Real Roots! Exploring the world of late 16th-century popular music. The core of the programme will consist of playing in a mixture of large and small ensembles, as well as a range of other options each day, including a focus on ensemble techniques, ornamentation and will hopefully also include some vocal sessions.
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2 events,This course offers viol players the chance to explore consort repertoire from the viol’s Golden Age and to improve their technique along the way, with Joanna Levine and Richard Boothby of Fretwork. For pre-formed chamber groups (with or without singer) who should bring at least 4 pieces to work on which can be at varying stages of readiness. |
4 events,El Parnasso Hyspano - indigenous Latin American music workshop for singers and continuo, with tutors John Sloboda and Rafael Montero. Go4B'rque will meet under the direction of Philip Redfern to look at Rameau's 'Les Indes Galantes'. |
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Online workshop on the interpretation of baroque music for players of recorder and other instruments. This workshop will examine two movements of the Trio in G minor Opus 1 no. 3 for 3 recorders (flutes) by Johann Mattheson. |
2 events,Plenty of opportunities to play at all levels of ability, and to socialise with like-minded early music enthusiasts. Tutors: Bor Zuljan, Peter Croton, Jacob Herringman, Lynda Sayce, Matthew Spring, Sara Stowe. |
4 events,Schutz: Psalmen Davids workshop with Bill Carslake, for voices and instruments, A=440. |
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2 events,Mary, Mary, quite contrary - a workshop for singers and players looking at music for Mary, Mother of Jesus, and music for Mary Magdalen.
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This workshop, led by Sophia Mucke (Schola Cantorum Basiliensis and Royal Academy of Music, London) and Dr Oliver Doyle, will be an introduction to the history, theory, and practice of the Guidonian Hand and Solmisation. This workshop is open to all, whether you would like to join in or observe. Being able to read music... |
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Did trills in the baroque always start on the note above the written note? This online workshop gives some simple examples of where to place trills and how to execute them dispelling the myth that trills in the baroque always started on the note above the main note. |
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2 events,This popular and highly acclaimed course provides an excellent opportunity for experienced players of viols and recorders to work on early music in a chamber setting. Workshop of early music with South American links with El Parnaso Hyspano, for voices and continuo. Contact Janet Tanburn janetmtanburn@gmail.com for further details. |
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How often do we play early music based on songs without the text present? This is very common for ensembles especially when playing 16th century music. Most of the music from this period arranged for recorders is vocal music but without the text present how do we know if it is true to the original... |
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