir Music Guild is the ensemble out of the barony in Madison,
Wisconsin, and their solution was to require everybody to play out of
their comfort zones during the first hour of the rehearsals.  So,
veteran players would be learning alto fingering, or bass clef, or new
instruments, or such, during the first hour.  New members felt right
at home.  And then they brought out the heavy-lifting pieces during
the second hour.

Eventually, your ensemble will develop a group identity.  You'll want
to come up with a name.  If your ensemble takes it's identity from the
local SCA chapter, say, "The Ivory Keep Singers" or something, what
does that suggest about “Who’s allowed in?”

One more thing: try not to apologize when naming your group.  If you
feel you want to name yourself something that boils down to "Don't
expect too much of us; we kind of suck", then I'd recommend you go hit
the rehearsals some more and come back when you're ready to ask people
to pay attention to you, without apologies.

Third question: What does an effective leader do?

I'm a big fan of Max DuPree, the author of "Leadership is an Art."
His thesis in that book is: “The first responsibility of a leader is
to define reality. The last is to say thank you. In between the two,
the leader must become a servant and a debtor. That sums up the
progress of an artful leader.”

Essentially, the job of leading an ensemble is team-building. (a)
Identify your members' strengths.  Who's the best at keeping a
consistent tempo?  At counting long rests?  At coming in with a clear
voice and rock-solid pitch?  At knowing music theory?  At knowing
music history?  At keeping the atmosphere light when it needs to be?
At congratulating other musicians at their personal triumphs and
achievements?

Then (b) revise your goals based on those strengths, as well as the
members' individual goals.  (Remember that Celtic-music enthusiast?)
Every member of the ensemble  should feel like he or she is
contributing his or her A Game, both musically and socially.  And
everybody should feel like he or she is getting something important
out of the group.

There are other, important aspects to team-building.  How will you
decide to celebrate your group's achievements?  Why does the Grimfells
music group have potlucks?

I've had success with teen-agers who've wanted to sing in the choirs
or play in the ensembles I've run, but there have been unexpected
aspects.  Acting mature is usually not an issue, but expect crises.
Reliability is an issue because a teen's life is outside his or her
control; even if she swears that she will certainly be at next week's
rehearsal and the performance on Saturday, she might get grounded, or
her family might decide to keep her home for a grandparent's birthday
or something.  In general, it's useful to get the parents / guardian
"on the team" for the ensemble as well as the teenager.  One other
note: general life experience will be an occasional issue that needs
addressing.  There are "common sense" matters that a 16-year-old, no
matter how mature he is, has yet to deal with, and about which he'll
be ignorant.

What musical considerations will an ensemble have to address?

1) Voicing.  Much of the ensemble music repertoire from the
Renaissance is not specified as being for one type of instrument or
another.  Praetorius didn't write string quartets or recorder
quartets; he wrote quartets, and let the musicians determine what that
meant.  If you have a vocal piece, you could decide to sing all the
parts, play all the parts on instruments, double some lines with voice
and instrument, or mix-and-match however you please.  Will you add
percussion? Will you change the arrangement as the piece progresses,
so that it changes texture?

2) Range.  Clearly, if all you have are soprano recorders, you don't
want to be picking pieces that require a fuller range between parts.
This can be tricky with some sheet music, where the arranger thought
it simple to write the soprano and tenor lines as if they were in the
same range, instead of an octave apart.  Squishing lines like that is
a simple way to foul up good music.

Here's a tricky question: the viola plays in the same range as which
recorder?  Answer: the bass.  (I refer you again to the Alfred book on
orchestration, which details every instruments concert-pitch range.)
One observation: if you have recorders and bowed strings playing
together, recorders get softer at the bottom of their ranges, but
strings don't.  So where your piece moves into its higher registers,
the recorders will be more present, and where the music is near the
bottom of its range, your sound will be more "stringy".  Make sure you
use this as a "feature" of your sound, rather than suffer it as a
"bug".

Is there a problem using a 'cello in an ensemble with recorders?  Not
usually.  The 'cello doubles the bass line an octave lower.  This
extends the range, which should likely sound fine.  But be careful of
putting violins on the melody/soprano line, where they'll sound below
the alto recorders, that's part of the "squishing" (or part-crossing)
that you'll want to avoid.

3) What to do with that autoharp, or any other chording instrument.
Medieval music (for my purposes, pre-1470's compositions) doesn't use
chords the way modern music understands them, and it's likely that
chording instruments won't work right.  16th Century composers don't
talk about chords in the same way we do, but Renaissance music
certainly seems to have a clear chordal harmonization.  Chording
instruments are great for filling in staid middle parts, and provide a
nice pitch stability for choirs.

4) In addition, there's all the normal aspects of musicality: making
sure everybody comes in together, articulates a passage the same way,
keeps the same tempo, stays in tune, and so on.

5) Finally, you get to address the question: “Is [the piece / the
instrument / the technique / etc] period?”  For my money, if I'm going
to expend the energy to master a piece, I think it ought to be
appropriate to the SCA, which usually means composed in the Middle
Ages or Renaissance.  Your mileage may vary.  As I said up above, I'm
pretty flexible when it comes to the authenticity of instruments:
authenticity is a journey, not a destination, and I try not to tell
other people where they should be on their journey.  As for
techniques, I try to research and encourage period techniques.  Why
exert the effort to sound good, if through that effort you sound like
a modern jazz ensemble or folk-music group?

That was the first half of the course.  The second half dealt with
Very Short Term music groups, assembled at events.

For example, people getting together to play music and deciding, after
a half-hour, that it would be fun to continue noodling in public or
maybe to work up a couple of pieces for some simple performance later
in the day. Mistress Gwyneth’s “Wavering Consort” is a good example of
this; she carries music to events in case people want to gather and
sing.

In brief, almost all the issues that the first half of the class
addressed, are also dealt with for such an ad hoc group, in miniature.
  You still need to decide on repertoire, you still need to make all
the musical decisions, and somebody has to "define reality" and lead
the ensemble.  (And at the end, that person should still remember to
say "Thank you.")

Here are my sources and resources:

1) The Choral Public Domain Library
http://www.cpdl.org/wiki/index.php/Main_Page has thousands of
arrangements of period pieces, usually a couple of slightly different
versions of popular pieces.

2) The IMSLP / Petrucci Music Library for instrumental works
http://imslp.org/wiki/Main_Page does the same thing for instrumental
works, albeit with a smaller collection.

3) Sheet Music Plus http://www.sheetmusicplus.com/  is a commercial
site with previews of the pieces.  It's a large collection that allows
you to buy PDFs and download them immediately.

4) For mail-order, I can recommend Honeysuckle Music.
http://www.honeysucklemusic.com/  Jean Allison-Olson runs the company
out of her house.   She has an enormous collection of great music,
concentrating on the Renaissance, and she's wonderful to deal with.

5) One of the publishers Honeysuckle carries is London Pro Musica
http://www.londonpromusica.com/  hich is mostly just one guy: Bernard
Thomas.  But Dr. Thomas is prolific in his arrangements of period
pieces, judicious in his choices as to which pieces to arrange (very
little of his work is spent polishing turds), helpful in his editorial
comments, and downright gifted in making his arrangements sparkle with
the intent and sensibility of the original composers.  (His duFay
arrangements sound like duFay, rather than like Bernard Thomas.)

5) If you're going to be working with recorders, you really need The
Recorder Book by Kenneth Wollitz  (see
http://www.amazon.com/Recorder-Book-Kenneth-Wollitz/dp/0394749995)
It's bounced around among a couple of publishers, and I undestand he's
at work revising the book.  But it has *everything* you'd want to
know: how to play the recorder (he assumes his reader is an adult,
playing an alto recorder), how to practice, how to arrange a concert,
how to ornament a piece in different traditions, how to play outside,
et cetera.

6) Medieval and Renaissance Music, a Performer’s Guide by Timothy
McGee  (See http://www.librarything.com/work/211430)  Unlike the rest
of the theory books here, this is written by one person.  It's a great
book, moving in and out of print from the University of Toronto,
providing historical backgrounds and contexts for period musical
developments.  How would a Renaissance musician have placed a
Krummhorn into an ensemble: McGee explains how and why.

A Performer's Guide to Renaissance Music, edited by Jeffery
Kite-Powell  (see
http://www.amazon.com/Performers-Guide-Renaissance-Publications-Institute/dp/025\
3348668)
  I didn't realize this book was in print again.  It's a collection of
chapters by professional performers about orchestration of their
particular instruments.  So a harpist will talk about how to use a
harp in Renaissance music, a percussionist will talk about period
drumming practices, and so on.

A Performer's Guide to Medieval Music edited by Ross Duffin.  (See
http://www.amazon.com/Performers-Guide-Medieval-Music-Scholarship-Performance/dp\
/0253215331/ref=pd_bxgy_b_img_b)
  This is yet another collection of essays, written by scholars and
performers, for performers.  It specializes in Medieval, as opposed to
Renaissance performing practices.

A Companion to Medieval and Renaissance Music, edited by Tess
Knighton.  (See
http://www.amazon.com/Companion-Medieval-Renaissance-Music-Knighton/dp/052021081\
6/ref=pd_sim_b_3)
  This is a great book, again a collection of different scholarly
essays.  The writing style is down-to-earth and engaging.  You can
read each of these essays in a half-hour and just feel *smarter* and
better informed about what we're trying to do.

Christian d’Hiver
Companion of the Calon Lily, Companion of the Saltire

Yes Indeedy!!! We are having a Pilgrimage on Tuesday and there will be a class
taught on Monday to refresh ourselves with the traditional Cantiga Number 3 and 
Lady Brighid favorite...Cantiga 100!!!

If anyone wants copies of the music before hand please email me.. I have pdfs! 
I will have copies at Lilies!

Can't wait to see you all!
Love Neathery
nfuller@...

It is Cantiga 322 not Cantiga 3!  Sorry about that!
Love N


--- In CalontirDance@yahoogroups.com, "Her Ladyship Neathery of Safita"
<nfuller@...> wrote:
>
> Yes Indeedy!!! We are having a Pilgrimage on Tuesday and there will be a class
taught on Monday to refresh ourselves with the traditional Cantiga Number 3 and 
Lady Brighid favorite...Cantiga 100!!!
>
> If anyone wants copies of the music before hand please email me.. I have pdfs!
I will have copies at Lilies!
>
> Can't wait to see you all!
> Love Neathery
> nfuller@...
>

Thanks, Christian! And happy belated birthday!
Conna


On Sun, Apr 12, 2009 at 11:48 PM, Christopher Mortika
<c.mortika@...>wrote:

> Last weekend, at the Bellwode event, I presented a lecture on
> "Orchestration under Fire".  The first half hour described a
> hypothetical group of musicians who answer a call to be a local music
> group, as a basis for a discussion of various facets of local music
> group dynamics.  The second half hour addressed organizing musicians
> at events.
>
> I had many more people sitting in on the lecture than I had prepared
> handouts, and some people asked me to post the outline here.  With
> some emendation and explanation, here's what I talked about:
>
>
> The hypothetical performers in question are an autoharp player, a
> 'cellist, her 15-year-old sister who plays viola, three people with
> soprano recorders --one of whom is a novice, another of whom really
> loves Celtic music--  and a trombone player.  (Honestly, when I first
> started a music group in the SCA, the collection of people who
> gathered were just about as motley!)
>
> The goal of the discussion is to provide guidance in how to run a
> standing musical ensemble in a volunteer organization.
>
> Our first question: Who’s allowed in?
>
> 1) My experience has directed me to allowing people to join a group
> whether or not they have appropriate or period instruments.  If
> someone can play a saxophone or beat out chord-riffs on a guitar,
> welcome them and let them know that there are Renaissance analogues
> for their instruments.  But first, find something that they can do, to
> their satisfaction.
>
> In particular, I think it's silly for me to shake my Yamaha plastic
> Baroque recorder at somebody else and say that their instrument isn't
> period.
>
> A more serious issue might be instruments that are beyond your skill
> at orchestration.  For example, in our hypothetical ensemble, the
> autoharp player is going to need somebody to write out chords; the
> violist is probably going to need music written in that bizarre "alto
> clef" notation, and the trombone is likely to be louder than all the
> rest of the ensemble combined.  Consider this your opportunity to
> learn about chord theory, alto clef, and mutes for brass instruments.
> Don't let this overwhelm you.  One good resource is "The Essential
> Dictionary of Orchestration", ISBN 0-7390-0053-5, published by Alfred
> Publishing Co.  It's designed to help composers write for different
> instruments, but it's great for arrangers, too, and that's essentially
> what you've become.  Another good resource is the other members of
> your ensemble.  We'll discuss this later under the subject of
> leadership, but for now, just bear in mind that the group needs to
> figure out how to work all these instruments into a coherent ensemble;
> you don't have to do it alone.
>
> 2) I've also been happy to include people who have, initially, limited
> musical skills.  We've all be beginners, and there's a lot of music,
> authentic to our period, interesting to play, attainable by people
> with modest skills, and commercially available.  I like the advice,
> "If you think you can judge someone else's level of ability, then you
> bear responsibility for finding them something within that level that
> they can do to be successful."
>
> A good source for playable, simple music is a music education company,
> Sweet Pipes.  I recommend their titles "Songs and Dances of Olde
> England", "Renaissance Time", and "Piper's Fancy".  I'll also point to
> the SCA dance arrangements by  Lady Phaedria d'Aurillac (Kristina
> Pereyra)
http://sca.uwaterloo.ca/~praetzel/phaedria.html<http://sca.uwaterloo.ca/%7Epraet\
zel/phaedria.html>and Mistress
> Arianna of Wynnthrope (Karen Kasper) http://sca.uwaterloo.ca/Arianna/.
>  Most of their arrangements have a very simple 2nd-soprano line,
> intended to be practical for beginners.
>
> Limited musical skills can also be addressed by giving people a chance
> to practice music before rehearsals.  This is a judgement call; some
> people think that an ability to sight-read music is an essential skill
> for an SCA musician, and require it of anyone who joins their group.
> That's not my position: if a new musician needs to take music home and
> "woodshed" it for a week before he's comfortable playing the pieces in
> a group, then I think it's my job to allow for that.
>
> One other note: I've found it useful to implement the following
> custom, which some people have taken to calling "Christian's Rule": if
> you're trying your best, you aren't allowed to apologize.  Everybody
> flubs notes and rhythms; sometimes this stuff is hard.  Do your best,
> and don't apologize for it. (On the other hand, if you haven't
> practiced, and you're not as familiar with the pieces as you should
> be, then perhaps an apology would be in order.  But only one.)
>
> 3) On the other hand, I *have* refused to seat people in a local music
> group, based on their levels of maturity (or professionalism, if you
> like) .  The group I founded in the Twin cities, named the "Warwick
> Consort," was built on an expectation that everybody would actually
> practice and improve from one rehearsal to the next.  If someone asked
> to join, but was interested in just treating the rehearsals as a
> recreational activity, we recommended other performance opportunities
> that were closer to that expectation.  (For example, we made sure to
> come to weekly Baronial meetings and toodle in a corner, welcoming any
> who would join us.)
>
> I think this extends to other personality issues.  The Warwick Consort
> gelled as a group of friends who trust one another, and there have
> been people who insisted on joining but whom we felt would bring
> unwanted drama or a lower level of trust to the group.  So we
> declined. (But we had a certain freedom in doing this.  See the
> discussion on "Naming the Group" below.)
>
> Second question: What are the ensemble’s goals?
>
> 1)  It helps to start an ensemble with an expected performance with a
> due date.  "We're going to enter Kingdom A&S".  "We're going to play
> background music at feast for the upcoming Coeur d'Ennui event."
> "We're going to sing two madrigals before court at Coronation."  It
> helps focus people's attention. At least for me, I don't want to have
> a rehearsal that's mostly people just chatting or filling each other
> in on current events.  A looming deadline is an excellent means to
> focus the mind.
>
> What kind of performance venues are available in the SCA?  Honestly, I
> would avoid spotlight performances at feasts.  People are there to eat
> and talk with their friends, and asking everybody to shut up and
> listen to a performance is an imposition on a captive audience.
> (There are ways of minimizing the imposition, and if you're smokin'
> hot, people will consider it worthwhile, but it's a risky sell for an
> up-and-coming ensemble, and if people near you *don't* shut up, the
> rest of the hall won't be able to hear you anyways.)
>
> Instead, there's ambient background entertainment: during the day,
> before court, during feast.  There's playing a processional or
> recessional for court.  (Check with Their Majesties' chancellor and a
> court herald first, of course.)  There's the music pit for dance
> balls.  The Warwick Consort decided to work with some event stewards
> and have small "house concerts" in quiet areas of events.
>
> What do you do with members who can’t make the performance?  Well, you
> want to keep them coming to rehearsals; if you tell them, "See you in
> six weeks," you probably won't.  So, put them to work providing
> solidity for weak parts, or listening to a run-through to check for
> things like balance and coordinated articulations.
>
> Eventually, you'll end up with a series of cascading short-term goals.
>  You'll have a ball coming up in a month, and something fancy at a
> court two weeks later, and a competition a month after that.  That's
> terrific; if an ensemble member can't make one performance, they're
> still involved because they might be able to make another.
>
> Remember the hypothetical recorder player with a passion for Celtic
> music?  How do you accommodate that interest into your group's
> short-term goals?
>
> 2) You should have at least one long-term goal: developing a healthy
> group.  By this, I mean an ensemble with a good group dynamic:
> everybody feels welcome, they have an interior motivation for
> practicing and performing at their best, they all trust one another.
>
> Part of this might be an extended effort at recruiting.  Some
> ensembles, for example the DragonLion Consort in Ansteorra, or the
> Lion & Lily team in Atlantia, are really not looking for new members.
> Other ensembles are.  It's not a cut-and-dried issue. Any new members,
> even those ho get along great with the current roster, will change a
> group’s social dynamics, and might require a change in orchestration
> or repertoire.  This might be a good thing, but it shouldn't be a
> *surprising* thing.
>
> (Being open to recruiting new members is sometimes a good barometer of
> the pressures the group has on the local SCA environs.  If there are
> musicians in the local chapter who don't want to have anything to do
> with your group, there's something going on that you might want to
> address.  This might be a canary in a mine shaft.
>
> One problem with recruiting new members into an established group is
> that, with any luck, you've all gotten better as the ensemble has
> practiced and rehearsed.  If everybody's ready to tackle Byrd's
> Fantasia a 6 #2, or a crazy Spanish ensalada, what do you do when
> somebody wants to join ho is just learning her instrument? The Mighty
> Jararvellir Music Guild is the ensemble out of the barony in Madison,
> Wisconsin, and their solution was to require everybody to play out of
> their comfort zones during the first hour of the rehearsals.  So,
> veteran players would be learning alto fingering, or bass clef, or new
> instruments, or such, during the first hour.  New members felt right
> at home.  And then they brought out the heavy-lifting pieces during
> the second hour.
>
> Eventually, your ensemble will develop a group identity.  You'll want
> to come up with a name.  If your ensemble takes it's identity from the
> local SCA chapter, say, "The Ivory Keep Singers" or something, what
> does that suggest about “Who’s allowed in?”
>
> One more thing: try not to apologize when naming your group.  If you
> feel you want to name yourself something that boils down to "Don't
> expect too much of us; we kind of suck", then I'd recommend you go hit
> the rehearsals some more and come back when you're ready to ask people
> to pay attention to you, without apologies.
>
> Third question: What does an effective leader do?
>
> I'm a big fan of Max DuPree, the author of "Leadership is an Art."
> His thesis in that book is: “The first responsibility of a leader is
> to define reality. The last is to say thank you. In between the two,
> the leader must become a servant and a debtor. That sums up the
> progress of an artful leader.”
>
> Essentially, the job of leading an ensemble is team-building. (a)
> Identify your members' strengths.  Who's the best at keeping a
> consistent tempo?  At counting long rests?  At coming in with a clear
> voice and rock-solid pitch?  At knowing music theory?  At knowing
> music history?  At keeping the atmosphere light when it needs to be?
> At congratulating other musicians at their personal triumphs and
> achievements?
>
> Then (b) revise your goals based on those strengths, as well as the
> members' individual goals.  (Remember that Celtic-music enthusiast?)
> Every member of the ensemble  should feel like he or she is
> contributing his or her A Game, both musically and socially.  And
> everybody should feel like he or she is getting something important
> out of the group.
>
> There are other, important aspects to team-building.  How will you
> decide to celebrate your group's achievements?  Why does the Grimfells
> music group have potlucks?
>
> I've had success with teen-agers who've wanted to sing in the choirs
> or play in the ensembles I've run, but there have been unexpected
> aspects.  Acting mature is usually not an issue, but expect crises.
> Reliability is an issue because a teen's life is outside his or her
> control; even if she swears that she will certainly be at next week's
> rehearsal and the performance on Saturday, she might get grounded, or
> her family might decide to keep her home for a grandparent's birthday
> or something.  In general, it's useful to get the parents / guardian
> "on the team" for the ensemble as well as the teenager.  One other
> note: general life experience will be an occasional issue that needs
> addressing.  There are "common sense" matters that a 16-year-old, no
> matter how mature he is, has yet to deal with, and about which he'll
> be ignorant.
>
> What musical considerations will an ensemble have to address?
>
> 1) Voicing.  Much of the ensemble music repertoire from the
> Renaissance is not specified as being for one type of instrument or
> another.  Praetorius didn't write string quartets or recorder
> quartets; he wrote quartets, and let the musicians determine what that
> meant.  If you have a vocal piece, you could decide to sing all the
> parts, play all the parts on instruments, double some lines with voice
> and instrument, or mix-and-match however you please.  Will you add
> percussion? Will you change the arrangement as the piece progresses,
> so that it changes texture?
>
> 2) Range.  Clearly, if all you have are soprano recorders, you don't
> want to be picking pieces that require a fuller range between parts.
> This can be tricky with some sheet music, where the arranger thought
> it simple to write the soprano and tenor lines as if they were in the
> same range, instead of an octave apart.  Squishing lines like that is
> a simple way to foul up good music.
>
> Here's a tricky question: the viola plays in the same range as which
> recorder?  Answer: the bass.  (I refer you again to the Alfred book on
> orchestration, which details every instruments concert-pitch range.)
> One observation: if you have recorders and bowed strings playing
> together, recorders get softer at the bottom of their ranges, but
> strings don't.  So where your piece moves into its higher registers,
> the recorders will be more present, and where the music is near the
> bottom of its range, your sound will be more "stringy".  Make sure you
> use this as a "feature" of your sound, rather than suffer it as a
> "bug".
>
> Is there a problem using a 'cello in an ensemble with recorders?  Not
> usually.  The 'cello doubles the bass line an octave lower.  This
> extends the range, which should likely sound fine.  But be careful of
> putting violins on the melody/soprano line, where they'll sound below
> the alto recorders, that's part of the "squishing" (or part-crossing)
> that you'll want to avoid.
>
> 3) What to do with that autoharp, or any other chording instrument.
> Medieval music (for my purposes, pre-1470's compositions) doesn't use
> chords the way modern music understands them, and it's likely that
> chording instruments won't work right.  16th Century composers don't
> talk about chords in the same way we do, but Renaissance music
> certainly seems to have a clear chordal harmonization.  Chording
> instruments are great for filling in staid middle parts, and provide a
> nice pitch stability for choirs.
>
> 4) In addition, there's all the normal aspects of musicality: making
> sure everybody comes in together, articulates a passage the same way,
> keeps the same tempo, stays in tune, and so on.
>
> 5) Finally, you get to address the question: “Is [the piece / the
> instrument / the technique / etc] period?”  For my money, if I'm going
> to expend the energy to master a piece, I think it ought to be
> appropriate to the SCA, which usually means composed in the Middle
> Ages or Renaissance.  Your mileage may vary.  As I said up above, I'm
> pretty flexible when it comes to the authenticity of instruments:
> authenticity is a journey, not a destination, and I try not to tell
> other people where they should be on their journey.  As for
> techniques, I try to research and encourage period techniques.  Why
> exert the effort to sound good, if through that effort you sound like
> a modern jazz ensemble or folk-music group?
>
> That was the first half of the course.  The second half dealt with
> Very Short Term music groups, assembled at events.
>
> For example, people getting together to play music and deciding, after
> a half-hour, that it would be fun to continue noodling in public or
> maybe to work up a couple of pieces for some simple performance later
> in the day. Mistress Gwyneth’s “Wavering Consort” is a good example of
> this; she carries music to events in case people want to gather and
> sing.
>
> In brief, almost all the issues that the first half of the class
> addressed, are also dealt with for such an ad hoc group, in miniature.
>  You still need to decide on repertoire, you still need to make all
> the musical decisions, and somebody has to "define reality" and lead
> the ensemble.  (And at the end, that person should still remember to
> say "Thank you.")
>
> Here are my sources and resources:
>
> 1) The Choral Public Domain Library
> http://www.cpdl.org/wiki/index.php/Main_Page has thousands of
> arrangements of period pieces, usually a couple of slightly different
> versions of popular pieces.
>
> 2) The IMSLP / Petrucci Music Library for instrumental works
> http://imslp.org/wiki/Main_Page does the same thing for instrumental
> works, albeit with a smaller collection.
>
> 3) Sheet Music Plus http://www.sheetmusicplus.com/  is a commercial
> site with previews of the pieces.  It's a large collection that allows
> you to buy PDFs and download them immediately.
>
> 4) For mail-order, I can recommend Honeysuckle Music.
> http://www.honeysucklemusic.com/  Jean Allison-Olson runs the company
> out of her house.   She has an enormous collection of great music,
> concentrating on the Renaissance, and she's wonderful to deal with.
>
> 5) One of the publishers Honeysuckle carries is London Pro Musica
> http://www.londonpromusica.com/  hich is mostly just one guy: Bernard
> Thomas.  But Dr. Thomas is prolific in his arrangements of period
> pieces, judicious in his choices as to which pieces to arrange (very
> little of his work is spent polishing turds), helpful in his editorial
> comments, and downright gifted in making his arrangements sparkle with
> the intent and sensibility of the original composers.  (His duFay
> arrangements sound like duFay, rather than like Bernard Thomas.)
>
> 5) If you're going to be working with recorders, you really need The
> Recorder Book by Kenneth Wollitz  (see
> http://www.amazon.com/Recorder-Book-Kenneth-Wollitz/dp/0394749995)
> It's bounced around among a couple of publishers, and I undestand he's
> at work revising the book.  But it has *everything* you'd want to
> know: how to play the recorder (he assumes his reader is an adult,
> playing an alto recorder), how to practice, how to arrange a concert,
> how to ornament a piece in different traditions, how to play outside,
> et cetera.
>
> 6) Medieval and Renaissance Music, a Performer’s Guide by Timothy
> McGee  (See http://www.librarything.com/work/211430)  Unlike the rest
> of the theory books here, this is written by one person.  It's a great
> book, moving in and out of print from the University of Toronto,
> providing historical backgrounds and contexts for period musical
> developments.  How would a Renaissance musician have placed a
> Krummhorn into an ensemble: McGee explains how and why.
>
> A Performer's Guide to Renaissance Music, edited by Jeffery
> Kite-Powell  (see
>
>
http://www.amazon.com/Performers-Guide-Renaissance-Publications-Institute/dp/025\
3348668
> )
>  I didn't realize this book was in print again.  It's a collection of
> chapters by professional performers about orchestration of their
> particular instruments.  So a harpist will talk about how to use a
> harp in Renaissance music, a percussionist will talk about period
> drumming practices, and so on.
>
> A Performer's Guide to Medieval Music edited by Ross Duffin.  (See
>
>
http://www.amazon.com/Performers-Guide-Medieval-Music-Scholarship-Performance/dp\
/0253215331/ref=pd_bxgy_b_img_b
> )
>  This is yet another collection of essays, written by scholars and
> performers, for performers.  It specializes in Medieval, as opposed to
> Renaissance performing practices.
>
> A Companion to Medieval and Renaissance Music, edited by Tess
> Knighton.  (See
>
>
http://www.amazon.com/Companion-Medieval-Renaissance-Music-Knighton/dp/052021081\
6/ref=pd_sim_b_3
> )
>  This is a great book, again a collection of different scholarly
> essays.  The writing style is down-to-earth and engaging.  You can
> read each of these essays in a half-hour and just feel *smarter* and
> better informed about what we're trying to do.
>
> Christian d’Hiver
> Companion of the Calon Lily, Companion of the Saltire
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>


[Non-text portions of this message have been removed]

http://sca.uwaterloo.ca/~praetzel/ellisif/tes-ful6.pdf

here is a PDF of the music for Tesara for the musicians who have asked for it.

for the dancers, here is a really detailed description of the dance

http://sca.uwaterloo.ca/~praetzel/Joy-J-book/Tesara.htm

my attempt to detail it is in the uploads section of this group as well. Have
fun - dance with ribbons!

Tsire

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_042009

[Non-text portions of this message have been removed]

We are working on this Thurs at the B3R meeting right?

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx




-----Original Message-----
From: Tsire Tuzevo <tsire@...>
To: <calontirdance@yahoogroups.com>
Date: Tue, 14 Apr 2009 14:24:53 -0500
Subject: [CalontirDance] Tesara Music



http://sca.uwaterloo.ca/~praetzel/ellisif/tes-ful6.pdf

here is a PDF of the music for Tesara for the musicians who have asked for
it.

for the dancers, here is a really detailed description of the dance

http://sca.uwaterloo.ca/~praetzel/Joy-J-book/Tesara.htm

my attempt to detail it is in the uploads section of this group as well.
Have fun - dance with ribbons!

Tsire

_________________________________________________________________
Rediscover Hotmail®: Now available on your iPhone or BlackBerry
http://windowslive.com/RediscoverHotmail?ocid=TXT_TAGLM_WL_HM_Rediscover_Mobile1\
_042009

[Non-text portions of this message have been removed]



------------------------------------

Yahoo! Groups Links




[Non-text portions of this message have been removed]

I'd like to work on it if we have enough people. I've got the ribbons ready to
use. We'll still be doing floor pattern run-throughs and adding basic steps.
We'll add music in later rehearsals.

To: CalontirDance@yahoogroups.com
From: rowan@...
Date: Tue, 14 Apr 2009 17:23:08 -0400
Subject: Re: [CalontirDance] Tesara


























       We are working on this Thurs at the B3R meeting right?



HL Rowan Houndskeeper

Barony of Three Rivers, Calontir

rowan@...



"Outside of a dog, a book is man's best friend.

Inside of a dog, it's too dark to read." - Groucho Marx



-----Original Message-----

From: Tsire Tuzevo <tsire@...>

To: <calontirdance@yahoogroups.com>

Date: Tue, 14 Apr 2009 14:24:53 -0500

Subject: [CalontirDance] Tesara Music



http://sca.uwaterloo.ca/~praetzel/ellisif/tes-ful6.pdf



here is a PDF of the music for Tesara for the musicians who have asked for

it.



for the dancers, here is a really detailed description of the dance



http://sca.uwaterloo.ca/~praetzel/Joy-J-book/Tesara.htm



my attempt to detail it is in the uploads section of this group as well.

Have fun - dance with ribbons!



Tsire



__________________________________________________________

Rediscover Hotmail®: Now available on your iPhone or BlackBerry

http://windowslive.com/RediscoverHotmail?ocid=TXT_TAGLM_WL_HM_Rediscover_Mobile1\
_042009



[Non-text portions of this message have been removed]



------------------------------------



Yahoo! Groups Links



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1_042009

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Hi all!
I'm still looking for teachers for Lilies.  I've got at least 3 hours where
I have no class to offer!  I'm got alot more classes that I have no definate
teacher for.  Help!  I don't want to have to cover all these myself.
Classes can be moved around on what day they are offered or otherwise
adjusted to meet your schedule needs.  Any classes that someone really wants
to see? I'll try to find an instructor.
Here is what we have so far for dance fun at Liles.

Sat 6/13
10am – Almans for All Good Gentlemen (and Ladies): What every gentleman
was expected to know. Learn a selection of the Alman dances from the Inns of
Courts. (Beginner) Instructor: Ly Hanne
11am –
1pm -  Easy Peasy English Country Dance: The basics of English Country dance
– cover the basic steps and general formula then learn to apply them to a
dance. (Beginner) Instructor: TBD (Constantia?)
2pm – English Country Line Dances:  No “boot-scooting” involved.
Dances in line sets of three or four couples. (Beginner/Intermediate)
Instructor: TBD
Sun 6/14
10am – Dances for Anyone: Simple period dances that anyone can learn –
even Squires!  A selection of European dances from each of the major styles.
(Beginner)  Instructor: TBD
11am – Dances in the Period Style:  Come learn some of the dances that
have been created (rather than re-created) by SCA members. It’s the
Society for “Creative” Anachronism after all. (Beginner/Intermediate)
Instructor Ld Ermenich
1pm – English Country Circle Dances:  Circle up and do your dancing in a
round.  (Beginner/Intermediate) Instructor: Arina
2pm – English Country Square Dances: Square dancing had to come from
somewhere right? J (Beginner/Intermediate) Instructor: Arina
Mon 6/15
10am
11am
1pm - Italians are Simple: Covers the basic steps of Italian dance and some
simple 14th c. Balli dances. (Beginner) Instructor: Ly Azenari
2pm - Italians are Sexy: Italian dance was all about flirting and your
performance (wink) – learn to dance dances from a light flirtation to the
serious affair. (Intermediate) Instructor: Ly Azenari
Monday night ~7pm Shattered Crystal/MidRealm is sponsoring a night of social
dance
Tues 6/16
10am – Progression Dances:  Progress your place in the dance
(Beginner/Intermediate) Instructor TBD
11am – Arbeau’s Bransles:  Basic, mixed, or mimed; as a single dance or
in a suite - the dances are all still so very French!  (Beginner)
Instructor HE Philipe
1pm – New English Country Dances: Not your old familiar EC dances.
Reconstructed dances from Playford. (Beginner/Intermediate) Instructor: HL
Cathus the Curious
2pm – More New English Country Dances: Even more recently reconstructed
dances from the Playford project. (Beginner/Intermediate) Instructor: HL
Cathus the Curious
  Wed 6/17
10am - Ball Review: Come practice the dances for the 23rd Lilies Grand Ball.
  Drop in and make your requests from the Ball list (Various). Instructor:
TBD
1pm - Ball Review: Come practice the dances for the 23rd Lilies Grand Ball.
Drop in and make your requests from the Ball list  (Various). Instructor:
TBD
2pm - Ball Review: Come practice the dances for the 23rd Lilies Grand Ball.
Drop in and make your requests from the Ball list  (Various).   Instructor:
TBD
3pm - Ball Review: Come practice the dances for the 23rd Lilies Grand Ball.
Drop in and make your requests from the Ball list  (Various).   Instructor:
TBD
  Wed night ~7pm  Lilies XXIII Grand Ball
  Thurs 6/18
10am – SOOP and GOOP:  They fall outside of the SCA’s stated “pre-17th
century Europe” but they are danced around the Known World none the less.
Learn the “Some-what Out Of Period” and “Grossly Out Of Period”
dances done in the SCA anyway.  (Beginner/Intermediate)  Instructor: TBD
1pm - Dance Games: Play with your dances!  Come learn the Pinwheel, the
Tangle, and more!  (Beginner) Instructor: TBD
2pm – Flirting in Dance:  Period dance is about a flirting and having fun!
Learn to flirt the period way while you dance.  Instructor: Ly Azenari
  Thurs night after court - Pick up dancing at the crossroads (in front of
Fernando’s tent).
  Fri 6/19
1pm – Competitions and Showcases: Tips for performances. How to write kick
ass dance documentation.  And other hints from a dance master.  (Any)
Instructor: TBD (Conrad or Tsire?)
2pm – Display Dances:  More advanced dances for those that want to stretch
their wings (and legs).  (Advanced)  Instructor: TBD (Conrad or Tsire?)
  Sat 6/20
1-4pm – HL Edwardus and Triamris will sponsor an afternoon of dancer and
musician fun.  Triamris brings a bit of dances new to Calontir, bit of
Caroso style ball, a bit of mingling, and a lot of fun.  Drop by anytime and
stay to play.

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx


[Non-text portions of this message have been removed]

Two things.

1 - Can I repost this to the Merry Musicians list?

And 2 - if by "DragonLion Consort" you mean the Merry Musicians of Mooneschadowe
(home of the Lion Dragon Guard) -- we are always looking for new members -- the
more, the merrier.

Estrill
Mooneschadowe
Ansteorra
(lurks on many dance lists)

--- In CalontirDance@yahoogroups.com, Christopher Mortika <c.mortika@...> wrote:
>
> Last weekend, at the Bellwode event, I presented a lecture on
> "Orchestration under Fire".  The first half hour described a
>
> Part of this might be an extended effort at recruiting.  Some
> ensembles, for example the DragonLion Consort in Ansteorra, or the
> Lion & Lily team in Atlantia, are really not looking for new members.
> Other ensembles are.  It's not a cut-and-dried issue.

Help please!
If you will be at Lilies I need people to teach dance classes.  I have
begining italian and EC classes with no teachers, I have intermediate level
progression, EC, and italian classes with no teachers.  I have at least 6hrs
of classes with no teacher pinned down.  I need teachers!
Please email me.

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx


[Non-text portions of this message have been removed]

Unto the dancers and musicians here assembled, greetings from Christian
d'Hiver, on behalf of His Excellency Master Philippe de Lyon and myself.
  May these letters find you all in good health and happy spirits.

In the evening of Monday, June 15th, the Barony of Shattered Crystal desires
your company for a dance ball.  At 7 of the hour, we shall begin with a
general opportunity for people to revie dance steps and refresh their
memories on particular choreographies.  Perhaps an hour afterwards, the ball
should begin.  Be assured that each dance shall be reviewed such that tyroes
might know the steps (save for those marked thus '*'), and that each dance
will last long enough for novices to pass from "learning the steps" to
"dancing".
After each name in the list is the edition of the sheet music we will use.


Set 1:
Carolingian Pavan  --  http://sca.uwaterloo.ca/Hendricks/Arbeau/bellequ5.pdf
Trenchmore  -- (music to come)
Hyde Park  --  http://sca.uwaterloo.ca/Hendricks/Playford_new/hydepark.pdf
*Amoroso -- (music to come)
Horse's Bransle  -- http://sca.uwaterloo.ca/Hendricks/Shawm/horse.pdf

Set 2:
Petit Riens  --  http://sca.uwaterloo.ca/~praetzel/phaedria/PETIT_V.pdf
Black Nag  --  http://sca.uwaterloo.ca/Hendricks/Playford_new/blacknag.pdf
Official Bransle  --  http://sca.uwaterloo.ca/Hendricks/Arbeau/official.pdf
*Gelosia  --  (I'm looking to get permission to use the Musica
Subterraneaedition)
Chestnut  --  http://sca.uwaterloo.ca/Hendricks/Playford_new/chestnut.pdf

Set 3:

Pinagay  --  [Conna, Katriana, this is the Pinwheel Dance.  The only music I
can find that matches the title is the Bransle de Pinagay at
http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf  Is that the right
music?]
Heralds in Love  --  (the popular Avatar 2-part arrangement)
Black Almain  --  http://sca.uwaterloo.ca/~praetzel/Stockton/black_al.pdf
*Cascarde Gracca Amaroso  --
http://sca.uwaterloo.ca/Hendricks/Transcriptions/gracamor.pdf
Ly Bens Dystonas  --  http://crab.rutgers.edu/~pbutler/music/lybens.pdf

Questions or concerns?  Please see Master Philippe or myself.

--Your servant,
Christian d'Hiver


[Non-text portions of this message have been removed]

Very nice set list

Pinagay is not Pinwheel

As Christian notes there is a Pinagay Bransle.

The pinwheel game is the last section of the italian dance cacicao d'amore (or
something like that) [the hunt of love]. The music isn't very specific though.
At Belewode we used cantiga 119.

Conrad



________________________________

From: CalontirDance@yahoogroups.com on behalf of Christopher Mortika
Sent: Sat 4/25/2009 11:56 AM
To: CalontirDance
Subject: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"




Pinagay -- [Conna, Katriana, this is the Pinwheel Dance. The only music I
can find that matches the title is the Bransle de Pinagay at
http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf
<http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf>  Is that the right
music?]


.





[Non-text portions of this message have been removed]

I thought Piantone was something different than the end of LaCaccia. Which one
has the 'hunt & chase' sequence as the ending section if it is not La Caccia?

To: CalontirDance@yahoogroups.com
From: sauerm@...
Date: Sun, 26 Apr 2009 01:18:59 -0500
Subject: RE: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"




























Very nice set list



Pinagay is not Pinwheel



As Christian notes there is a Pinagay Bransle.



The pinwheel game is the last section of the italian dance cacicao d'amore (or
something like that) [the hunt of love]. The music isn't very specific though.
At Belewode we used cantiga 119.



Conrad





________________________________



From: CalontirDance@yahoogroups.com on behalf of Christopher Mortika

Sent: Sat 4/25/2009 11:56 AM

To: CalontirDance

Subject: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"



Pinagay -- [Conna, Katriana, this is the Pinwheel Dance. The only music I

can find that matches the title is the Bransle de Pinagay at

http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf
<http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf>  Is that the right

music?]



.





[Non-text portions of this message have been removed]






















_________________________________________________________________
Rediscover Hotmail®: Now available on your iPhone or BlackBerry
http://windowslive.com/RediscoverHotmail?ocid=TXT_TAGLM_WL_HM_Rediscover_Mobile2\
_042009

[Non-text portions of this message have been removed]

Hey anyone know how to spell Pinwheel in Italian?
Right now I'm putting it into the booklet as Pinatone but I think I'm off.

The Lilies Ball will be using the cantiga for this dance.

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx




-----Original Message-----
From: "Sauer, Michael F." <sauerm@...>
To: <CalontirDance@yahoogroups.com>
Date: Sun, 26 Apr 2009 01:18:59 -0500
Subject: RE: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"



Very nice set list

Pinagay is not Pinwheel

As Christian notes there is a Pinagay Bransle.

The pinwheel game is the last section of the italian dance cacicao d'amore
(or something like that) [the hunt of love]. The music isn't very specific
though. At Belewode we used cantiga 119.

Conrad



________________________________

From: CalontirDance@yahoogroups.com on behalf of Christopher Mortika
Sent: Sat 4/25/2009 11:56 AM
To: CalontirDance
Subject: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"




Pinagay -- [Conna, Katriana, this is the Pinwheel Dance. The only music I
can find that matches the title is the Bransle de Pinagay at
http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf
<http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf>  Is that the right
music?]


.





[Non-text portions of this message have been removed]



------------------------------------

Yahoo! Groups Links




[Non-text portions of this message have been removed]

I thought it was Piantone, but not real sure. On the google translator
that translates to 'set' (piantare)

But as least it's a word. No translation to pinwheel on that site.



Trying to translate wheel, causes my browser to crash.



Conrad





From: CalontirDance@yahoogroups.com
[mailto:CalontirDance@yahoogroups.com] On Behalf Of Rowan
Sent: Tuesday, April 28, 2009 10:07 AM
To: CalontirDance@yahoogroups.com
Subject: RE: [CalontirDance] Lilies Monday Night "Shattered Crystal
Ball"








Hey anyone know how to spell Pinwheel in Italian?
Right now I'm putting it into the booklet as Pinatone but I think I'm
off.

The Lilies Ball will be using the cantiga for this dance.

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@... <mailto:rowan%40french.toast.net>

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx

-----Original Message-----
From: "Sauer, Michael F." <sauerm@...
<mailto:sauerm%40missouri.edu> >
To: <CalontirDance@yahoogroups.com
<mailto:CalontirDance%40yahoogroups.com> >
Date: Sun, 26 Apr 2009 01:18:59 -0500
Subject: RE: [CalontirDance] Lilies Monday Night "Shattered Crystal
Ball"

Very nice set list

Pinagay is not Pinwheel

As Christian notes there is a Pinagay Bransle.

The pinwheel game is the last section of the italian dance cacicao
d'amore
(or something like that) [the hunt of love]. The music isn't very
specific
though. At Belewode we used cantiga 119.

Conrad


________________________________

From: CalontirDance@yahoogroups.com
<mailto:CalontirDance%40yahoogroups.com>  on behalf of Christopher
Mortika
Sent: Sat 4/25/2009 11:56 AM
To: CalontirDance
Subject: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"

Pinagay -- [Conna, Katriana, this is the Pinwheel Dance. The only music
I
can find that matches the title is the Bransle de Pinagay at
http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf
<http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf> Is that the right
music?]

.


[Non-text portions of this message have been removed]

------------------------------------

Yahoo! Groups Links

[Non-text portions of this message have been removed]





[Non-text portions of this message have been removed]

http://www.google.com/#hl=en&q=caccia+d%27amore&fp=aaV-kzfDWBk



http://www.pbm.com/~lindahl/negri/transcription/0143.clean.html



with 10 minutes of searching I can't see where pinwheel or piantone came
from.







From: CalontirDance@yahoogroups.com
[mailto:CalontirDance@yahoogroups.com] On Behalf Of Rowan
Sent: Tuesday, April 28, 2009 10:07 AM
To: CalontirDance@yahoogroups.com
Subject: RE: [CalontirDance] Lilies Monday Night "Shattered Crystal
Ball"








Hey anyone know how to spell Pinwheel in Italian?
Right now I'm putting it into the booklet as Pinatone but I think I'm
off.

The Lilies Ball will be using the cantiga for this dance.

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@... <mailto:rowan%40french.toast.net>

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx

-----Original Message-----
From: "Sauer, Michael F." <sauerm@...
<mailto:sauerm%40missouri.edu> >
To: <CalontirDance@yahoogroups.com
<mailto:CalontirDance%40yahoogroups.com> >
Date: Sun, 26 Apr 2009 01:18:59 -0500
Subject: RE: [CalontirDance] Lilies Monday Night "Shattered Crystal
Ball"

Very nice set list

Pinagay is not Pinwheel

As Christian notes there is a Pinagay Bransle.

The pinwheel game is the last section of the italian dance cacicao
d'amore
(or something like that) [the hunt of love]. The music isn't very
specific
though. At Belewode we used cantiga 119.

Conrad


________________________________

From: CalontirDance@yahoogroups.com
<mailto:CalontirDance%40yahoogroups.com>  on behalf of Christopher
Mortika
Sent: Sat 4/25/2009 11:56 AM
To: CalontirDance
Subject: [CalontirDance] Lilies Monday Night "Shattered Crystal Ball"

Pinagay -- [Conna, Katriana, this is the Pinwheel Dance. The only music
I
can find that matches the title is the Bransle de Pinagay at
http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf
<http://sca.uwaterloo.ca/~praetzel/alaric/pinagay.pdf> Is that the right
music?]

.


[Non-text portions of this message have been removed]

------------------------------------

Yahoo! Groups Links

[Non-text portions of this message have been removed]





[Non-text portions of this message have been removed]

http://www.pbm.com/~lindahl/caroso/transcription/0139.clean.html

And I believe pinwheel comes from a description of the setup and motion


[Non-text portions of this message have been removed]

Calling all dancers and musicians!
The steward for the William the Marshal event has asked that we supply dance
oppertunities after feast in the barn.  This event is NEXT WEEKEND in Three
Rivers.  Given that we don't have alot of documented dances from the 12th c.
We have chosen to do any requested dances from the Lilies Ball lists (both
the monday night Shattered Crystal Ball and the Lilies Grand Ball lists).
We OF COURSE would prefer live music.

Dance monkeys see you at Marshal!!!

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx


[Non-text portions of this message have been removed]

I will be there Saturday but can't tell you how late I'll be able to stay with
the little one in tow. I'm glad there will be dancing though.

Tsire

To: CalontirDance@yahoogroups.com
From: rowan@...
Date: Thu, 14 May 2009 15:01:34 -0400
Subject: [CalontirDance] dance at marshal event


























       Calling all dancers and musicians!

The steward for the William the Marshal event has asked that we supply dance

oppertunities after feast in the barn.  This event is NEXT WEEKEND in Three

Rivers.  Given that we don't have alot of documented dances from the 12th c.

We have chosen to do any requested dances from the Lilies Ball lists (both

the monday night Shattered Crystal Ball and the Lilies Grand Ball lists).

We OF COURSE would prefer live music.



Dance monkeys see you at Marshal!!!



HL Rowan Houndskeeper

Barony of Three Rivers, Calontir

rowan@...



"Outside of a dog, a book is man's best friend.

Inside of a dog, it's too dark to read." - Groucho Marx



[Non-text portions of this message have been removed]






















_________________________________________________________________
Hotmail® goes with you.
http://windowslive.com/Tutorial/Hotmail/Mobile?ocid=TXT_TAGLM_WL_HM_Tutorial_Mob\
ile1_052009

[Non-text portions of this message have been removed]

It is my plan to be there and I look forward to dancing.

Ermerich

"Warriors and Warlords" is Northshield's big summer event, jointly produced by
the baronies of Nordskogen (Tin Cities) and Jararvettir (Madison) on the weekend
after the 4th of July.

I justreceived the following missive from Mistress Rosanore of Redthorn.  (Whome
some of you may recegnize as the "Rose" of "Rose and Nefr")

--Christian

Dear Christian:

I'm going to be the coordinator for the dance ball at WW16.  Our plan is have a
shorter ball as early in the evening as possible on Saturday.  We are wanting to
be the first party of the evening, in fact, and are hoping to be a very family
friendly event that lots of folk of all ages will want to attend.  So, in
addition to teaching as many of the dances as possible in advance, we will also
be teaching during the ball.

Here is the list of dances, in the order in which we plan to do them.

Sellenger's Round
Scottish Bransle

Jenny Pluck Pears
Gracca Amorosa

Horses Bransle
Rufty Tufty

Earl of Essex Measure
Montarde Bransle

Amoroso
Madame Sosilia Alman

If there is enough time, we will also dance:
Quadran Pavane
Hearts Ease
Pease Bransle
Black Nag

Rosanore

Oh My! Lilies is only 3 weeks away!
Musicians tune up your instraments and please contact Lucia for copies of
the ball music.
Dancers put on your dancing shoes - we have over 25 hours of classes and 4
different balls on offer, plus a pilgramage!
My thanks to Hanne, Azenari, Arina, Ermenich, Cathus, HE Phillipe, HE
Isabaue, and Master Conrad for volenteering to teach classes.  Especially Ly
Hanne who will be teaching our Calontir youth the joy of dance.
If anyone else wants to volenteer a bit of time before the ball please
contact me.
I am also looking for people willing to help provide munchies and drink for
the balls.
If you have enclosed candle lanterns that you can let us borrow for the
ball, please bring them.

See you all there!
Dancy, Dancy!!

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx


[Non-text portions of this message have been removed]

HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx

Try again. :-)

Dance Classes
All dance classes are taught at the Permanent Shelter.
Saturday, 6/13
10am – Almans for All Good Gentlemen (and Ladies): What every gentle was
expected to know. Learn a selection of the Alman dances from the Inns of
Courts. (Beginner)
             Instructor: Ly Hanne               Dances: Black Alman, Old
Alman, Queens Alman, Lorayne Alman,
New Alman
11am – Progression Dances:  A style of English Country dance in which
couples change sequence and roles. A brief discussion of the etiquette of
“sharking” will be included (Beginner/Intermediate)
             Instructor: HL Rowan              Dances: My Lady Cullen,
Saturday Night and Sunday Morning
1pm – Simple Italian Balli:  If you can step, skip, and hop you can do
Italian Balli dances. (Beginner)
             Instructor: HL Rowan              Dances: Petiet Riens,
Belfoire, TBD
2pm – More Italian Balli:  Slightly more advanced Balli dances for those
who want expand their horizons (Intermediate/Advanced)
             Instructor: HL Rowan              Dances: Gelosia, Rosti Boli,
TBD,
Sunday, 6/14
10am – Dances for Anyone: Simple period dances that anyone can learn –
even Squires! A selection of European dances from each of the major styles.
(Beginner)
Instructor: HL Rowan              Dances: Petiet Riens, Pease Bransle, Upon
a Summers Day, Ly Bens Dystone, Pintone, TBD
11am – Dances in the Period Style: Come learn some of the dances that have
been created (rather than re-created) by SCA members. It’s the Society for
Creative Anachronism after all. (Beginner/Intermediate)
Instructor: Ld Ermenich          Dances: Lovers Braid, Heralds in Love,
Calontir Bransle
1pm – English Country Circle Dances: Circle up and do your dancing in a
round. (Beginner/Intermediate)
             Instructor: Arina                      Dances: Jenny Pluck
Pears, Sellengers Round, Gathering Peasecods
2pm – English Country Square Dances: Square dancing had to come from
somewhere right? J (Beginner/Intermediate)
Instructor: Arina                      Dances: Rufty Tufty, Hyde Park,
Hearts Ease
Monday, 6/15
10am – Italians Are Simple: Covers the basic steps of Italian dance and
some simple 14th c. Balli dances. (Beginner)
Instructor: Ly Azenari             Dances:Petite Riens, Ameroso, Annello
11am – Italians Are Sexy: Italian dance was all about flirting and your
performance (*wink*) – learn to dance dances from light flirtation to a
serious affair. (Intermediate)
Instructor: Ly Azenari             Dances: Villanella, Gracca Ameroso,
Conrtapasso in due
1pm – Easy Peasy English Country Dance: The basics of English Country
dance – cover the basic steps and general formula, then learn to apply
them to a dance. (Beginner)
Instructor: TBD                         Dances: Upon a Summers Day, TBD
2pm – English Country Line Dances:  No “boot-scooting” involved.
Dances in line sets of three or four couples. (Beginner/Intermediate)
Instructor: Master Conrad                     Dances:TBD
Tuesday, 6/16
10am – The Italian Dances of Caroso and Negri:  Later period Italian
dances (Intermediate)
             Instructor: HL Rowan              Dances:TBD
11am – Arbeau’s Bransles:  Basic, mixed, or mimed; as a single dance or
in a suite - the dances are all still so very French! (Beginner)
             Instructor: HE Phillipe           Dances: Official, Pease,
Scotts, Horses, TBD
1pm – New English Country Dances: Not your old familiar EC dances.
Reconstructed dances from Playford. (Beginner/Intermediate)
Instructor: HL Cathus             Dances: Confesse, TBD
2pm – More New English Country Dances: Even more recently reconstructed
dances from the Playford project. (Beginner/Intermediate)
             Instructor: HL Cathus             Dances: Mage on a Cree, TBD
Wednesday, 6/17
10am – Ball Review: Come practice the dances for the 23rd Lilies Grand
Ball. Drop in and make your requests from the Ball list (Various).
Instructor: Arina
1pm – Ball Review: Come practice the dances for the 23rd Lilies Grand
Ball. Drop in and make your requests from the Ball list (Various).
Instructor: Azenari
2pm – Ball Review: Come practice the dances for the 23rd Lilies Grand
Ball. Drop in and make your requests from the Ball list (Various).
             Instructor: TBD
3pm – Ball Review: Come practice the dances for the 23rd Lilies Grand
Ball. Drop in and make your requests from the Ball list (Various).
Instructor: Conrad
Thursday, 6/18
10am – SOOP and GOOP: They fall outside of “pre-17th century Europe,”
but they are danced around the Known World none-the-less. Learn the
“Somewhat Out of Period” and “Grossly Out of Period” dances done in
the SCA anyway. (Beginner/Intermediate)
     Instructor: HE Isabaue                       Dances: TBD
1pm – Dance Games: Play with your dances! Come learn the Pinwheel, the
Tangle, and more! (Beginner)
     Instructor: Arina                                  Dances: Pinwheel,
Tangle, Kick the Tassle
2pm – Flirting through Dance: Period dance is about a flirting and having
fun! Learn to flirt the period way while you dance.
Instructor: Ly Azenari
Friday, 6/19
1pm – Competitions and Showcases: Tips for performances. How to write
kick-ass dance documentation. And other hints from a dance master. (Any)
Instructor: Master Conrad
2pm – Display Dances: More advanced dances for those that want to stretch
their wings (and legs). (Advanced)
Instructor: Master Conrad                     Dances: TBD
Calontir Youth Activities Dance Class (Grand Pavilion)
11am Monday 6/15
11am Saturday 6/20
Instructor: Ly Hanne           Dances: Pease Bransle, Petite Riens, New Bo
Peep

Balls, Social Dance and Other Dance Opportunities
Monday night ~7pm - The Barony of Shattered Crystal (Middle Kingdom) is
sponsoring a night of social dance (Permanent Shelter)
Set 1) Carolingian Pavan, Trenchmore, Hyde Park, Amoroso, Horse’s Bransle
Set 2) Petit Riens, Black Nag, Official Bransle, Gelosia, Chestnut
Set 3) Piantone (Pinwheel), Heralds in Love, Black Alman, Gracca Amaroso, Ly
Bens Dystonas
Tuesday 5pm – The Procession of Our Lady of Calontir: Come join the
pilgrimage to Our Lady Calontir (Odessy Coffee)
Wednesday night ~7pm, 6/17 - Lilies XXIII Grand Ball (Battle Field)
Set 1) Official Bransle, Amoroso, Rufty Tufty, Graca Amoroso, Scots Cap,
Gelosia, My Lady Cullen, Two dances to be chosen by the populace
Set 2) Piantone (Pinwheel), Confesse, Belfiore, Argeers, Hyde Park,
Villanella, Bransle Set (Scots/Pease), One dance to be chosen by the
populace
Set 3) Petit Riens, Mage on a Cree, Ly Bens Dystones, Black Nag, Black
Alman, Contrapasso in Due, Two dances to be chosen by the populace
Thursday night after court, 6/18 – Night of Dance. Pick-up dancing at the
crossroads (in front of Fernando’s tent).
Saturday 1-4pm, 6/20 – HL Edwardus and Triamris is sponsoring an afternoon
of social dance and musician fun. Trimaris brings a few dances new to
Calontir, a bit of Caroso style ball, some mingling, and a lot of fun. Drop
by anytime and stay to play. (Permanent Shelter)


HL Rowan Houndskeeper
Barony of Three Rivers, Calontir
rowan@...

"Outside of a dog, a book is man's best friend.
Inside of a dog, it's too dark to read." - Groucho Marx


[Non-text portions of this message have been removed]

Hey All,
I have a project for A&S that i have had for a little while and i need musicians
and dancers, we can rehearse at meetings in Three Rivers or if you are too far
away, i am willing to set aside time at Lilies to work on the dance and music as
well
If interested, please e-mail me at SaChrW@... and include your name, i will
have music available upon request.
Arina