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Selected Movements from "The Danserye" (arr. Allen)

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Tielman Susato

Tielman Susato (arr. Fred J Allen)


Subtitle: Setting for Flexible Instrumentation


General Info

Year: 1551 / 2020
Duration: c. 11:00
Difficulty: V (see Ratings for explanation)
Original Medium: Consort of various instruments
Publisher: Unpublished. Contact Brett Richardson
Cost: Score and Parts - Free


Movements

1. La Morisque - 1:00
2. Entre du Fol (Basse Danse)
3. Mon desir (Basse Danse) - 1:30
4. Den IX Ronde
5. Ronde and Salterelle
6. Branle - 1:10
7. Fagott
8. Two Galliards: “My Heart is Wounded” and “The Mistress”
9. Bergerette sans Roch - 0:55
10. Pavanne (The Battle)


Instrumentation (Flexible)

All wind books have parts 1, 2, 3, and 4.

Full Score
C Instruments (treble)
B-flat Instruments
E-flat Instruments
F Instruments
C Instruments (bass)
String Instruments
Timpani
Percussion (optional), including:

  • Tambourine
  • Tenor Drum
  • Xylophone


Errata

None discovered thus far.


Program Notes

The Danserye was the first published collection of 59 dance pieces issued in the Low Countries (1551). Social dancing was very highly regarded during this portion of the Renaissance. In both the upper and bourgeois classes, people interacted with each other by dancing. The music used to accompany these dances was generally divided into distinct formal sections with clearly defined rhythmic patterns. The Danserye was originally published without a prescribed instrumentation but only the suggestion “pleasing and appropriate to be played on musical instruments of all kinds.” In 1551, the courts or households who utilized this music would have heard it played on whatever instruments they could afford by whatever instrumentalists they could hire. These instruments were generally used in homogeneous groups, or “consorts.”

- Program Note from California State University, Fullerton, Wind Symphony concert program, 9 October 2016


This arrangement was commissioned by Dr. Brett Richardson, Director of Bands at University of Incarnate Word, San Antonio, Tx. The score and part books are provided free of charge by the UIW Bands to performing groups in need of material that fits small, socially-distanced ensembles for musical collaboration..

- Program Note by Fred J. Allen


Performance Notes

Publication of these part books allows for any combination of instruments to play these dances, as long as all four wind parts are covered. This music will work well with any size ensemble, from four to four hundred!

Here are some tips to help assign parts:

  • Part 1 is always the melody. It will sound best in larger ensembles if this part is assigned to (some of) those instruments that typically play bass lines: flute, oboe, clarinet, trumpet.
  • Part 4 is always a bass type part. It will sound best in larger ensembles if this part is assigned to those that typically play bass lines: tuba, bassoon, bass clarinet, baritone sax, contra clarinet and bass trombone.
  • Attempt to balance numbers of people playing each part.
  • Medium or larger ensembles: Maximum sonority will be achieved if multiple players on any individual instrument are assigned to different parts. For instance, if the ensemble has three trumpet players, it will sound better if they play the top three parts.
  • Exception: bass instruments will sound best if they all play Part 4.
  • F Instruments: Part 1 is almost always lower than Part 3 for range considerations. The ideal line for horn is Part 3, although horns should be spread to different parts if there are multiple hornists.
  • C Instruments Bass: Part 1 is almost always lower than Part 3 for range considerations. Ideally, tenor trombones and euphoniums would play Parts 1 and 2, as long as Part 3 is adequately covered by other instruments.
  • Tenor saxophone: The range of this instrument best fits Parts 1 and 2. If a tenor saxophonist is assigned Part 3, it should be played up an octave.
  • Homogenous instruments quartets/choirs may play these very effectively.

Dynamics have been added to provide more musical contrast. As these were not in the original music, conductors may add, delete, or change dynamics at their discretion. Ornamentation would likely have been added by performers, so a few ornaments are added in this edition. However, as they also do not appear in the original music, conductors may alter ornamentation accordingly.


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of South Alabama (Mobile) Symphony Band (Jason F. Rinehart, conductor) - 4 March 2021
  • Dallas (Tx.) Chamber Wind Ensemble (Reagan Brumley, conductor) - 3 January 2021
  • San Antonio Harmonie Ensemble (Brett A. Richardson, conductor) - 17 November 2020
  • Texas Women's University (Denton) Bands (Carter Biggers, conductor) – 2020


Works for Winds by This Composer

Adaptable Music


All Wind Works


Resources

  • Brett Richardson, personal correspondence, December 2020
  • Fred J. Allen Music Accessed 30 December 2020
  • Fred J. Allen, personal correspondence, December 2020