early music reimagined for clarinet consorts © 2016 …

EARLY MUSIC REIMAGINED FOR CLARINET CONSORTS

By

© 2016

Tyler David Goudlock

Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of

Musical Arts.

________________________________

Co-Chairperson: Dr. Forrest Pierce

________________________________

Co-Chairperson: Dr. Stephanie Zelnick

________________________________

Dr. Sarah Frisof

________________________________

Dr. Matt Smith

________________________________

Dr. John Derby

Date Defended: May 5, 2016

ii

The Document Committee for Tyler David Goudlock

certifies that this is the approved version of the following dissertation:

EARLY MUSIC REIMAGINED FOR CLARINET CONSORTS

________________________________

Co-Chairperson: Dr. Forrest Pierce

________________________________

Co-Chairperson: Dr. Stephanie Zelnick

Date approved: May 5, 2016

iii

Abstract

Goudlock, Tyler David. Early Music Reimagined For Clarinet Consorts. Doctor of

Musical Arts (Performance), August 2015.

Early music for instrumental consorts dates back to the 16th century. Clarinet choirs have

existed only since the last decade of the 19th century. About three hundred years worth of

consort music remains untouched by clarinetists. As a result, these arrangements are severely

underrepresented in the clarinet choir repertoire. This project reimagines six pieces of early

music, placing the clarinet backwards in time when it was a nonexistent instrument. Mainly

focusing on genres from the Renaissance and Baroque, this document addresses performance

practice issues for the performing clarinet consort. The selections span a variety of early genres

from antiphonal choir, galliard, bransle, trio sonata, passacaille, and symphony. Discussion of

performance practice is tailored specifically for each piece including instrumentation, dynamics,

articulation, and ornamentation. Historical context about the composer and their composition is

also included in the project. Not only do these pieces add to the clarinet choir repertoire, they

serve as a first step in ongoing work in expanding the early repertoire for this instrumentation.

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Acknowledgements

I would like to express my special appreciation and gratitude to the members of my

committee. Dr. Forrest Pierce, Dr. Stephanie Zelnick, Dr. Sarah Frisof, Dr. Matthew Smith and

Dr. John Derby have all encouraged my research and musical growth. I would especially like to

thank Dr. Forrest Pierce and Dr. Stephanie Zelnick for your devoted guidance, patience and

assistance during my time at the University of Kansas. Also Mrs. Cynthia Nichols and Dr. James

Saker from the University of Nebraska Omaha, for investing years of mentorship and

contributions towards my education. To all of the members of the KU Clarinet Choir for making

all of these arrangements come to life. And finally to my family, whose unconditional love and

support has meant so much to me. This would not have been possible without your help.

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Table of Contents

List of Figures ................................................................................................................................ vi

PART 1 – Introduction ................................................................................................................... 1

Overview of Early Literature for Clarinet Choir ................................................................ 1

The Clarinet Consort .......................................................................................................... 3

Strategies of Arrangement .................................................................................................. 7

PART 2 – Arrangements .............................................................................................................. 13

Giovanni Gabrieli: Canzona Primi Toni (1597) .............................................................. 18

John Dowland: The Earl of Essex Galliard (1605) ......................................................... 61

Michael Praetorius: Dances from Terpsichore “Bransle de Villages” (1612) ................ 74

Salamone Rossi: Sonata Settimi Sopra L’Aria di un Balletto (1622) ............................. 93

Jean-Baptiste Lully: “Passacaille” from Armide (1686) ............................................... 110

William Boyce: Symphony No. 1 in B♭ Major (1756) .................................................. 129

PART 3 – Conclusion ................................................................................................................ 150

Bibliography ............................................................................................................................... 151

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List of Figures

Figure 1: Published Early Music For Clarinet Choir .................................................................................................... 1

Figure 2: Articulation Methodology ........................................................................................................................... 11

Figure 3: Articulation Patterns ..................................................................................................................................... 17

Figure 4: Gabrieli Canzona Primi Toni Mm. 1-2 ........................................................................................................ 14

Figure 5: Gabrieli Canzona Primi Toni Mm. 34-36 .................................................................................................... 15

Figure 6: Gabrieli Canzona Primi Toni Mm. 25-28 .................................................................................................... 16

Figure 7: Dowland Earl of Essex Galliard Mm. 9-16 ................................................................................................. 58

Figure 8: Dowland Earl of Essex Galliard Mm. 5-8 ................................................................................................... 59

Figure 9: Dowland Earl of Essex Galliard Mm. 22-24 ............................................................................................... 59



Figure 12: Praetorius Dances from Terpsichore “Bransle de Villages” Mm. 1-4 ...................................................... 71

Figure 13: Praetorius Dances from Terpsichore “Bransle de Villages” Mm. 1-4 ...................................................... 71

Figure 14: Praetorius Dances from Terpsichore “Bransle de Villages” Mm. 54-57 .................................................. 73

Figure 15: Rossi Sonata Settimi Sopra L’Aria di un Balletto Mm. 1-8 ...................................................................... 89

Figure 16: Rossi Sonata Settimi Sopra L’Aria di un Balletto Mm. 9-16 .................................................................... 90

Figure 17: Rossi Sonata Settimi Sopra L’Aria di un Balletto Mm. 1-4 ...................................................................... 91

Figure 18: Rossi Sonata Settimi Sopra L’Aria di un Balletto Mm. 9-12 ..................................................................... 92

Figure 19: Lully “Passacaille” from Armide Mm. 77-80 ........................................................................................... 106

Figure 20: Lully “Passacaille” from Armide Mm. 45-48 ........................................................................................... 107

Figure 21: Lully “Passacaille” from Armide Mm. 5-9 ............................................................................................... 108

Figure 22: Boyce Symphony No. 1 in B♭ Major Mvt. I Mm. 13 .............................................................................. 126

Figure 23: Boyce Symphony No. 1 in B♭ Major Mvt. II Mm. 1-2 ............................................................................ 126

Figure 24: Boyce Symphony No. 1 in B♭ Major Mvt. III Mm. 7-8 ........................................................................... 127

Figure 25: Boyce Symphony No. 1 in B♭ Major Mvt. I Mm. 1-4 ............................................................................. 127

Figure 26: Boyce Symphony No. 1 in B♭ Major Mvt. II Mm. 1-4 ............................................................................. 128

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PART 1 – Introduction

Clarinet choirs are common performing groups in high schools and colleges. Their variety

of repertoire is severely limited as it spans from the middle of the 18th century, onwards. As a

result, a large amount of early consort music remains untouched by clarinetists. This is

unfortunate, as clarinet choir is an ideal medium for consort music adaptations. Although

arrangements are necessary in order to perform and promote this repertoire, Renaissance and

Baroque performance practice must be considered in any such instrumentation. With this project

serving as an introduction to early music for performing clarinet consorts, I have arranged three

selections from the Renaissance era and three from the Baroque.

The list below shows how badly early music is underrepresented for the ensemble. The

figure is a comprehensive catalog, spanning from the Renaissance through the Baroque. It is

organized according to composer, title of selection, arranger and instrumentation (see figure 1).1

The earliest Renaissance composer on the list is William Byrd (1539/40-1623) and the latest

Baroque composer listed is Christoph Willibald Gluck (1714-1787). The majority of

arrangements created are from Johann Sebastian Bach (1685-1750).

Figure 1: List of Published Early Music (Renaissance through Baroque)

Composer Selection Arranger Instrumentation J.S Bach Bach Suite Yoder B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Fantasia & Fugue in Cm Underwood B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Prelude & Fugue in GM Krauszowski B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Prelude & Fugue in Gm Jennings B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Sarabande from Suite in Dm Fote B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Sarabande from French Suite No. 1 DiBianco B♭, Alto, Bass, E♭/B♭ Contra 1 Harvey Hermann and Douglas DiBanco, “A Selected List of Clarinet Trio, Quartet, and Choir Music,” Third

Edition, Pg: 5-10.

2

J.S Bach Three Baroque Dances Rebo B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Toccata & Fugue in Dm Burkholder B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Toccata & Fugue in Dm Donatelli B♭ (Quartet) J.S Bach Awake, Awake, The Voice is Calling Calliet E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Fugue in Gm Curry E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Jesu, Joy of Man’s Desiring Freeman E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Praeludium & Fugue in Dm Hite E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Prelude & Fugue in B♭M Curry E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Sixteen Chorales Lake E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Sheep May Safely Graze Bauer E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Toccata and Fugue in Dm Curry E♭, B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Celebrated Air from Suite No. 3 Johnson B♭, Alto, and Bass (Quintet) J.S Bach Puer Natus in Bethelhem Hal Leonard B♭, Alto, and Bass (Quintet) J.S Bach Rise, My Soul, To Watch Lake B♭, Alto, and Bass (Quintet) J.S Bach Jesu! Who In Sorrow Dying Lake B♭, Alto, and Bass (Quintet) J.S Bach Thou Prince of Life, O Christ Our Lake B♭, Alto, and Bass (Quintet) J.S Bach Alleluia, We May Be Filled With Gladness Lake B♭, Alto, and Bass (Quintet) J.S Bach Thy Truth, Which Never Varies Lake B♭, Alto, and Bass (Quintet) J.S Bach Then, O My God, With Joy I Cast Lake B♭, Alto, and Bass (Quintet) J.S Bach O Morning Star, How Fair& Bright Lake B♭, Alto, and Bass (Quintet) J.S Bach And Grant Me, Lord, To Do Lake B♭, Alto, and Bass (Quintet) J.S Bach O How Cheating Lake B♭, Alto, and Bass (Quintet) J.S Bach O Lord! How Many Miseries Lake B♭, Alto, and Bass (Quintet) J.S Bach Jesu, Guard & Guide Thy Members Lake B♭, Alto, and Bass (Quintet) J.S Bach To Christ Our Peace Is Owing Lake B♭, Alto, and Bass (Quintet) J.S Bach O God, My Life, In Mercy Shine On Lake B♭, Alto, and Bass (Quintet) J.S Bach Salvation Hath Come Down To Us Lake B♭, Alto, and Bass (Quintet) J.S Bach Brandenburg Concerto No. 1 Thorne B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Brandenburg Concerto No. 2 Gibson B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Brandenburg Concerto No. 3 Peters B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Brandenburg Concerto No. 3 Howland B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Sarabande Pelz B♭, Alto, Bass, E♭/B♭ Contra J.S Bach Bouree Brandenburg B♭ (Quartet) J.S Bach Two Gavottes from Suite in D Barr B♭ (Quartet) J.S Bach Four Pieces from Anna Magdalena Wilkinson B♭ (Quartet) J.S Bach 8 Little Preludes & Fugues Kriesler B♭ (Quartet) J.S Bach Concerto in Dm for 2 Violins DiBianco B♭ (Quartet)

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Byrd Pavane and Galliard Rebo B♭, Alto, Bass, E♭/B♭ Contra Byrd Pavane Skolnik B♭ (Quartet) Corelli Church Sonata Thornton B♭, Alto, Bass, E♭/B♭ Contra Corelli Sarabande and Gavotte Johnson B♭ (Quartet) Corelli Praeludium Skonicka B♭ (Quartet) Frescobaldi Fugue Fote B♭, Alto, Bass, E♭/B♭ Contra Frescobaldi Galliard and Courante Johnson B♭ (Quartet) Gabrieli Canzona per Sonare No. 2 Ayers B♭, Alto, Bass, E♭/B♭ Contra Gabrieli Canzona per Sonare No. 3 Freeman B♭, Alto, Bass, E♭/B♭ Contra Gluck Dance of the Happy Spirits Liegl B♭ (Quartet) Gluck Andante & Caprice Johnson B♭ (Quartet) Handel Sarabande and Bouree Webb B♭, Alto, and Bass (Quintet) Handel Overture to Julius Caesar Wilcox B♭, Alto, Bass, E♭/B♭ Contra Handel Sarabande Liegl B♭ (Quartet) Handel Sarabande and Allegro No. 3 Voxman B♭, Alto, and Bass (Quintet) Handel Air & Gigue Hal Leonard B♭, Alto, and Bass (Quintet) Handel Courtly Dance Pelz B♭, Alto, Bass, E♭/B♭ Contra Lotti Crucifixus Haynor B♭, Bass Pachabel Fugue Pelz B♭, Alto, Bass, E♭/B♭ Contra Telemann Largo & Presto from Suite in Am Johnson B♭, Alto, Bass Telemann Concerto for Four Violins Simon B♭ (Quartet)

The creation of early music arrangements is essential for advocating additional consort

music. Clearly, the lack of published works renders selections inaccessible to clarinetists.

Pushing for a broader database allows clarinetists to participate in the medium as they seldom

have opportunities to perform repertoire pre-dating their instrument’s existence. These

contributions offer a valuable performance environment where members of the clarinet choir can

hone their skills in order to perform as a soloist, or within the ensemble.

Renaissance and Baroque periods require attention to performance practice in order to

provide the best options for presenting the music. Specific decisions must be made before

4

adapting for the modern clarinet. Consulting a variety of sources is most helpful when forming

decisions on instrumentation, dynamics, articulation, and ornamentation. Each early period also

has its own set of rules for addressing appropriate treatment of performance practices.

Comparing recordings, scores from the International Music Score Library Project (IMSLP), and

scholarly sources are key to tailoring a solution for the modern instrument. These decisions are

addressed in the section on Arrangement Strategies and in the individual analyses of the pieces in

Part 2.

The clarinet choir is an ideal group for arranging and performing consort music because

of the instruments’ flexible timbre, range, dynamic palette, and articulation styles. The modern

clarinet has gone through a large transformation over the past three hundred years, resulting in a

versatile instrument. The sound of the clarinet choir blends together easily and can resemble a

pipe organ when scored similarly to a vocal choir.2 The ability to cover four octaves of range

makes the clarinet a capable instrument to use in a variety of arrangements. This vast range is

present in all of the members of the group. A clarinet’s dynamic contrast is known for its

extremities on the softer end of the spectrum. For example, the instrument has the ability to start

a note that is barely audible in sound. A variety of articulation styles are also possible to perform

without sacrificing the quality of the tone. Clarinetists can execute staccato, legato, tenuto,

accents in an array of speeds and combinations.

These reasons support the ensemble as the perfect choice for the arrangements. To better

understand the utility of developing an ensemble, it will be useful to examine the history and

development of consort music.

2 R. J. Miller, Contemporary Orchestration: A Practical Guide to Instruments, Ensembles and Musicians, (New

York: Routledge, 2015), 192.

5

The Clarinet Consort

The history of the instrumental consort dates back to England in middle part the

Renaissance, spanning the 16th and 17th centuries. Specific types began to emerge around the

first decade of the 16th century.3 Groups of like instruments used soprano, alto, tenor, and bass

voices in the ensemble in order to cover various ranges. Some popular consorts included viols,

recorders, shawms, and sackbuts. These groups are categorized as whole or broken, depending

on the instrumentation.4 Whole consorts consist of various sizes of the same instrument, similar

in timbre, but different in range. Broken consorts employ a mixture of string, woodwind and

brass instruments, creating a broader palette of sound.

During the 16th century, consorts accompanied court dances or performed transcriptions

originally scored for voice.5 Depending on the type of dance, crowd size, location, or event,

instrumental groups of different acoustical purposes were preferred. For example, a brass consort

would have been ideal for a larger group of people because the instruments would not have a

problem projecting louder dynamics. In the 17th century, the role of this ensemble evolved from

accompanying dance music to providing different colors in works for string-based ensembles,

such as in an opera.6

The clarinet’s development around 1700 led to the evolution of auxiliary instruments, and

their use in performance groups. As a result, the first clarinet choir formed in the last decade of

the 19th century at the Brussels Conservatoire under the direction of Gustave Poncelet.7 In 1927,

3 Joseph Swain, A Historical Dictionary of Baroque Music (Lanham, MD: Scarecrow Press, 2013), 80. 4 Ibid. 5 Jeffery Kite-Powell and Michael Praetorius, Syntagma Musicum III (New York: Oxford UP 2004), 19. 6 Swain, 7. 7 Mitchell Estrin, “A Brief History of the Clarinet Choir,” Retrieved 2016-29-03.

6

Simeon Bellison assembled the first group in the United States.8 This term is ambiguous, as

every ensemble uses different combinations and an uncertain number of performers. The B♭

Clarinets should be most abundant to ensure all parts are covered. This is important because they

can serve as both a high and middle voice, providing a stronger balance in the group.

A better term for the instrumentation of these works is a clarinet consort. The group

consists of several types of clarinets pitched in B♭. These transcriptions are written for the B♭

family of clarinets (B♭ Soprano, Bass and Contra Bass), with the exception of the E♭ Clarinet.

This specific ensemble can cover all ranges, and if desired, formatted or transposed to include

other auxiliary instruments. The B♭ Clarinet provides a soprano and alto voice, while the Bass

Clarinet covers the tenor and bass voices. Even though the consort lacks the typical alto and

tenor voices of the ensemble, the clarinet’s expansive four-octave range covers multiple parts.

Auxiliary instruments, common in the clarinet choir, have been omitted from these

arrangements because of their unreliable construction. Inexpensive models tend to have more

intonation inconsistencies. This factor can make it especially difficult for the E♭ Soprano and

Alto Clarinets to blend their colors within the group. Although cheaper brands are affordable for

programs, they do not hold adjustments as well, making the care of the instruments harder to

maintain. Proper care of Bass and Contra Clarinets is already challenging because of their large

design. Players easily bend keys and rods out of alignment. This results from improper hand

position, too much finger pressure used in technical passages or assembling the instrument

incorrectly. Repairs on these larger clarinets, reed purchases and adjustments are more expensive

8 Richard Weerts, "The Clarinet Choir," Journal of Research in Music Education 12.3 (1964): 228.

7

than the smaller clarinets. Nonetheless, they are important contributors of color and texture for

the ensemble.

The term consort properly addresses the group instead of choir, because the name reflects

the correct terminology used in the late 16th century through the middle of the 18th century. As

we will explore in the following section, the modern clarinet’s developments create

complications in arranging earlier music for clarinet consorts.

Arrangement Strategies

The scores included in this project are arrangements of public domain editions retrieved

from the IMSLP database. These early pieces do not contain articulation and dynamic markings,

requiring special adaptations for the consort’s performance. Listening to several recordings of

the works and comparing other interpretations helped in making choices for ornamentation,

articulation, dynamics, texture and color. These decisions are difficult to make, as the modern

clarinet did not exist in earlier periods. Because of this obstacle, these choices need to be

idiomatic for the clarinet, but also stay true to the composer’s original music. In an effort to

promote early music and genres for the ensemble, the selected pieces are representative of the

composer’s compositional style and are rewarding to perform, conduct, or hear. Please refer the

Bibliography section in Part 3 for additional score and recording sources. Before addressing

specific issues in the arrangements, an overview of Renaissance and Baroque practice may prove

useful in understanding the decisions. This method offers historical context for the consort to

use, enhancing their performance.

Renaissance and Baroque performance practice is the subject of much debate as scholars

differ on how to address certain elements during the two eras. Even with sources written by

composers during (and after) the earlier periods, there is still much dispute on how to approach

8

musical aspects. For this project, the discussion is limited to original instrumentation, tempo,

ornamentation, articulation, dynamics, and basso continuo treatment. Two main approaches are

usually followed: 1) the reliance on written scholarship, often from primary sources, and 2) the

practical study of performances on period instruments. Both of these approaches can be adapted

for a modern clarinet.

One of the main differences between the Renaissance and Baroque eras is the

instrumentation in the music. Instrumental parts provided an equal partnership in counterpoint

and polyphonic texture in the Renaissance period. Homophonic texture developed in the Baroque

era, resulting in a single melody supported over a basso continuo. Flexibility in instrumentation

is another important difference. Performers could choose their instrument of preference during

the Renaissance era, because composers did not specify their choice.9 Instrumental development

flourished during the Baroque, allowing composers to designate or suggest which colors they

wanted. Typically, instrumentation is decided by the instrument’s ability to cover the appropriate

range. Thus, the logical application of the clarinet choir to this music.

The treatment of dynamics and ornamentation are other obvious differences between the

two periods. Dynamic markings did not exist in any instrumental parts during the early

Renaissance, but existed in the Baroque era.10 Written dynamics provide terraced levels, with

sudden shifts in sound represented in all parts during this time. This meant that every instrument

contained the same marking, and could go from one volume extreme to the other in a short

amount of time. The players established boundaries for controlled levels without signaling any

growth or decay between sections.

9 Roland Jackson, Performance Practice: A Dictionary-guide for Musicians, (New York: Routledge, 2005) 201. 10 Ibid., 135.

9

Ornamentation allowed performers to vary or refresh musical content, embellishing the

line. This practice drew attention to certain notes decorating the melody. Renaissance musicians

used ornamentation as an improvised practice, decorating the melodic line.11 Baroque performers

used ornamentation to embellish single notes in the melody, basing their choices off of the bass

line. Players from both periods use a variety of adornments in performance practice including

trills, mordents, slides and turns. The types of ornamentation found in my consort arrangements

are trills and mordents. Figures in Part 2 demonstrate realizations of these performance practices.

When finding appropriate articulation strategies, tempo is an important factor to consider.

The two elements go hand-in-hand when trying to decide which is best for performance practice.

A performer should not decide which articulation style to use without first paying attention to the

speed of the passage, or tempo of the music. Modern day practice utilizes a variety of slur and

tonguing combinations, preserving the integrity of the music. In both periods, the performer adds

slur markings to groupings of notes, making fast passages bearable.12 This provides the player

with options, as certain wind instruments have an easier time executing varied attacks than

others. Stringed instruments produce the cleanest and most consistent assortment of articulations

with their bows in a variety of tempi. While double tonguing was an effective solution for earlier

instruments requiring fast technique, it is a challenging skill for most clarinetists.13 The

following section provides suggestions and ideas on how to adapt articulation for the modern

clarinet.

11 Ibid., 291. 12 Ibid., 19. 13 Jeffery Kite-Powell, A Performer's Guide to Seventeenth-century Music. (Bloomington: Indiana UP, 2012) 127.

10

By combining elements of early performance practice with modern, idiomatic solutions, a

clarinetist can tailor one’s part both respectfully and effectively. Adding articulations into the

clarinet parts is a challenging process, and the reasoning behind it is subjective. A combination

of older traditions with newer practice provides the best option. Since the modern clarinetist does

not play with the reed placed against the upper-lip, clarinetists are now free of articulation

challenges associated to this earlier practice. Earlier types of embouchure utilize breath

articulation, drawing air from the chest. Instead, modern single-lip embouchure is preferred

because it utilizes the tongue to carve the airstream. Articulation should not inhibit the

performer’s technical abilities, but instead reinforce the music.

Matching articulation and achieving a consistent style is difficult to accomplish in

chamber groups. Comparing different recordings is a helpful way to make articulation choices

because the variety of tempi reinforces the decisions, and other elements used in pedagogical

practice. Below is a table of articulation patterns used, along with vernacular, to better

understand the tongue’s role in articulation (see Figure 2). Mrs. Cynthia Nichols, clarinet

professor from the University of Nebraska Omaha, first introduced me to this method. She

acquired this format from her teacher Willis Ciggins, former professor of clarinet at the

University of Illinois.14 Knowing how to put the vernacular in context is important in producing

consistent style with the articulation patterns. It is also a strong method for teaching articulation

to a single student or within the group. Performers with a solid embouchure, powerful air stream

and high tongue position produce the best articulation variety. These methodologies are

idiomatic additions specifically tailored for clarinetists.

14 Cynthia Nichols, personal E-mail, 18 April 2016.

11

Here is a breakdown of different articulation patterns and the realized vernacular behind

the airstream:

Figure 2: Articulation Methodology

Figure 3: Articulation Patterns

1) Slur 4 2) Slur 3 + 1 3) Slur 2 + 2

4) 1+ Slur 2 + 1 5) Separated

Understanding the motion of each member’s tongue is pertinent in order to achieve

proper style and articulation (see Figure 3). Air is the key fundamental for practicing articulation,

representing 95% air to 5% tongue. Moving large amounts of oxygen behind the vernacular

reinforces this step, as the performers exaggerate the enunciation of the syllables out loud. After

these steps are achieved, players can transform the vernacular (syllables) to sound as

“syzzables.” This method is my own creation and an effective way to demonstrate the quantity of

air in motion, and a way to gauge the quality of air the player is using. This term is a

Vernacular How Vernacular Relates to Tongue Movement T (Tee) Syllable used to start slur, releasing tongue tip from reed

ah Syllable used in middle of slur, while tongue tip hangs over reed tip ut Syllable used at end of slur, resetting the tongue tip to the reed tip tut Combination of T + ut, fast tongue motion “on/off/on” reed tip

12

combination of syllables and sizzling, working as a great way to hear how fast the air moves

behind each syllable. If the “syzzables” resemble the vernacular in terms of the beginning,

middle, and ending sounds, the performers are free to apply the articulation patterns into musical

context.

Clarinetists should strive to produce an articulation quality that matches the style of the

music. The action of articulating should never be too short in length or harsh to the touch. The

patterns in the arrangements enhance the performer’s technical abilities, thus reinforcing the

music. In the following section, we will see how articulation, dynamics and ornamentation are

incorporated into the arrangements.

13

PART 2 – Arrangements

In this section, we will examine in detail the composers and arrangements employing the

techniques from Part 1. The arrangements are organized according to their compositional dates

and their scores are found after each discussion.

Giovanni Gabrieli: “Canzona Primi Toni”

Giovanni Gabrieli (ca. 1554/7-1612) was a famous Italian composer and organist from

the latter part of the Renaissance era. He studied organ with his uncle, Andrea Gabrieli (ca.

1510-1586), succeeded him, and became the second organist at San Marco Basilica in Italy.15

Besides being a skilled composer and organist, Gabrieli was an educator to many. His style

influenced other early Baroque composers such as Claudio Monteverdi and Heinrich Schütz.

Gabrieli was the first composer to designate instrumental parts in his sacred vocal works, and

was most famous for his large-scale vocal and instrumental music.16

Gabrieli’s style is marked by polychoral texture. “Polychoral” is a term that is applied to

works that divide the ensemble into two different groups or choirs, also referred to as antiphonal

choir.17 This division creates an eight-part texture consisting of two choirs of four parts. Each

group includes a soprano, alto, tenor, and bass voice. Each phrase of the music is introduced by

one member of the choir and is echoed by the other voices (see Figure 4).

15 Gerald Brennan and Chris Woodstra. All Music Guide to Classical Music: The Definitive Guide to Classical

Music (San Francisco, CA: Backbeat Books, 2005), 472. 16 Ibid., 473. 17 Ibid.

14

Figure 4: Imitative Entries Gabrieli Canzona Primi Toni Mm. 1-2

The choirs can also combine forces, drawing attention to specific words of the text, or signaling

the ends of sections. This antiphonal writing became popular and common in the latter part of the

16th century.

Many of these polychoral works were written by Gabrieli and composed specifically for

Venetian churches.18 It was common to have the two choirs physically separated in order to

enhance the projection of the two groups. Balconies and lofts were thought to provide the place

for the separated choirs. Performing from different locations within a larger structure gave the

performance a unique, aural experience for listeners. In order to provide performers with this

opportunity, Gabrieli’s “Canzona Primi Toni” was chosen to arrange. This work is from his

published collection entitled Sacrae Symphoniae, written in 1597, and was often performed by

an early brass consort.19 In particular, the cornetto provided the soprano voices, while sackbuts

provided the other three lower voices.

Since the score used a range of two octaves, it made sense to arrange the consort in a

18 Ibid. 19 Ibid.

15

similar manner using only the B♭ Soprano and Bass Clarinet.20 There was no need to use other

auxiliary instruments because the two clarinets could cover the ranges easily, allowing each

group or choir to consist of three B♭ Soprano Clarinets and one Bass. This piece was performed

in resonant churches and was thickly textured, which made ornamentation counterproductive.

Ornamentation in instrumental music was more prevalent in the Baroque era.21 Instead,

composers created music that was polyphonic. This type of writing contains overlapping

sections, short motives, and imitation, which Gabrieli tosses back and forth between both groups

(see Figure 5).

Figure 5: Overlapping sections Gabrieli’s Canzona Primi Toni Mm. 34-36

20 Giovanni Gabrieli, Canzona per sonar primi toni a 8, ed. Martin Grayson, Sep 2010, accessed Aug 2015,

International Scores Music Library Project, http://imslp.nl/imglnks/usimg/0/0c/IMSLP78103-PMLP155569-Gabrieli-Primi-Toni-Recorders-Score.pdf

21 Don Michael Randel, The Harvard Dictionary of Music, (Cambridge, MA: Belknap of Harvard UP, 2003), 618.

16

Comparing recordings served as a good resource in finding the best dynamic and

articulation solutions for clarinet. The Philadelphia Brass provides a strong balance of both

elements, which transfers successfully to clarinet performance practice.22 Although the

recordings by The London Brass and New York Brass offer solid demonstrations, both of them

lacked rhythmic energy and were much slower in tempo, therefore making articulations

unnatural and difficult on the clarinet.

Players should aim to provide length on the shorter articulations, even though it is not

marked in the score. Depending on the performance space, clarinetists will want to tailor their

articulation length accordingly. Performers will also want to make sure that they are not only

matching articulation within their “choir,” but across the stage as well. Gabrieli employs a

number of antiphonal sections, which must be executed identically (see Figure 6).

Figure 6: Antiphonal sections Gabrieli’s Canzona Primi Toni Mm. 25-28

22 Gabrieli, Canzon Primi Toni, Philadelphia Brass Ensemble, Columbia Records, OC1504, 1970.

17

The distance between the two choirs provides a challenging experience, as clarinetists

have to listen carefully from afar. The time signature also provides a unique experience for the

instrumentalists as they seldom have opportunities to read music in that meter. Writing the time

signature in 4/2 (as opposed to 4/4) provides a lighter framework for the music, by reorganizing

the strong and weak beats in each measure.

18

!

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

24

24

24

24

24

24

24

24

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet 1

Clarinet in Bb 4

Clarinet in Bb 5

Clarinet in Bb 6

Bass Clarinet 2

!Ó Ó ˙ œ œ

!!

!!!!

h = 80

h = 80

F

˙ œ œ .œ Jœn œ œ œ œ

.œ jœ œ œ œ œ œ œ œ œ œ œ˙ œ œ .œ jœ œ œ˙ œ œ ˙ ˙

!!!!

F

FF

Canzona Primi Toni Giovanni Gabrieli

(1554/7-1612)arr. Tyler Goudlock

19

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

3 œn œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ ˙ ˙ ˙

˙n w ˙˙ ˙ ˙ ˙

!!!!

.œ Jœ œ œ œn œ œ# ˙ œ

œ œ ˙ w

œ œ œ ˙ œ ˙n˙ ˙ w

!!!!

Canzona Primi Toni

20

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

5 w !

œ# ˙ œ ww !

w !

! ˙ œ œ

˙ œ œ .œ jœ œ œ œ œ! ˙ œ œ! ˙ œ œ

FF

FF

!!!!

.œ Jœn œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ ˙ ˙

.œ jœ œ œ ˙n ˙˙ ˙ ˙ ˙

Canzona Primi Toni

21

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

7 !!!!

œ œn œ œ œ œ œ œ .œ Jœ œ œ œ œ

˙ ˙ œ œ ˙

˙ ˙n œ œ œ œ˙ ˙ ˙ ˙

! ˙ œ œ!

! Ó ˙

! ˙ œ œ

œ# ˙ œ w

w œ# ˙ œœ œ ˙n ww w

F

FF

Canzona Primi Toni

22

!

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

œn œ œ œ œ œ œ w

˙ œ œ ˙n ˙

œ œ .˙ œ œn œ˙ ˙ .˙ œ

Œ œ œ œ œn œ œ œ œ œ œ

w ˙ œ œ

˙ œ œ w˙ œ œ ˙ ˙

F

A

A

˙ œ œ œ œ œ œ œn œ

w w

œ œ w ˙œ œ œ œn .˙ œœ œ œ œ œ œ œn œ œ œ

w wÓ ˙ ww Ó ˙

Canzona Primi Toni

23

!

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

11 œ œn œ œ œ œb œ œ œ œ

Ó ˙ w

.˙ œn ˙ Ó

.w ˙œ œn œ œb œ œ œ œ œ œn

w Ó ˙

˙ ˙ w.w ˙

w w

˙ ˙ ˙ ˙˙ .˙ œ œ œ œ˙ ˙ wœ œ w ˙#

˙ ˙ w

˙ ˙ w˙ ˙ w

Canzona Primi Toni

24

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

13 wn ˙ œ œ

Œ œ œ œ .œ jœ œ œ œ œ

w ˙ œ œ

w ˙ œ œw !

w !

w !

w !

.œ Jœn œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ ˙ ˙

.œ jœ œ œ ˙n ˙˙ ˙ ˙ ˙

!!!!

Canzona Primi Toni

25

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

15 œ œn œ œ œ œ œ œ .œ Jœ œ œ œ œ

˙ ˙ œ œ ˙

˙ ˙n œ œ œ œ˙ ˙ ˙ ˙

!!!!

œ# ˙ œ w

w œ# ˙ œœ œ ˙n ww w

!! ˙ œ œ

!!

Canzona Primi Toni

26

!

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

!

w !!!

˙ œ œ .œ Jœn œ œ œ œ

.œ jœ œ œ œ œ œ œ œ œ œ œ˙ œ œ .œ jœ œ œ˙ œ œ ˙ ˙

B

B

!!!!

œn œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ ˙ ˙ ˙

˙n w ˙˙ ˙ ˙ ˙

Canzona Primi Toni

27

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

19 !!!!

.œ Jœ œ œ œn œ œ# ˙ œ

œ œ ˙ w

œ œ œ ˙ œ ˙n˙ ˙ w

˙ œ œ œn œ œ œ œ œ œ! ˙ œ œÓ ˙ œ œ ˙˙ œ œ ˙ ˙

w Œ œ œ œ

œ# ˙ œ w

w ˙ œ œw ˙ œ œ

FF

FF

Canzona Primi Toni

28

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

21 w ˙ œ œ

˙n ˙ w

œ œ œn œ œ œ ˙.˙ œ œ œ œ œn

œn œ œ œ œ œ œ œ œ œ œ

˙ œ œ w

w Ó ˙˙ ˙ w

œ œ œ œ œn œ œ œ œ œ

w Ó ˙

˙ ˙ .˙ œn

.˙ œ wœ œ œn œ œ œ œ œ œ œb œ œ

w w

w ˙ ˙Ó ˙ w

Canzona Primi Toni

29

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

23 œ œ œ œ œ œ w

w ˙ ˙

˙ Ó ˙ ˙

˙ ˙ ˙ ˙œ œ œ œn œ œ ˙

Ó ˙ ˙ ˙

w ˙ ˙˙ ˙ ˙ ˙

w wn

˙ ˙ !

œ œ œ œ œ ww w˙ ˙# w

w w

w ww w

Canzona Primi Toni

30

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

œ œ œ œ œ œ œ œ œn œ œ

œ œ œ œ œ .˙ œn

œ œ œ œ œ .œ jœ œ œœ œ œ œ œ .˙ œ

!!!!

P

PPP

C

C

œn œ œ œ# œ œ w

˙ œ œ w

˙ œ œ w.œ Jœ œ œ w

!!!!

Canzona Primi Toni

31

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

27 !!!!

œ œ œ œ œ œ œ œ œn œ œ

œ œ œ œ œ .˙ œn

œ œ œ œ œ .œ jœ œ œœ œ œ œ œ .˙ œ

P

PPP

! Œ .œ Jœ œn œ œ œ

! Œ œ œ œ! Œ œ œ# œ! Œ œ œ œ

œn œ œ œ# œ œ ˙ Ó˙ œ œ ˙ Ó

˙ œ œ ˙ Ó.œ Jœ œ œ ˙ Ó

PP

PP

Canzona Primi Toni

32

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

29 œ œ œ œ ˙ Œ .œ Jœ œn œ œ œ

˙ ˙ Œ œ œ# œ

˙ ˙n Œ œ œ œ

˙ ˙ Œ œ œ œ

Œ .œ Jœ œn œ œ œ œ œ œ œ ˙

Œ œ œ œ ˙ ˙Œ œ œ# œ ˙ ˙nŒ œ œ œ ˙ ˙

œ œ œ œ œ œ œ œn œ œ˙ ˙ ˙ ˙

˙ ˙n ˙ ˙

˙ w ˙

! œ œ œ œn

Œ œ œ# œ wÓ ˙ w! w

ff

ff

f

f

ff

Canzona Primi Toni

33

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

31 œ œ ˙ œ œ œn œ

w Ó ˙.˙ œ œn œ ˙

˙ ˙ ˙ ˙

œ œ œ œ ˙ œ œ

˙ ˙ .˙n œ

w ww w

œ œ œ œ ˙ œ œn

˙ .˙ œ œ œ

˙ ˙n ww wœn œ œ œ œ œ ˙˙ ˙n w

˙ ˙ w˙ ˙ w

Canzona Primi Toni

34

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

33 œ œ œ œ œ œ œ œ œ œn ˙

w ˙ ˙Ó ˙ w˙ ˙ w

œ œn œ œ œ œ œ œ œ œ œ œ

.˙ œn w

w ˙ ˙w ˙ ˙

œ œ œ ˙ w

˙ ˙ w

˙ ˙ ww w

w ˙ ˙

w ˙ ˙

w ˙ ˙w ˙ ˙

F

FF

F

Canzona Primi Toni

35

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

35 Ó ˙ w

Ó ˙ wÓ ˙ wÓ ˙ w

w Ó ˙

w Ó ˙

w Ó ˙w Ó ˙

F

FF

F

Ó ˙ œ œ œ œ

Ó ˙ œ œ œ œÓ ˙ œ œ œ œÓ ˙ œ œ œ œ

œ œ œ œ œ œ œ œn œ œ œ œ

œ œ œ œ ˙ ˙œ œ œ œ wœ œ œ œ w

D

D

Canzona Primi Toni

36

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

37 œ œ œ œn œ œ œ œ ˙ Ó˙ ˙ ˙ Ó

w ˙ Ów ˙ Ó

w Œ œ œ œ

w Œ œ œ œ

w Œ œ œ œ

w Œ œ œ œ

Œ œ œ œ ˙ ÓŒ œ œ œ ˙ ÓŒ œ œ œ ˙ ÓŒ œ œ œ ˙ Ó

˙ Ó Œ œ œ œ

˙ Ó Œ œ œ œ

˙ Ó Œ œ œ œ˙ Ó Œ œ œ œ

Canzona Primi Toni

37

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

39 !!!!

œ .œ Jœ .œ Jœ ˙ œn˙ .œ jœ ˙ ˙

œ œ .œ jœ .œ jœ ˙œ œ ˙ ˙ ˙

Ó œ œ œn œ œ œ

Ó ˙ ˙ ˙Ó ˙n ˙ ˙Ó ˙ ˙ ˙

œ œ œn œ ˙ ˙

˙ ˙ w

˙ ˙ ˙n ˙

˙ ˙ ˙ ˙

Canzona Primi Toni

38

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

41 ˙ ˙ œ œn œ œ œ œ œ œ œ œ œ œ

.˙ œ ˙ œ œn

˙ w ˙˙ ˙ w

w Ó ˙

˙ ˙ w

w w.˙ œn w

ÍÍ

ÍÍ

Í

Í

ÍÍ

˙ ˙ ˙n ˙

œ œ ˙ w

w Ó œ œnw w

œ œn œ œ œ œ œn œ œ œ œ œ ˙ ˙

.˙ œ ˙# ˙

˙ ˙ ˙n ˙w w

Í

Í

Canzona Primi Toni

39

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

23

23

23

23

23

23

23

23

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

43 .˙ œ w#U

w wU

œ# œ ˙n wU

w wU

˙n ˙ wU

˙ ˙# wU

w wU

w wU

ff

ff

ff

ff

.˙ œ ˙

.˙ œ ˙

.˙ œ ˙

.˙ œn ˙

!!!!

h = 96

h = 96

p

ppp

E

E

Canzona Primi Toni

40

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

45 .œn Jœ œ œ ˙

.˙ œ ˙

.œ jœ œ œ œ œ

.˙ œ œ œ

!!!!

.œ# Jœ œn œ œ œ

.˙ œ ˙

.œn jœ œ ˙ œ

.˙ œ ˙n

!!!!

Canzona Primi Toni

41

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

47 .œ# Jœ œ œn ˙n

.˙ œ ˙#

.œ jœn œ œ ˙

.˙ œ ˙

!!!!

w Ów Ó

w Ó

w Ó

.˙# œ ˙

.˙ œ ˙

.˙ œ ˙

.˙ œ ˙n

p

pp

p

Canzona Primi Toni

42

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

49 !!!!

.œn Jœ œ œ ˙

.˙ œ ˙

.œ jœ œ œ œ œ

.˙ œ œ œ

!!!!


.˙ œ ˙

.œn jœ œ# ˙ œ

.˙ œ ˙n

Canzona Primi Toni

43

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

22

22

22

22

22

22

22

22

24

24

24

24

24

24

24

24

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

51 !!!!

.œ# Jœ œ œn ˙n

.˙ œ ˙#

.œ jœn œ œ ˙

.˙ œ ˙

!!

Ó ˙!

w#

w

w

w

f

Canzona Primi Toni

44

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

24

24

24

24

24

24

24

24

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

˙ œ œ œ .œ œ œ œ œ˙ œ œ ˙ ˙

œ œ w Œ œ

˙ œ œ w˙ œ œ wn

˙ œ œ w

˙ œ œ w˙ œ œ œ œ œ œ

f

f

f

f

fff

F

F

˙ ˙ Œ .œ œ œ œ œ

˙ ˙ .œ jœn .œ jœœ œ ˙ Œ œ œ œŒ œ œ œ ˙ Œ œ

Œ .œ œ œn œ œ ˙ ˙

˙ ˙ ˙ ˙

w ˙ ˙w Œ œ œ œ

Canzona Primi Toni

45

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

55 ˙ ˙ Œ .œ œ œ œ œ

˙ .˙ œ ˙

˙ œ œ ˙ ˙œ œ ˙ Ó ˙

Œ .œ œ œ œ œ œ œ œ œ ˙

˙ ˙ w

˙ ˙ ˙ ˙.˙ œ ˙ ˙n

œ œ œ œ ˙ w

˙ ˙ ˙ ˙Ó ˙ w˙ ˙ w˙ w ˙#

˙ ˙ w

˙ ˙ w

˙ ˙ w

Canzona Primi Toni

46

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

57 w œ œ œn œ

˙ .˙ œ œn œ

wn ˙ ˙

w ww Ó œ œ

w ˙n ˙w Ó ˙w Ó ˙

F

FFF

FFFF

˙ ˙n w

˙ ˙ ˙ ˙

˙n ˙ w˙ ˙ .˙ œnœn œ œ œ ˙ ˙

˙ ˙ .˙ œ˙ w ˙˙ ˙ ˙ ˙

Canzona Primi Toni

47

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

22

22

22

22

22

22

22

22

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

59 Ó ˙ œ œn œ œ œ œ œ œ œ œ œ œ

w .˙ œ

w ˙ ˙w wœ œn œ œ œ œ œ œ œ œ œ œ ˙ ˙

˙ œ œn œ œ ˙

˙ ˙ ww w

˙ ˙ ˙n ˙

˙# w ˙

˙n ˙ ww w˙n ˙ .˙ œ

˙ ˙ w

˙ œ œn œ# œ ˙nw w

Canzona Primi Toni

48

&&&&

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bb

bb

bb

bb

bb

bb

bb

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22

22

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23

23

23

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

61 wU

wU

wU

wU

w#U

wU

wU

wU

ff

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!!!!

.˙ œ ˙

.˙ œ ˙

.˙ œ ˙

.˙ œn ˙

h = 96

h = 96

p

ppp

G

G

Canzona Primi Toni

49

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bb

bb

bb

bb

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bb

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

63 !!!!

.œn Jœ œ œ ˙

.˙ œ ˙

.œ jœ œ œ œ œ

.˙ œ œ œ

!!!!


.˙ œ ˙

.œn jœ œ# ˙ œ

.˙ œ ˙n

Canzona Primi Toni

50

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bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

65 !!!!

.œ# Jœ œ œn ˙n

.˙ œ ˙#

.œ jœn œ œ ˙

.˙ œ ˙

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.˙ œ ˙

.˙ œ ˙

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w Ów Ó

w Ó

w Ó

p

pp

p

Canzona Primi Toni

51

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&&&&

bb

bb

bb

bb

bb

bb

bb

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

67 .œn Jœ œ œ ˙

.˙ œ ˙

.œ jœ œ œ œ œ

.˙ œ œ œ

!!!!


.˙ œ ˙

.œn jœ œ# ˙ œ

.˙ œ ˙n

!!!!

Canzona Primi Toni

52

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

24

24

24

24

24

24

24

24

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Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

69 .œ# Jœ œ œn ˙n

.˙ œ ˙#

.œ jœn œ œ ˙

.˙ œ ˙

!!!!

w# ˙ œ œ

w ˙ œ œ

w ˙ œ œw ˙ œ œ

! ˙ œ œ

! ˙ œ œÓ ˙ œ œ ˙! ˙ œ œ

a tempo

a tempo

F

FFF

F

FF

F

H

H

Canzona Primi Toni

53

&&&&

&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

71 wn Œ .œ œ œ œ œ

w ˙ ˙

w wœ œ œ œ w

œ .œ œ œ œ œ ˙ ˙

˙ ˙ ˙ ˙

˙ Œ œ œ œ ˙w Œ œ œ œ

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˙ ˙ ˙ ˙

˙ ˙ ˙ ˙Œ œ œ œ .˙ œ

Œ .œ œ œ œ œ ˙ ˙

.œ jœn .œ jœ ˙ ˙bŒ œ œ œ ˙ œ œ˙ Œ œ œ œ ˙

Canzona Primi Toni

54

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bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

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Bb Cl. 6

B. Cl. 2

73 œ œ œ œ ˙ ˙ ˙

w ˙ ˙

˙ ˙ ˙ ˙

˙ ˙n ˙ ˙Œ .œ œ œ œ œ œ œ œ œ ˙

œ œ ˙ w

˙ ˙ Ó ˙Ó ˙ ˙ ˙

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w w

w ww ww ˙ ˙

˙ ˙ ˙ ˙

w ˙n ˙w ˙ ˙

ff

ff

Canzona Primi Toni

55

!

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&&&&

bb

bb

bb

bb

bb

bb

bb

bb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl. 1

Bb Cl. 4

Bb Cl. 5

Bb Cl. 6

B. Cl. 2

75 Ó ˙ œ œ œ œ œ œ œ œ

˙ œ œ ˙ ˙Ó ˙ œ œ ˙Ó ˙ œ œ ˙nœ œ œ œ œ œ œ œ ˙ ˙

œ œ w ˙

œ œ œ œ wœ œ ˙n ˙ ˙

rit. al fine

rit. al fine

ff

ff

œ œ œ œ .œ Jœ œ œ œ œ

˙ ˙ ˙ œn œ

˙ ˙ œ œ œ œ œ œw ˙ ˙˙ œ œ œ œ .œ Jœ ˙

.œ jœ .œ jœ ˙ ˙

w ww w

Canzona Primi Toni

56

!

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&&&&

bb

bb

bb

bb

bb

bb

bb

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

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Bb Cl. 5

Bb Cl. 6

B. Cl. 2

77 W

Wn

WW

W

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w wW

ƒƒ

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Canzona Primi Toni

57

John Dowland: The Earl of Essex Galliard

John Dowland (1563-1626) was an important English composer, singer, and lutenist. The

lute was one of the most prevalent string instruments during the Renaissance and Dowland

contributed to its popularization, with his compositions and performances on the instrument. His

works displayed a variety of moods, ranging from lively to melancholy. His output of over 80

pieces of solo lute music made the instrument accessible and a common choice for amateur

musicians.23

The Earl of Essex Galliard is from Dowland’s The First Book of Ayres (1597). This

book contains a large number of dance songs with eight out of twenty-one categorized as

galliards in triple meter. Popular practice for composers during this time was to write music in

dance pairs. A galliard was often paired behind a slower pavanne dance, providing contrast

between the two styles.24 The galliard is a lively form of early dance that contains five steps over

the duration of six beats. It is characterized by a series of leaps and hops, alternating between

each leg.25 This dance usually consisted of three repeated sections comprising of four, eight, or

twelve measures. This specific galliard follows the format of eight measures in each repeated

section.

The arrangement calls for four B♭ Clarinets and one B♭ Bass Clarinet, based on the

original number of parts. A recording made by The Royal Wind Music inspired the project.26 The

Earl of Essex Galliard follows the form of three repeated sections (AABBCC), and the players

from the recording usually decorate the melodic line when repeated. The group uses lower

23 David Nadal, Lute Songs of John Dowland, (Mineola, NY: Dover Publications, 1997), 116. 24 Jackson,160-161. 25 Ibid. 26 Dowland, The Earle of Essex Galliard, The Royal Wind Music, Lindoro, MPC-0119, 2009.

58

mordents to enhance the melody, a common practice during this period. The Rose Consort of

Viols and Julian Bream’s recordings offer different interpretations of the dance in terms of

instrumentation and style. One version is for solo lute, and the other for a viol consort. Tempi in

these recordings are slower, resembling more of an andante speed throughout the piece. The

tempo of this galliard should be moderately fast because these dances are typically quick.27

However, the counterpoint should not be performed rapidly, as the beauty of Dowland’s weaving

rhythms and syncopations would be lost (see Figure 7).

Figure 7: Weaving rhythms Dowland Earl of Essex Galliard Mm. 9-16

The ornamentations and runs in the performance are completely improvisatory and not

notated in the score, and I have adapted them here for clarinets.28 Performers must execute the

upper mordents using a quick alternation between the given note, moving up to the note above,

and back down to the original note before proceeding (see Figures 8 and 9).

27 Gerald Brennan and Chris Woodstra, 383. 28 Dowland, John, The Earl of Essex Galliard, ed. Ulrich Alpers, April 2012, accessed Dec 2014, International

Scores Music Library Project, http://imslp.nl/imglnks/usimg/e/e7/IMSLP205078-WIMA.9e87-lp_12_earle_of_essex_galiard.pdf.

59

Figure 8: Notated upper mordent Dowland Earl of Essex Galliard Mm. 5-8

Figure 9: Notated upper mordent Dowland Earl of Essex Galliard Mm. 22-24

The improvisatory material of the melodic lines was achieved by rhythmic and aural dictation

from the recording. A variation on a dance theme was a common practice among musicians

during this time. Another unique part about this period is that performers can decorate the line as

long as it fits the harmonic material, creating an abundance of variety. One can easily refresh the

line by adding scale-like runs and adding parallel thirds for harmonic support (see figure 10 and

11). This work provides an opportunity for the consort to practice modal improvisation. The

recordings made by The Rose Consort of Viols and Julian Bream also provide additional ideas

for improvised material.

60

Figure 10: Undecorated melodic and harmonic line Dowland Earl of Essex Galliard Mm. 1-4

Figure 11: Decorated melodic and harmonic line Dowland Earl of Essex Galliard Mm. 1-4

61

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43

43

43

43

43

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Clarinet in Bb 4

Bass Clarinet

.œ œ œ œ œ

œ .œ œ œ œ

œ œ œ

.œ jœ œœ .œ jœ

ff

f

ff

Moderato {q = c 108} .œ Jœb œ.œ Jœ œ

œ œ œ œ

.œ œ œ œ

.˙

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Bb Cl. 2

Bb Cl. 3

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B. Cl.

5 œ Jœ œb Jœ

œ Jœ œ jœ

œ jœ œ jœ

œ jœ œ jœœ jœ œ jœ

FF

F

FF

.œ Jœ œ œ œ

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œ œ œb

.œ jœ œ˙ œb

œ œ œm

œ œ.œ œ# œ œ

œ Œ œ

œ œ œœ ˙

.˙

.˙

œ œ œ œ œn.˙

.˙

The Earl of Essex GalliardJohn Dowland

(1563-1626)arr. Tyler Goudlock

62

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.œ jœ œ œ

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13 œ Jœ œb Jœ

œ Jœ œ jœ

œ jœ œ jœ


FF

F

FF

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.œ œ œ œ œjœ œ jœ œb œ

œ .œ œb œ œ œ œ œ˙ œ

œ ˙

jœ œ Jœ œjœ œ jœ œ

œ œ œœ ˙b

.˙#

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The Earl of Essex Galliard

63

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21 ˙ œ

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F

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œnm ˙.˙

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.˙


64

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

.œ œ œ œ œ

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œ œ œ


ff

f

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C .œ Jœb œ.œ Jœ œ

œ œ œ œ

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.˙

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.œ jœ œ


.˙

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

29 œ Jœ œb Jœ

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œ jœ œ jœ


FF

F

FF

.œ Jœ œ œ œ

.œ jœ œ

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œ œ œ œm œ.œ œ# œ œ

œ Œ œ

œ œ œœ ˙

.˙

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.˙


65

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

.œ œ œ œ œ œ œ

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œ œ œ


ff

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D .œ œ œ œb œ.œ œ œ œ œ

œ œ œ œ

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.˙

œ œ œb œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ

.œ jœ œ


.œ œ œ œ œ œ œ

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.˙

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

37 .œ œb œ .œ œ œ

œ Jœ œ jœ

œ jœ œ jœ


FF

F

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Jœ œ Jœ œ œ œ.œ jœ œ

œ œ œb

.œ jœ œ˙ œb

œ œ œm œ œ.œ œ# œ œ

œ Œ œ

œ œ œœ ˙

.˙

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66

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

41 ˙ œ


.œ œ œ .œ jœ

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.œ jœ œ œ

PP

P

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.œ Jœ œ œ

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œ œ œb

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.˙

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

45 œ Jœ œb Jœ

œ Jœ œ jœ

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FF

F

FF

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œ ˙


œ œ œœ ˙b

.˙#

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67

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

49 ˙ œ


.œ œ œ .œ jœ

.œ# œ œ œ œ

.œ jœ œ œ

PP

P

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œ œ œb

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.˙

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

53 .œ œb œ .œ œ œ

œ Jœ œ jœ

œ jœ œ jœ


F

F

FF

Fœ œ œ œ œb œ œ œ œ œ œ



Jœ ˙ œ œ


œ œ œœ ˙b

.˙#

.˙

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68

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

57 ˙ œ

.œ œ jœ œ jœ

.œ .œ œ œŒ ‰ .œ œ œ˙ œ

p

pp

pp

˙ œ

œ jœ œ jœ

˙ œ

œ jœ œ jœ˙ œ

˙ œ

.œ œ jœ œ jœ

˙ œ

.œ .œ œ œ˙ œ

˙ œ

œ Jœ œ jœ

˙ ‰ jœœ jœ œ jœ˙ œ

&&&&&

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

61 ˙ œ

.œ# œ œ œ œ œ

jœ œ œ jœ

.œ œ œ# œ œ˙ œ

˙ œ.œ œ œ œ œ

œ# .œ œ œ œ

œ jœ œ jœ#˙ œ

.œn œ œ œ œ œ

œ jœ œ jœ#

.œ œ jœ

.œ jœ œ

.œ œ œn œ œ

FF

F

F

F

œnm ˙.˙

œ œn œ.˙

.˙


69

Michael Praetorius: Dances from Terpsichore: “Bransle de Villages”

Michael Praetorius (1571-1621) was a brilliant German organist, composer, and music

theorist. He flourished in the early Baroque era, but his compositional roots were grounded in the

high Renaissance. His three volumes of Syntagma Musicum are valuable resources for both

composers and performers. They provide insight on performance practice issues of the late 16th

and early 17th centuries. In the volumes, he also discusses the role of music in the church,

principles of instrumentation and performance practice terminology.29 Praetorius was also a

versatile composer, excelling in both sacred and secular dance music. Dances from Terpsichore

is an expansive 312-piece collection, and also a great representation of Renaissance consort

music.

In the early 17th century, it was not uncommon to see dance music written out with only

the melodic line. It was sometimes left up to the recipients to compose a bass line and inner

parts. Evidence of this practice is confirmed by Praetorius’s Terpsichore collection.30 French

bransles, dances, and melodies were supplied by French dance master Anthoine Emeraud in

1612.31 Emeraud is responsible for most of the melodic content in the collection, but Praetorius

contributed the harmonic content and progressions. His arrangements were intended primarily

for string voices, in different combinations of four, five, and six parts. “Bransle de Villages” is

the fourteenth dance out of the collection. Instrumentation is not specified in the original score,

29 Jeffery Kite-Powell and Michael Praetorius. Syntagma Musicum III. Vol. 3, (New York: Oxford UP, 2004). 30 Michael Robertson. The Courtly Consort Suite in German-speaking Europe 1650-1706, (Farnham, England:

Ashgate, 2009), 39. 31 Ibid.

70

but it does include five staves.32 These staves illustrate parts for a cantus, altus, tenor, quintus,

and bassus in the score.

In the arrangement, a B♭ consort is used: six B♭ Clarinet parts, one B♭ Bass Clarinet part,

and a B♭ Contrabass part. This decision is based off the number of instruments in The New

London Consort’s recording. “Bransle de Villages,” meaning dance of the peasants, is only one

of many bransle in the collection33. A bransle is a French Renaissance dance form from the term

bransler, which means tremble, stir or move.34 The movement in this dance is not as vigorous as

with galliards and courantes, and movement is only in the knees, and without jumps.35 Knowing

that the piece is a dance movement helps provide a guideline for style, making it easier to derive

articulation patterns. Clarity, roundness, and tone are most important for articulation, which is

why none exist in the arrangement, except slur markings. The quarter notes should be played

lightly, buoyantly and separated at all times. The half notes should be played long, but also with

separation and slight decay, in order to imitate the correct style (see Figure 12). This is a visual

articulated demonstration of both long and shorter notes.

32 Praetorius, Musarum Aoniarum Terpsichore: XIV Bransle de Villages, ed. Nicolas Sansarlat, Dec 2010, Accessed

Dec 2014. International Scores Music Library Project, http://ks.imslp.info/files/imglnks/usimg/5/59/IMSLP86283-PMLP176492-Bransle_de_Villages.pdf.

33 Jeffery Kite-Powell and Michael Praetorius, 37. 34 Jackson, 160-161. 35 Jeffery Kite-Powell and Michael Praetorius, 42.

71

Figure 12: Realization of articulation Praetorius Dances from Terpsichore “Bransle de Villages” Mm. 1-4

The New London Consort’s recording of this work captures the spirit of Renaissance

dance music.36 Comparing several recordings also influenced additions of dynamic markings, as

the group was primarily loud in all sections. The added slur markings are abundant in all parts,

serving as idiomatic tools for clarinetists in order to help with the energy of the dance (see Figure

13).

Figure 13: Original notation with slur markings Praetorius Dances from Terpsichore “Bransle de Villages” Mm. 1-4

Another unique element about the recording is that the independent dance numbers were

connected together without any pauses. The decision to play the dance numbers attacca was

36 Praetorius, Dances from Terpsichore: Bransles de Villages, New London Consort, De L'Oiseau-Lyre 448 559-2,

1996.

72

specifically based off this recording because the group highlighted the busier, more interesting

sections of the movement. In the recording made by Musica Antiqua de Toulon, the group pauses

briefly in between the different dance numbers. This interpretation would be appropriate for

early courtly dances, as dancers would have time to catch their breath before proceeding with the

next number.

Praetorius’ version of “Bransle de Villages” is composed of six repeated sections which

vary in length and style. The New London Consort omits only the second and sixth sections,

repeating the other four sections each time. These performance reasons are unknown, but

perhaps to replace redundancy with contrast. However, The Parley of Instruments’ recording

contains percussion in the sections that The New London Consort leaves out. Percussion is not

scored in the IMSLP arrangement, but could be used to strengthen the sections that lack variety.

From a dancer’s perspective, one could also argue that the sections were left out in order to make

the dance easier. The addition of the B♭ Contrabass Clarinet is used primarily to reinforce the

bass line when the sections are repeated. It is imitating exactly what the string bass does in

recording, adding more texture and color to the piece.37

The third number of the dance was the hardest to arrange because the recording did not

follow the score on IMSLP. This section is a mixture of the notated score and The New London

Consort’s recording. The group’s interpretation offers the most variety and textural contrast in

comparison to the other recordings. Their melodic content is improvisatory off of harmonic

accompaniment, which is entirely made up of perfect-fifth pedals (see Figure 14). Pedals or

“drones” provided a foundation for the melody, a common practice in the second half of the 15th

37 Ibid.

73

century and throughout the 16th century.38 Also, note the metric modulation symbol for this

dance number. This change is not found in the IMSLP score and was used primarily for stylistic

contrast.

Figure 14: Third dance number with drones Praetorius Dances from Terpsichore “Bransle de Villages” Mm. 54-57

38 Jeffery-Kite Powell A Performer's Guide to Renaissance Music, (Bloomington, IN: Indiana UP, 2007), 96.

74

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#####

44

44

44

44

44

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..

..

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Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Clarinet in Bb 4

Bass Clarinet

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

4 ˙ œ œ

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œ œ œ œ

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Bransle de VillagesMichael Praetorius


(Bb Contra 2x)

(No. 1)

75

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#####

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..

..

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..

..

..

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

8 ˙ œ œ

˙ œ œ

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#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

12 œ œ œ œ œ œ

œ œ ˙œ œ ˙

.œ jœ ˙œ œ ˙

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Bransle de Villages

1. 2.

(Bb Contra 2x)

(small consort 1x/tutti 2x)

76

&&&&&

#####

..

..

..

..

..

..

..

..

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

16 œ œ œ œ œ

œ œ œ œ

œ œ œ œ


˙ œ œ œ

˙ œ Œ

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œ œ œ œ˙ œ œ

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B

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#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

20 .œ Jœ œ œ œ

˙ ˙˙ ˙

˙ ˙˙ ˙

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˙ œ œ

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œ œ œ œ

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Bransle de Villages

1. 2.

(+ Bb Contra)

(large consort)

77

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

24 .œ Jœ œ œ œ

˙ ˙˙ ˙

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F

FF

œ œ œ œ

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C

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.


œ œ œ œ œ œ

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˙ œ œ

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Bransle de Villages

78

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

32 œ œ œ œ œ

œ œ œ œ œ œ.˙ œ

.œ jœ œ œ

.˙ œ œ

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˙ œ Œ

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œ œ œ Œ

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wU

wU

wU

wU

wU

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#####

..

..

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

˙ œ œ

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œ œ œ œ œ œ œwww

q = q

PP

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œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ


Bransle de Villages

(No. 3)

(Bb Contra 2x)


79

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#####

..

..

..

..

..

..

..

..

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24

24

24

24

24

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

40 œ œ œ œ

œ œ œ œ œ œ œ œ œ


œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ


œ œ œ œ





&&&&&

#####

24

24

24

24

24

..

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ œ œ

˙ ˙ œ œ ˙

˙ ˙ œ œ ˙˙ ˙ ˙ ˙

q = h

FF

F

FF

E

œ œ œ œ œ œ œ œ œ œ ˙œ œ œœ œ œ œ œ œ œ ˙˙ ˙ œ œ ˙

˙ ˙ œ œ ˙˙ ˙ œ œ ˙˙ ˙ œ œ ˙

œ œ œ œ œ œ ˙ ˙œ œ œ œ œ œ ˙ ˙˙ œ œ œ ˙ ˙

.œ jœ ˙ ˙ ˙

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˙ ˙ œ œ ˙

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œ œ ˙ œ œ ˙˙ ˙ œ œ ˙

Bransle de Villages

(No. 4)

(Bb Contra 2x)

(small consort1x/tutti 2x)

80

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

48 œ œ œ œ œ œ œ œn ˙œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ ˙

œ œ œ ˙ œ ˙#˙ œ œ œ œ ˙œ œ œ œ œ œ ˙

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œ œ œ ˙ œ œ ˙œ œ œ ˙ œ œ ˙˙ ˙ œ œ ˙˙ ˙ œ œ ˙

˙ ˙ œ œ ˙˙ ˙ ˙ ˙

œ œ œ œ œ ˙ ˙œ œ œ œ œ ˙ ˙œ œ œ œ œ œ ˙œ œ œ œ œ œ œ ˙˙ œ œ œ œ ˙œ œ œ œ ˙ ˙

&&&&&

#####

..

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..

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44

44

44

44

44

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

52 œ œ œ ˙ œ œ ˙œ œ œ ˙ œ œ ˙œ œ ˙ œ œ ˙˙ ˙ œ œ ˙

œ œ œ œ œ œ œ ˙˙ ˙ ˙ ˙

œ œ œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ œ ˙œ œ œ œ ˙ ˙œ œ œ œ ˙ ˙˙ œ œ œ œ ˙œ œ œ œ ˙ ˙

˙ œ œ

w


PP

PPP

q = qF

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ


Bransle de Villages

(No. 5)

(Bb Contra 2x)


81

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.




œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ


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#####

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

60 œ œ œ œ





œ œ ˙wœ œ ˙

œ œ ˙

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h = q

F

F

F

FF

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˙ .œ jœwœ ˙ œœ œ ˙

˙ ˙˙ ˙

Bransle de Villages

(Bb Contra 2x)


82

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

64 œ œ œ œ œw˙ œ œ

˙ œ œ

.˙ œ˙ œ œ

˙ œ œ œw

˙ ˙

œ œ ˙œ œ ˙˙ ˙

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œ œ œ .œ jœwœ ˙ œ˙ œ œ

˙ ˙˙ ˙

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

68 œ œ œ œ œw˙ œ œ

˙ œ œ

.˙ œ˙ œ œ

˙ œ œ œw

˙ ˙

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œ œ œ œœ œ ˙

H

˙ ˙w˙# œ œ˙ ˙

.˙ œ

˙ ˙

Bransle de Villages

83

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

72 œ œ œn œwœ œ œ œ

œ œ œ œ

œ œ œ œœ œ œn œ

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œ œ œ ˙w˙# œ œ

˙ ˙

˙ œ œ

˙ ˙

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

76 œ œ œn œwœ œ œ œ

œ œ œ œ


.œ œ œ .œ jœwœ œ ˙œ œ ˙

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Bransle de Villages

84

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

80 œ œ .œ œ œw.œ jœ .œ œ œ

œ œ ˙

.˙ œ˙ œ œ

˙ ˙wœ œ ˙œ œ ˙

˙ ˙˙ ˙

œ œ ˙wœ œ ˙

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œ œ œ .œ jœw˙ ˙

˙ ˙

œ œ# ˙˙ ˙

&&&&&

#####

..

..

..

..

..

..

..

..

..

24

24

24

24

24

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

84 œ œ œ œ œwœ œ œ œ œœ œ œ œ

.˙ œ˙ œ œ

˙ ˙wœ œ ˙

˙ ˙

˙ ˙˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ œ œ

˙ ˙ œ œ ˙

˙ ˙ œ œ ˙˙ ˙ ˙ ˙

h = qJ

ff

f

ff

œ œ œ œ œ œ œ œ œ œ ˙œ œ œœ œ œ œ œ œ œ ˙˙ ˙ œ œ ˙

˙ ˙ œ œ ˙˙ ˙ œ œ ˙˙ ˙ œ œ ˙

Bransle de Villages

(+ Bb Contra)

85

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

88 œ œ œ œ œ œ ˙ ˙œ œ œ œ œ œ ˙ ˙˙ œ œ œ ˙ ˙

.œ jœ ˙ ˙ ˙

œ œ ˙ ˙ ˙˙ ˙ ˙ ˙

œ œ œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ œ œ ˙

˙ ˙ œ œ ˙

˙ ˙ œ œ ˙

œ œ ˙ œ œ ˙˙ ˙ œ œ ˙

œ œ œ œ œ œ œ œn ˙œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ ˙

œ œ œ ˙ œ ˙#˙ œ œ œ œ ˙œ œ œ œ œ œ ˙

˙ ˙ ˙ ˙˙ ˙ ˙ ˙

˙ ˙ œ œ ˙

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙ ˙

&&&&&

#####

44

44

44

44

44

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

92 œ œ œ ˙ œ œ ˙œ œ œ ˙ œ œ ˙˙ ˙ œ œ ˙˙ ˙ œ œ ˙

˙ ˙ œ œ ˙˙ ˙ ˙ ˙

œ œ œ œ œ ˙ ˙œ œ œ œ œ ˙ ˙œ œ œ œ œ œ ˙œ œ œ œ œ œ œ ˙˙ œ œ œ œ ˙œ œ œ œ ˙ ˙

œ œ œ ˙ œ œ ˙œ œ œ ˙ œ œ ˙œ œ ˙ œ œ ˙˙ ˙ œ œ ˙

œ œ œ œ œ œ œ ˙˙ ˙ ˙ ˙

œ œ œ œ œ œ œ œ œ œ ˙œ œ œ œ œ œ œ ˙œ œ œ œ ˙ ˙œ œ œ œ ˙ ˙˙ œ œ œ œ ˙œ œ œ œ ˙ ˙

Bransle de Villages

86

&&&&&

#####

44

44

44

44

44

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

œ œ ˙wœ œ ˙

œ œ ˙

œ œ ˙œ œ ˙

h = qK ˙ .œ jœwœ ˙ œœ œ ˙

˙ ˙˙ ˙

œ œ œ œ œw˙ œ œ

˙ œ œ

.˙ œ˙ œ œ

˙ œ œ œw

˙ ˙

œ œ ˙œ œ ˙˙ ˙

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

100 œ œ ˙wœ œ ˙

œ œ ˙

œ œ ˙œ œ ˙

œ œ œ .œ jœwœ ˙ œ˙ œ œ

˙ ˙˙ ˙

œ œ œ œ œw˙ œ œ

˙ œ œ

.˙ œ˙ œ œ

˙ œ œ œw

˙ ˙

œ œ ˙œ œ ˙˙ ˙

Bransle de Villages

(- Bb Contra)

87

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

œ œ ˙wœ œ ˙

œ œ ˙

œ œ œ œœ œ ˙

L

˙ ˙w˙# œ œ˙ ˙

.˙ œ

˙ ˙

œ œ œn œwœ œ œ œ

œ œ œ œ


œ œ œ œ œ œwœ œ œ ˙

˙ ˙

œ œ .œ jœ˙ ˙

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

108 œ œ œ œ œ œwœ œ ˙

œ œ œ œ

œ œ œ œ œ œ

˙ ˙

œ œ œ ˙w˙# œ œ

˙ ˙

˙ œ œ

˙ ˙

œ œ œn œwœ œ œ œ

œ œ œ œ


.œ œ œ .œ jœwœ œ ˙œ œ ˙

˙ ˙˙ ˙

Bransle de Villages

(+ Bb Contra)

88

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

œ œ ˙wœ œ ˙

œ œ ˙

œ œ ˙œ œ ˙

M

˙ .œ jœw˙ ˙

˙ ˙

œ œ# ˙˙ ˙

œ œ .œ œ œw.œ jœ .œ œ œ

œ œ ˙

.˙ œ˙ œ œ

˙ ˙wœ œ ˙œ œ ˙

˙ ˙˙ ˙

&&&&&

#####

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

116 œ œ ˙wœ œ ˙

œ œ ˙

œ œ ˙œ œ ˙

˙ .œ jœw˙ ˙

˙ ˙

œ œ# ˙˙ ˙

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Bransle de Villages

89

Salamone Rossi: Sonata Settima Sopra L’Aria D’un Balletto

Salamone Rossi (1570-1630) was an important Italian composer in the later part of the

Renaissance. Composers during this time were shifting their works around smaller groups and

combinations of instruments, writing more duos and trios. String instruments were the favorite

and most popular among composers. The sonata da chiesa and sonata da camera, also known as

church sonatas and chamber sonatas, were the most prominent genres at this time. Certain types

of events or occasions called for either sacred or secular music, and sometimes they were

interchangeable. Rossi produced three volumes of instrumental music for both small and large-

scale ensembles. The treble-bass duo with continuo (trio sonata) served as the most popular

instrumentation.

Sonata Settima Sopra L’Aria di un Balletto is the seventh sonata in Rossi’s Fourth Book

dating back to 1622.39 This sonata consists of four different variations on a sixteen-bar theme in

G minor (see figure 15). The first eight measures of each variation are based on two repeated

four-bar phrases, and the last eight measures follow the exact format (AABB).

Figure 15: First half of sixteen-bar theme (AA) Rossi’s Sonata Settimi Sopra L’Aria di un Balletto Mm. 1-8

39Don Harrán, Salamone Rossi: Jewish Musician in Late Renaissance Mantua, (Oxford, New York: UP, 1999), 134.

90

Figure 16: Second half of sixteen-bar theme (BB) Rossi’s Sonata Settimi Sopra L’Aria di un Balletto Mm 9-16

The theme is derived from an unidentified balletto and ornamented in the top voice.40 The term

balletto refers to a lighter dance, a popular vocal-instrumental type from the late 16th century.41

The title of the original publication, Il quarto libro de varie sonate, sinfonie…per sonar due

violini et un chitarrone (The Fourth Book of Various Sonata and Sinfonia for Two Violins and

Chitarrone), suggests the use of string instruments, as well as the basso continuo instrument, but

are not specified elsewhere. The scoring of the upper voices maps out very well for two violins.

A common instrument for the basso continuo line was a theorbo (chitarrone), as suggested in the

title of publication. Since the parts in the IMSLP score have few pauses in the line or changes in

texture, wind instruments probably were not the preferred choice in practice.42

The arrangement provided calls for three B♭ Clarinets and one B♭ Bass Clarinet. Two

B♭ Clarinet parts carry out the role of the upper treble instruments, while the other B♭ Clarinet

and B♭ Bass Clarinet fill in the voices of the basso continuo. In the IMSLP score, both the

harmonic content and figured bass are provided, showing the places where the continuo was 40 Ibid., 197. 41 Ibid., 196. 42 Rossi, Sonata Settima Sopra L’Aria di un Balletto, Edited by Christoph Lahme, 2011, Accessed April 2016. International Scores Music Library Project, http://ks.imslp.info/files/imglnks/usimg/b/be/IMSLP103828-PMLP212174-Rossi__Salamone__Il_quarto_libro_de_varie_sonate__SonSettima__CS.pdf.

91

realized.43 Since the bass line is made up of the same sixteen-bar chord scheme, the figured bass

markings were found in similar parts in the score. The third B♭ Clarinet’s part fills in the

missing chord members, eliminating the need for figured bass notation in my score.

The continuity of the piece is unchanged, leaving no breaks or pauses in any of the parts.

This type of music was ideal for dramatic productions (unstaged) or for simple court

entertainment in the late Renaissance.44 The Montreal Baroque’s recording serves as a good

reference for style, tempo, and articulation.45 Some of the ornamentation choices in the score

were derived particularly from this recording, but vary in different measures in other

performances. This reinforces the fact that musicians were free to improvise, with intentions of

refreshing the repeated chord scheme. The mordents are to be played starting from the specified

note, to the upper note, before returning to the original (see Figures 17 and 18).

Figure 17: Notated lower mordent Rossi’s Sonata Settimi Sopra L’Aria di un Balletto Mm. 1-4

If performers are interested in inserting embellishments to the melody and basso continuo, Rossi

and His Circle’s recording provides appropriate additions in the music.46

43 Ibid. 44 Harrán, 197. 45 Rossi, Sonata Settima Sopra L’Aria di un Balletto, Montreal Baroque, ATMA Classique ACD22598, 2009. 46 Rossi, Sonata Settima Sopra L’Aria di un Balletto, Rossi and His Circle, Dorian Sono Luminus DOR-93184,

2010.

92

Figure 18: Notated lower mordent Rossi’s Sonata Settimi Sopra L’Aria di un Balletto Mm. 9-12

This piece is meant to sound improvisatory as the tune is taken through variations, so clarinetists

should feel free to add ornamentation. If interested in performing this work with more freedom in

the upper parts, Profeti Della Quinta’s recording provides several ideas on ways to improvise

one the melodic line.47 This small chamber piece provides an opportunity to explore an early

sonata, as well as work together in a duo/trio texture.

47 Rossi, Sonata Settima Sopra L’Aria di un Balletto, Profeti Della Quinta, Pan Classics PC10214, 2008.

93

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Sonata Settima Sopra L'Aria di un Balletto

Salamone Rossi (1570-1630)(arr.) Tyler Goudlock

(1 on a part)

94

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96

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97

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98

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36 ww

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Variation 2

99

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39 œ œ œ œ Jœ œ Jœ#

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42 œ .œ Jœ œ œ

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100

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45 œ œ œ œ œ

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48 ww

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101

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51 œ œ œ œ œ œ œ# œ œm

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54 œ ˙ œ œ

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102

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57 œ œ œ œ œ œ œ œ

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60 œ œ œ œ œ œ œ œ œ œ œ œ


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103

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104

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71

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105

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106

Jean-Baptiste Lully: “Passacaille” from Armide

Jean-Baptiste Lully (1632-1687) was a prominent composer of French Baroque music.

He was most known for his works for opera, ballet and other dance music in the late 17th

century. Lully was also praised for his contributions toward developing French stylistic devices

called “overdotting” and “notes inégales.”48 Both are rhythmic compositional tools that alter the

written notation. Overdotting extends the length of a normally dotted note and reduces the

following note.49 Notes inégales implies the dotted notation when there is none, particularly on

eighth notes (see Figure 19). Proper realization of eighth notes can be treated as a long-short

subdivision of triplets. The rests were used to illustrate space between the eighth notes. Of his

dance music, his “Passcacaille” from Armide is one of the more popular pieces and reflective of

his French Baroque music.

Figure 19: Performance practice for notes inégales Lully “Passacaille” from Armide Mm. 77-80

Passacaille is a French form of dance music composed of continuous variations over a

repeated bass line. These dances are always in triple meter, a moderately lively tempo, and put

emphasis on beat one in each measure. Phrases are usually only four measures in length and

often begin on the second beat of a measure. Lully often employed these forms in his grand

48 Jackson, 293. 49 Ibid.

107

ballet scenes.50 The “Passacaille” from Armide is found in the fifth act of the opera and is a long

instrumental dance number. The tempo and interpretation of the rhythm are important elements

for both the dancer and musicians. The performance practice of notes inégales could be

confusing since composers were inconsistent with their writing, using a mixture of dotted and

straight eighth notes.

In this selection, the ground bass used in most of the movement is typical for other 17th

century passacailles. It is composed of a basic four-note descending pattern, but varied

throughout the piece with instrumentation. Lully uses textural reduction in a few sections,

departing from a heavier style, using only three different instruments at a time. In the

arrangement, there are two sections where only a trio of B♭ Clarinets are used. This scoring

allows opportunities for smaller chamber playing (see Figure 20).

Figure 20: Notes Inégales in trio section

Lully “Passacaille” from Armide Mm. 45-48

His melodic and chromatic alterations to the ground bass lines intensify the harmonic

progressions. The original key is used for the clarinet consort and preserves the minor key. Bass

50 Anthony, 137.

108

clarinetists have the opportunity to play in the lowest register of their extended-model as they

will tonicize low D throughout the piece.

The ornamentation used in the “Passacaille” is almost always found on the longer notes

in the melodic lines, but are not limited to in the score.51 The recording by Musica Antiqua Köln,

captures the beauty and mood of Lully’s compositional style.52 Additional ornamentation were

derived specifically from this recording. The mordents are to be played starting from the

specified note, to the upper note, before returning back to the original (see Figure 21). The

recording by Anglebert demonstrates a number of places where you can insert mordents, but the

practice is overdone.

Figure 21: Notation of upper mordents Lully “Passacaille” from Armide Mm. 5-9

Notes inégales treatment in the arrangement is a mixture of the recording and personal

taste. This piece is particularly long for a dance, so a little contrast is needed. Since articulation

patterns and dynamic markings were not indicated on the score, the recordings made by the

Musica Antiqua Köln and Herreweghe influenced the articulation styles for the clarinet consort.

Herregeweghe’s recording is slower in tempo, making articulation more difficult for clarinetists.

51 Lully, Jean-Baptiste, LWV 71 Armide: Passacaille, ed. Allen Garvin, May 2013, Accessed Dec 2014,

International Scores Music Library Project, http://hz.imslp.info/files/imglnks/usimg/9/92/IMSLP279876-PMLP454327-01- passacaille---0-score.pdf.

52 Lully, “Passacaille” from Armide, Musica Antiqua Köln, Deutsche Grammophon 46346-2, 2000.

109

The arrangement provided preserves the original instrumentation of five parts, using only the B♭

Clarinet Consort. Lully employed a larger string section for music in his overtures and ballet

scenes, so doubling of the parts is recommended.53

53 Randel, 950.

110

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Clarinet in Bb 4

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111

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œ ˙

˙ œ

œ œ œ œ œ œ

!!

œ œ œ œ œ

œ œ# œ œ œ

œ ˙!!

œ œ œ

œ œ œ

œ œ œ!!

.œm Jœ œ

œ œ œb

œ œ œ!!

"Passacaille"

Notes Inégales

(1 on a part)

113

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

31 œ m

˙ œ

œ œ œ œ œ œ

!!

œ .œm Jœœ .œ#m Jœ

œ ˙!!

œ œ .œ œbœ œ œ

œ œ œŒ œ œŒ œ œ

f

ff

ff

D ŒÂ = ŒÂ

œ .œb Jœ

œ .œ Jœ

œ .œ jœ

œ .œ jœœ œ œ

œ ˙

œ œ œ œ

œ ˙

œ œ œœ œ œ œ œ œ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

36 œ œ# œ œ œ

œ .œ Jœ

œ œ œ œ œ

œ .œ jœœ ˙

œ œ .œ œb

œ œ œœ œ œ

œ œ œœ œ œ

œ .œb Jœ

œ .œ Jœ

œ .œ jœ

œ œ œ

œ œ œ

œ œ œ

œ .œ œ œ

œ ˙

œ œ œ

œ œ œ œ œ œ

œ ˙

œ .œ Jœ

œ .œ jœ

œ .œmjœ

œ ˙

"Passacaille"

(tutti)

114

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

41 œ œb œ

œn œ œ

œ œ œ

œ œb œ

œ œ œ

œb ˙

œ œ œ

œ œ œœ œ œ

.˙

œ œ œ œ œœ .œ jœ

œb .œ jœ

œ .œ jœœb .œ jœ

œ .œm Jœ

œ .œ# m jœ

œ œ œ œœ .œ jœœ ˙

œ œ œ œ œ œb

œ œ œ œ œ œ

œ .œ jœb

œ Œ Œ

œ Œ Œ

pp

pp

p

ŒÂ = Œ Ç‰E

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.


œ œ œ œ œ œ

˙ œ œ!!

œ œ œ œ œ œ

œ œ# œ œ œ œ

˙b œ œ!!

œ œ œ œ œ œ

œ# œ œ œ œ œ

˙ œ œ!!

œ œ œ œ œ œb

œ œ œ œ œ œ

œ .œ jœb!!

œ œ œ œ œ œ

œ œ œ œ œ œ

˙ œ œ!!

"Passacaille"

Notes Inégales

(1 on a part)

115

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.


œ œ# œ œ œ œ

˙b œ œ!!

œ œ .œm jœ

œ# œ .œm jœ

˙ œ œ!!

œ œ œ œ œ œb

œ œ œ œ œ

˙ œ!!

F œ œb œ œ œ œ

œ œ œn œ œ œ

œ ˙!!

œb œ œ œ œ œ

œ œ œb œ œ œ

˙ œ œ!!

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

56 .œm œ .œm jœ.œm œ .œ# jœ

œb œ ˙!!

œ œ œ œ œ œb

œ œ œ œ œ

˙ œ!!

œ œb œ œ œ œ

œ œ œn œ œ œ

œ ˙!!

œb œ œ œ œ œ

œ œ œb œ œ œ

˙ œ œ!!

.œm œ .œ jœ

.œm œ .œ# jœ

œb œ ˙!!

"Passacaille"

116

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.


œ œ œ œ œb‰ jœ œ œ œ

.œ jœ œ œ

ff

fff

ŒÂ = ŒÂG


œ œ .œ Jœ


.œ jœ œ œ

.œ jœ œ œ


˙ œm

œ .œ jœ

˙ œ œ.œb jœ œ œ

œ œ œ .œ#m Jœ

œ œ œ .œ Jœ

œ œ .œ jœ

œ œ .œ jœ.œ jœ œ œ


.œ jœ œ œb

.œ jœ œ œ

.œjœ œ œ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

66 œ œ œ œ œ œ œ

œ .œ Jœ


.œ jœ œ œ

.œ jœ œ œ


˙ œm

œ .œ jœ

˙ œ œ.œb jœ œ œ

œ œ œ .œ#m Jœ

œ œ œ .œm Jœ

œ œ .œm jœ

œ œ .œ jœ.œ jœ œ œ


œ œ .œ jœœ .œ jœœ .œ jœ

œ œ œ œ œ œ

H œ œ œ œ œ œ œ œ œ

œ .œ jœ

œ œ .œ jœ

œ œ .œ jœœ œ œ œ œ œ

"Passacaille"

(tutti)

117

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

71 œb œ œ œ œ œ œ œ œ

œ .œ jœ

œ œb œ œ œ œ

œ œ œ œ œœb œ œ œ œ œ œ œ œ

.œm Jœ œ œ œ

œ .œ# jœ

œ .œ jœœ .œ œ œœ œ œ# œ œ œ


œ .œ jœ

œ .œ jœœ .œ jœœ œ œ œ œ œ


œ .œ jœ

œ œ .œ jœ

œ œ .œ jœœ œ œ œ œ œ

œb œ œ œ œ œ œ œ œ

œ .œ jœ

œ œb œ œ œ œ

œ œ œ œ œœb œ œ œ œ œ œ œ œ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

76 œ œ œ œ œ .œm œ

œ# œ œ œ .œm œ

œ œ œ œ .œm

œœ œ œ œ .œ œœ œ œ œ œ œ

œ .œ œ œ

œ .œ jœ

œ .œ Jœ

œ .œ jœ

œ œ œ œ œ œ

ŒÂ = Œ Ç‰I œ .œ œ œ

œ .œ Jœ

.œ œ .œ jœ

œ .œ jœœ œb œ œ œ œ

œ .œ œ œ

œ .œb Jœ

œ .œ jœ

œ œ œœb œ œ œ œ œ

œ .œm Jœ

œ .œ Jœ

œ .œ# jœ

œ .œ jœœ œ œ œb œ œ

"Passacaille"

Notes Inégales

118

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

81 œ .œ œ œœ .œ jœœ .œ Jœ

œ .œ jœ

œ œ œ œ œ œ

œ .œ œ œ

œ .œ Jœ

œ œ .œ jœ

œ .œ jœœ œb œ œ œ œ

œ .œ œ œ

œ .œb Jœ

œ .œ jœ

œ œ œœb œ œ œ œ œ

œ .œm Jœ

œ œ œ

œ .œ#m jœ

œ .œ jœœ œ œ œb œ œ

œ œ# œ œ œ œ

œ .œ Jœ

œ œ œb œ

œ œ œ œ œœ œ œ œb œ œ

J ŒÂ = ŒÂ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.


œ œ œ

œ œb œ œ œ œ.œ jœ œb.œ œb œ œ œ

œ œ# œ œ œ œ

œ œ œ

œ œ œ œ œ œ.œb jœ œ.œb œ œ œ œ

œ# œ œ œ œ œ

.œ Jœ .œ œ

œ œ œ# œ œ œ

œ .œ jœœ ˙

.œ œ œ œ œb œ œ

œ .œ Jœ

œ .œ jœ

œ ˙

œ œ# œ œ œ œ

œ œb œ œ œ œ œ

œ œ œ œ œn

œ .œ jœ

œ œ œ .œ œ œœ œb .œ œ œ

"Passacaille"

119

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

91 œb œ œ œ œ œ œœ œ œ œ œ œ œ

œb .œ jœ

œ ˙œ œ .œb œ œ

œ œ œ .œm jœœ œ œ .œ#m jœ

œ .œ jœ

œ œ .œm jœ

œ œ œ œ



œ .œ œ œ

œ .œ jœ

œ .œ jœ

FF

F

F

F

K œ œ œ œb œ œ œ

œ œ œ .œ œ

œ# œ œ .œ œn

œ .œ jœœ# .œn jœ


œ œ œ œ

œ .œ jœ

œ .œ jœœ .œb jœ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

96 œ œ œ œ# œ œ œ

œ .œ Jœ

œ œ œ œ œ œ

œ œ œ .œ jœœ ˙


œ œ œ œ œ œ œœ .œ œ œ

œ .œ jœ

œ .œ jœ

œ œ œ œb œ œ œ

œ œ œ œ .œ œ

œ# œ œ .œ œ

œ œ .œ œœ# .œn jœ


œ œm œ œ

œ .œ jœ

œ .œb jœœ .œb jœ

œ œ œ œ# œ œ œ

œ .œ Jœ

œ œ œ œ œ œ

œ œ .œ jœœ ˙

"Passacaille"

120

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

œ .œ Jœ

œ œ œ

œ œ œ œ œ

œ Œ Œ

œ Œ Œ

P

PP

P

P

L ŒÂ = Œ Ç‰

œ .œ Jœ

œ .œmJœ

.œ Jœb œ œ

!!

œ .œ Jœ

œ .œb Jœ

œn œ œ œ œb!!

œ œ œ

œb œ œ

œ .œ Jœ!!

œ .œ Jœ

œ œ œb

œ .œ jœ!!

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

106 œm .œ Jœ

œb œ œ

˙ œb!!

œ .œ Jœ

œm .œ Jœ

.œ jœ œ œ!!

œ .œm Jœ

œ .œ Jœ

.œ jœ œ œ!!

œ œ œ

œ# œ œ

.˙!!

M œ .œm Jœ

œ .œ#m Jœ

œ .œ jœ!!

"Passacaille"

(1 on a part)

Notes Inégales

121

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

111 œ .œ Jœ

œ .œ Jœ

œ .œ jœŒ .œ jœŒ œ œ œ œ

F

FFF

F

œ .œb Jœ

œn .œ Jœ

œ .œ jœ

œ .œ jœœ œ œ œb œ

œb .œ Jœ

œ .œ Jœ

œ .œ jœ

œ œ œœ œ œ œ œ

œ .œ Jœ

œ .œ jœ

œ .œ jœ

œ .œ jœœb ˙n

œ œ œ

œ œ œ

œ œ œ

œ œ œœ œ œ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

116 œ .œm Jœ

.œ œ .œm Jœ

œb œ œ

œ .œ jœœb œ œ

œ .œ Jœ

œ .œ Jœ

œ œ œ œ œ

œ Œ Œ

œ Œ Œ

p

pp

N œ .œ Jœ

œb .œn Jœ

œ œ œ œ œ!!

œm .œ Jœ

œ# .œ Jœ

œ .œ Jœ

!!

œ .œm Jœœ .œ# Jœ

œ œ .œ Jœ

!!

"Passacaille"

122

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

121 œ .œ Jœ

œ .œ Jœ

œ œ# œ œ œ œ!!

œ .œ Jœ

œb .œn Jœ

œ œ œ œ œ œ!!

œ .œm Jœ

œ# .œm Jœ

.œ Jœ œ

!!

œ .œm Jœœ .œ#m Jœ

œ .œ Jœ

!!

œ œ .œ œœ œ .œ œ

œ œ .œ œŒ .œ jœŒ œ œ œ œ

F

FF

FF

O Œ Ç‰ = ŒÂ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

126 œb œ .œn œ

œ œ .œ œ

œ œ .œ œ

œ œ .œ œœ œ œ œ œ

.œ#m Jœ œ

˙ œ˙ œ#

˙ œœ .œ Jœ

œ œ .œm Jœ

œ œ .œm Jœ

œ .œ# jœ

œ œ .œ œœ œ œ œ

œ œ .œ œœ œ .œ œ

œ œ .œ œ

œ .œ jœœ œ œ œ œ

œb œ .œn œ

œ œ .œ œ

œb œn .œ œ

œ œ .œ œœ œ œ œ œ

"Passacaille"

(tutti)

Notes Inégales

123

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

131 .œ#m Jœ œ

˙ œ#

˙ œ

˙ œ.œ jœ œ

œ œ .œm Jœ

œ .œ#m jœ

œ œ œœ œ .œ jœ

œ œ œ œ

œ .œ œ .œ œ

œ œ œb

œ œ œ œœ .œ jœ

œ .œ jœ

P

œm .œ œ .œ œ

œb œm œ

œ .œm jœ

œ .œ jœœ# .œn jœ

.œ œ# œ œ œ œ

œ œm

œ œ

œ œ œ


&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

136 œ œ œ

œ œ œ# œ œ œœ# œ œ œ

œ .œm jœ

œ œ œ œ œ# œ

.˙

œ œ œ œ œ œ

˙ œ œ

œ œ œ œ œœ œ# œ œ œ œ

˙ œ œ

œ œ œ œ œ œ

œ# œ œ œœ œ œb œœ# œ œn œ œ œ

œ œ œb œ œ œ

œ œ œ œ œ

œb .œ œ œ

œ .œ jœœ œ œb œ œ œ

œ œ .œm jœ

œ# œ .œm jœ

œ œ œœ œ œ .œ jœœ ˙

"Passacaille"

124

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

œ œ œ œ œ

œ œ œb

œ œ œ œœ .œ jœ

œ .œ jœ

Q

œm .œ œ œ œ

œb œm

œ

œ .œ jœœ .œ jœœ# .œn jœ

.œ œ# œ œ œ œ

œ œ œ œ

œ œ œ


œ œ œ

œ œ œ# œ œ œœ# œ œ œ

œ .œm jœ

œ œ œ œ œ# œ

.˙

œ œ œ œ œ œ

˙ œ œ

œ œ œ œ œœ œ# œ œ œ œ

&&&&&

bbbbb

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Cl. 4

B. Cl.

146 ˙ œ œ

œ œ œ œ œ œ

œ# œ œ œœ œ œb œœ# œ œ œ œ œ

œ œ œb œ œ œ

œ œ œ œ œ

œb .œ œ œb

œ .œ jœœb ˙

rit.

œ œ .œm jœ

œ# œ .œ jœ

œ œ œœ œ œ .œ jœœ ˙

.˙

.˙

.˙

.˙

.˙

"Passacaille"

125

William Boyce: Symphony No. 1 in Bb Major

William Boyce (1711-1779) was a transitional English composer of the late Baroque. He

was most known for his output of eight symphonies. During this period, the term sinfonia and

symphony were interchangeable. Boyce lived in a time where the symphony genre was

expanding into a newer, more independent form. His symphonies are representative of the genre

before the Classical era. They were categorized in terms of style, as opposed to the date in which

they were written. Numbers one through four are modeled after the Italian style of overture and

arranged in the traditional fast-slow-fast order. In contrast, numbers five through eight are

modeled after French Baroque overture practice, beginning with a slow introduction in the first

movement by dotted rhythms, followed by a fugue, and then other dance movements. Symphony

No. 1 was composed in 1756, as a tribute to the New Year.54

This piece was originally written for a small violin ensemble with basso continuo

accompaniment, consisting of a cello and harpsichord. The arrangement requires an E♭ Clarinet,

three B♭ Clarinets and one Bass Clarinet. Figured bass is not provided in the score, but is

realized in the lowest voices.55 The first violin part is high for B♭ Clarinet, so adapting the part

for E♭ Clarinet solved the problem. Lowering the original key of B♭ Major to E♭ Major helps the

consort balance all of the parts. This new key provides more depth and lower notes in the bass

line for the Bass Clarinet, also helping the E♭ Clarinet part sound less strident compared to the

other members of the consort.

54 Ian Barlett and Robert Bruce, William Boyce: A Tercentenary Sourcebook and Compendium, (Newcastle Tyne:

Cambridge Scholars Pub, 2011), 132. 55 Boyce, Symphony No. 1 in Bb Major, ed. Philip Hazel, May 2012, Accessed May 2014, International Scores

Music Library Project, http://imslp.nl/imglnks/usimg/1/16/IMSLP215420-WIMA.2a33-symph1.pdf.

126

Articulations and dynamics are provided in the arrangements in order to give the music

more contrast between sections. Even though terraced dynamics were a common practice of the

Baroque, the markings provided reflect ideas inspired by the group, Il Solisti Di Zagreb.56 This

recording was also used to derive extra ornamentation ideas, primarily trills. All of the trills were

left in place and additional trills were inserted at the end of cadences. The trills in all movements

are to be played similarly to mordents, starting firmly on the written note before adding the notes

above. The number of “shakes” in each trill differs according to the rhythmic length (see Figures

22, 23, 24).

Figure 22: Notated trill Boyce Symphony No. 1 Mvt. I Mm. 13

Figure 23: Notated trill Boyce Symphony No. 1 Mvt. II Mm. 1-2

56 Boyce, Symphony No. 1 in Bb Major, Il Solisti Di Zagreb, The Bach Guild HM23SD, 1973.

127

Figure 24: Notated trill Boyce Symphony No. 1 Mvt. III Mm. 6-8

The articulation patterns used in all movements are strictly tailored for clarinetists since there are

none written. Ideas are idiomatic suggestions that would compliment both the instrument, and

the music (see Figure 25).

Figure 25: Articulation Patterns 1, 3, 4 Boyce Symphony No. 1 Mvt. I Mm. 1-4

128

Figure 26: Articulation Patterns 1, 3, 5 Boyce Symphony No. 1 Mvt. II Mm. 1-4

The note lengths of the eighth and sixteenth notes in the outer movements should be light and

buoyant in style. These note durations in the second movement should be separated, but much

longer in comparison (see Figure 26).

Notice the instrumentation for the melodic voices in the first and second movements.

The arrangement allows the E♭ clarinet player to lead the first movement because it can cover

the high range with ease. The B♭ Clarinet leads the melodic content in the second movement,

mostly for color contrast. The English Concert’s recording features a solo Baroque flute, using it

to play some of the melodic lines of the second movement. The new arrangement features the 1st

B♭ Clarinet part as a soloist accompanied by the consort. The voices in the third movement are

treated as equal counterparts, providing rhythmic energy throughout the gigue-like finale. This

style is represented in The Academy of Ancient Music’s recording. The consort can either play

with the number of written parts or double each part. Reinforcing numbers on the first and third

movements is recommended for contrast. This will offer an intimate middle movement, and can

showcase a performer within the consort.

129

&&&&&

bbbb

44

44

44

44

44

Clarinet in Eb

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

œ œ œ œ œ œ œ ‰ jœœ œ œ œ œ œœ œ œ œ œ œ œ


Allegro q = 108

ff

f

ff

œ œ œ œ œ œ œ œ œ œ œ ‰ Jœ


œ œ œ œ œ œ


œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ Jœ œ Jœ

œ œ œ œ œ



&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

4 œ œ œ œ œ œ œ œ œ œ ‰ Jœ


œ œ œ œ ‰ Jœ


P

PP

PP

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ‰ œ

œ ‰ Jœ œ œ œ œ œ

œ ‰ jœ œ œ œ œ œœ ‰ jœ œ œ œ œ œ

Symphony No. 1Mvt. I

William Boyce(1711-1779)

arr. Tyler Goudlock

130

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

7 œ œ œ œ œ œ œ œ œ œ œ# œ

œ œ œ œ œ œ œn œ œ œ œ œ

œ œ ‰ œ œ œ ‰ œ

œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œn œ œ œ œn œ œœ œ ‰ œ œ œ œ œn

œ œ œ œ œ œn œ œ œ

œ œ œ œ œ œn œ œ œ

œ œ œ œ# œ œ œ ‰ Jœœ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

ƒ

ƒ

ƒƒƒ

A

&&&&&

bbbb

..

..

..

..

..

..

..

..

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ10 œ œ# œ œ œ œ œ œ œ œ œ ‰ Jœ

œ œ œ œn œ œ œ œ

œ œ œ œ œ œ


œ œ œ# œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œnœ œ œn œ œ œ œ

œ œ œ œ œ œ œn œœ œ œ œ œ œ œn œ

œ œ œ œ œ Œ

Jœ œ Jœn œ Œ

œ œ œ œ Œ

œ œ œ œ œ Œ

œ œ œ œ œ Œ

Symphony No. 1

131

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ Ÿ.œ œ# œ œb œ .œ# œ œ œ œ œ

‰ œb œ œ ‰ œ œ# œ#‰ œ œ œ ‰ œ œ œ

‰ œ œ œ ‰ œ œ œ‰ œ œ œ ‰ œ œ œ

pppp

B

pœ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‰ œ Jœ# œ ! œ œ œ



œb œ œ œ œ œ œ œ œ# œ œ œn œ œ

.œ œ œb œ œ œ# œ

œ œ œ œ œ œ#

œ œ œb œ œ œ œn œ# œ

œ œ œb œ œ œ œn œ# œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

16 œ œ œ œ ! œb œ œœ œ œ œ œ œ# œ œ œ œ œ œ œ œ

œ œ# œ œ œ œ œ œ œ œ œ œ œ œœ œ# œ œ œ œ œ œ œ œ œ œ œ œœ œ# œ œ œ œ œ œ œ œ œ œ œ œ

"""""

œ œ œ œ œ œ œ œ œ œ œ .œb œ .œ

Jœ œ Jœ# œ œ œ

Jœ œ Jœ# œ œ œ

œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œb

.œ œ œ œ œ œ# œ œœ œ# œ Jœ œ œ œ œ œ

œ œ œb œ .œ œ œ œ

œ œb œ œ œ œ œ œœ œb œ œ œ œ œ œ

132

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

19 .œ œ œ œ ! œ œ œœ œ# œ Jœ œ ! œ œ œ

œ œ œb œ œ œ œ œn

œ œb œ œ œ œ œn œœ œb œ œ œ œ œn œ

FF

FFF

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ Jœ œ ! œ œ œ

œ œ œ œ œ ‰ Jœ

œ œ œ œ œ‰ jœ

œ œ œ œ œ‰ jœ

œ œ# œ œ œ œ œ œ œ œ œ œ.œ Jœn .œ œ œ.œ Jœ .œ jœ

.œ jœ œ œ œ œ œ


&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

22 œ œ# œ œ œ œ œ œ œ œ œ œn.œ Jœn .œ œ œ.œ Jœ .œ jœ



œ œ œ œ œ œ œb œ œ œ œ œ

.œ jœ .œ œ œ

.œ jœ .œ Jœ



œ œ œ œ œ œ œ œ œ œ Œœ œ œ œ œ œ œ Œ

œ œ œ œ œ Œ

œ œ œ œ .œ œ œ œ œ œœ œ œ œ .œ œ œ œ œ œ

133

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿœ œ œ œ œ œ œ ‰ Jœbœ œ œ œ œ œ œ œ

œ œ œ œ œ œ


ff

f

ff

C œ œ œ œ œ œ œ œ œ œ œ


Jœ œ Jœ œ œ œ œ



œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ


&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ Ÿ28 œ œ œ œ Jœœ œ œ

œ œ œ Jœ œ œ œ œ œ œ




ƒƒ

ƒ

ƒƒ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Jœ œ Jœ .œ œ œœ

œ œ .œ œ œ œ œ œ œ



œ œ œ œ œ Œjœ ‰ Œ Ó

œ œ œ œ œ Œ

œ œ œ œ œŒ

œ œ œ œ œŒ

rit.

134

&&&&&

bbbb

83

83

83

83

83

..

..

..

..

..

..

..

..

Clarinet in Eb

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Ÿ‰ œ œœ œ œ œ

3

‰ œ œ‰ œ œ‰ œ œ

Moderato e dolce e = 72

pp

pp

p

œ œ ‰œ# œ ‰

œ œ ‰

œ œ ‰

œ œ ‰

œ œ .œ# œ

Jœ œ œ œ œ œ œ#3 3

œ œ œœ œ œœ œ œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

4

œ œ œ#

.œ œ œ œœ œ œ

œ œ œœ œ œ

‰ œ œ

œ œ œ .œ œ3


‰ œ œ#œ# œ œ .œ œ

3

‰ œ œ‰ œ# œ‰ œ# œ

Symphony No. 1Mvt II


arr. Tyler Goudlock

(1 on a part)

135

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ

7 œ œ œœ œ œ œ œ œ œ œ œ

3 3 3

œ œ œ

œ œ# œœ œ# œ

œ œ ‰œ œ# ‰

œ œ ‰

œ œ ‰

œ œ ‰

‰ œ œJœ œ œ œ œ œ œ

33


&&&&&

bbbb

..

..

..

..

..

..

..

..

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ10 œ œ œ

œ œ œ .œ œ3


.œ œ œ œœ œ œ œ .œ

3

œ œ œ.œ œ œ œ.œ œ œ œ

.œ

.œ

.œ

.œ

.œ

Symphony No. 1

136

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

‰ œ œjœ œ œ œ œb œ œ

3 3

‰ œ œ‰ œ œ#‰ œ œ#

A

F

FF

FF

œ œ# œ

œ œ œ œ œ œ œ œ œ3

3 3

œ œb œ

œ œ œ

œ œ œ

œb œ œœ œ œ œ œ œ œ œ œ#3

3 3

œ# œ œ

œ œ œ

œ œ œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

16

œ œ œjœ# œ

œ œ œ

œ œ œ

œ œ œ

‰ œ œ

Jœ œ œ œ œ œ œ3

3


p

pp

pp

œ œ œ

œ œ œ œ œ œ œ œ œ3 3

3

œ œ œ

œ œ œ

œ œ œ

Symphony No. 1

137

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

ŸŸ19 .œ œ œ œ

œ œ œ œ œ3

œ œ œ

œ œ œ

œ œ œ

œ œ œjœ .œ œn œ

œ œ œ

œ œ œ

œ œ œ

F

FF

F

F

œ œ œ.œn œ .œ# œ .œ œ œ

.œ œ œ œ

.œ œ œ œ

.œ œ œ œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ Ÿ22 œ œ# œ

œ œ œ .œ œ œ3

œ œ œ

œ# œ œœ# œ œ

.œ œ œ œœ œ œ œ œ œ œ œ œ

3 3 3

œ œ œ

œ œ# œœ œ# œ

œ œ œ#

Jœ Jœ# ‰

œ œ œ

œ œ œ

œ œ œ

Symphony No. 1

138

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

œ œ œjœ œ œ œ œ œ œ

33


B

ppppp

œ# œ œjœ œ œ# œ œ œ œ

33

œ œ œ

œ œ# œœ œ# œ

œ œ œ#

œ œ œœ œ# œ

œ œ œ

œ œ œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ28 œ œ œ

.œ œ œ œ œ œ œ œ3

3

œ œ œ

œ œ œœ œ œ

œ œ œjœ œ œn œ# œ œ œ

33


œ# œ œ.œ œ .œ œ œ

œ œ œ

œ œ# œœ œ# œ

F

FF

FF

Symphony No. 1

139

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ

31 œ œ œ#œ œ œ Jœ Jœ

3

œ œ œ

.œ œ œ œ

.œ œ œ œ

.œ

.œ

.œ

.œ

.œ

p

pp

pp

Symphony No. 1

140

&&&&&

bbbb

86

86

86

86

86

..

..

..

..

..

..

..

..

Clarinet in Eb

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

œJœ œ œ œ

œ jœ œ œ œ

.œ .œ

.œ .œ

.œ .œ

ÍÍ

Í

ÍÍ

Maestoso q. = 108

œ œ œ œ œ œ

œ œ œ œ œ œ

.œ .œ

.œ .œ

.œ .œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ Jœ œ œ œ

.œ œ jœ

.œ œ jœ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

4 .œ ‰ ‰ Jœ

.œ ‰ ‰ Jœ

œ Jœ œ Jœ

œ jœ œ œ œœ jœ œ œ œ

FFF

FF

œ œ œ œ Jœ

œ œ œ .œ

.˙

.œ œ jœ

.œ œ jœ

œ œ œ œ Jœ

œ œ œ .œ

.œ œ Jœ

.œ œ jœ

.œ œ jœ

Symphony No. 1Mvt. III


arr. Tyler Goudlock

141

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ~~Ÿ~~

7 œ œ œ œ œ œ

.œ œ Jœ

.œ .œ

.œ .œ

.œ .œ

œ Jœ ‰ ‰ jœœ Jœ ‰ ‰ jœœ jœ œ jœ


œ œ œ œ Jœ

œ œ œ .œ

.˙

.œ œ jœ

.œ œ jœ

p

pp

pp

A

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ~~10 œ œ œ œ ‰

œ œ œ œ Jœ

.œ œ Jœ

.œ œ jœ

.œ œ jœ

.œ .œ

œ œ œ œ œ œ

.œ œjœ

.œ .œ

.œ .œ

œ ‰ Jœ ‰

œ jœ ‰ ‰ jœ

œ jœ œ œ œ


Symphony No. 1

142

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

13 œ œ œ œ# œ œ

.œ .œn

.˙

.œ .œ

.œ .œ

œ œ œ œ œ œ.œ .œ

.œ œ Jœ

.œ .œn

.œ .œn

œ œ# œ œ œ œ

.œ œ Jœ

.œ œ jœ

.œ .œ

.œ .œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ

Ÿ16 œ Jœ# ‰ ‰ Jœ

œ Jœ ‰ ‰ Jœ

œ Jœn œ œ œ


F

FF

FF

œ Jœ œ œ œœ œ œ œ Jœn

œ Jœ œ jœ.œ .œ.œ .œ

œ œ œ# œ œ œœ Jœ œ Jœ

œ Jœ œ Jœ

œ jœ œ jœ

œ jœ œ jœ

Symphony No. 1

143

&&&&&

bbbb

..

..

..

..

..

..

..

..

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

19 œ œ œ .œ.œ .œn

.œ .œ

.œ .œ

.œ .œ

.˙

.˙

.˙

.˙

.˙

p

pp

pp

œJœ œ œ œ

œJœ œ œ œ

.œ .œn

.œ .œ

.œ .œ

ÍÍÍ

ÍÍ

B

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.


œ œ œ œ œ œ

.œ .œn

.œ .œ

.œ .œ

œ œ# œ œ œ œœ œn œ œ œ œ

œ jœ œ Jœn

.œ œ jœ

.œ œ jœ

.˙

.˙œ jœ œ jœ


Symphony No. 1

144

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

25 œJœ œ œ œ

œ jœ œ œ œœ jœ œ jœ

.œ .œ

.œ .œ

FFF

FF

œ œ œ œ œ œ

œ œ œ œ œ œ

.œ .œ

.œ .œ

.œ .œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ Jœ œ œ œ

.œ œ jœ

.œ œ jœ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

28 .œ œ Jœ

.œ œ Jœ

œ Jœ œ œ œ


œ œ œ œ œ# œ

œ œ œ œ œ# œ

.œ .œ

.œ .œ

.œ .œ

pp

p

pp

C œ# œ œ .œ

œ# œ œ .œ

.œ œ jœ

.œ œ œn œ#

.œ œ œn œ#

Symphony No. 1

145

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

31 œ œ œ œ œ œœ Jœ .œ

.œ .œ

.œ œ jœ

.œ œ jœ

.œ œ Jœ

.œ œ Jœ#

.˙

œ# œ œ œ œn œœ# œ œ œ œn œ

œ Jœ œ Jœ

œ Jœn œ# jœ.˙.˙.˙

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

34 œ Jœ œJœ

œ Jœ œ Jœ

œ# Jœ .œ

œ œn œ# .œ

œ œn œ# .œFF

F

œ Jœ œ œ œœ

Jœ œ œ œ#

Œ ‰ Œ jœŒ ‰ Œ jœŒ ‰ Œ jœ

.œ œ œ œ

.œ œ œ œ

.œ œ jœœ jœ œ jœœ jœ œ jœ

ff

f

ff

Symphony No. 1

146

!

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

37 œ# œ œ œ œ œœ Jœ œ Jœ#

œ Jœ œ jœ


.˙

.˙

.˙


œ œ œ œ Jœ

œ œ œ .œ

.˙

.œ œ jœ

.œ œ jœ

D

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

ŸŸ

40 œ œ œ œ Jœ

œ œ œ .œ

.œ œ Jœ

.œ œ jœ

.œ œ jœ

œ œ œ œ œ œ

.œ œ Jœ

.œ .œ

.œ .œ

.œ .œ

œ Jœ ‰ ‰ ‰œ Jœ ‰ ‰ ‰

.œ ‰ ‰ ‰

.œ ‰ ‰ ‰

.œ ‰ ‰ ‰

Symphony No. 1

147

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

43 œ œ œ œ Jœ

œ œ œ .œ

.˙

.œ œ jœ

.œ œ jœ

p

pp

pp

œ œ œ œ ‰

œ œ œ œ Jœ

.œ œ Jœ

.œ œ jœ

.œ œ jœ

.œ .œ

œ œ œ œ œ œ

.œ œjœ

.œ .œ

.œ .œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Ÿ~~46 .œ ‰ ‰ ‰

œ jœ ‰ ‰ ‰

œ jœ œ œ œ


œJœ œ œ œ

œ jœ œ œ œœ jœ œ jœ

.œ .œ

.œ .œ

fff

ff

E

œ œ œ œ œ œ

œ œ œ œ œ œ

.œ .œ

.œ .œ

.œ .œ

Symphony No. 1

148

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

49 œ œ œ œ Jœ

œ œ œ œ Jœ

.œ œ jœ

.œ .œ

.œ .œ

œ œ œ œ Jœb

.œ Œ Jœ

.œ Œ Jœ

.œ Œ jœ

.œ Œ jœ

œ œ œ œ œ œ

œ Jœ œ œ œ

.œ .œ

.œ .œ

.œ .œ

&&&&&

bbbb

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

52 œ œ œ œ Jœœ œ œ œ Jœ

.œ œ jœ

.œ .œ

.œ .œ


œ œ œ œ œ œ

.œ .œ

.œ .œ

œ Jœ œ œ œbœ Jœ œ œ œb

.œ Œ Jœ

.œŒ jœ

.œŒ jœ

PP

PP

P

Symphony No. 1

149

&&&&&

bbbb

..

..

..

..

..

..

..

..

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

55 œ œ œ œ œ œœ œ œ œ œ œ

.œ œ Jœ

.œ .œ

.œ .œ


.œ œ jœ

.œ œ jœ

.œ œ jœ

œ œ œ œ œ œ

œ œ œ œ œ œ

.œ .œ

.œ .œ

.œ .œ

rit..˙

.˙

.˙

.˙

.˙

ƒƒ

ƒ

ƒƒ

Symphony No. 1

150

PART 3 – Conclusion

This document serves as an introduction to early clarinet music for performing clarinet

consorts, and yet it is only an initial foray into the possibilities of the ensemble. As previously

noted, publications of arrangements made for clarinet choir of Renaissance and Baroque are

underrepresented. An effort to revive this repertoire, in addition to several others is needed

beyond this project. Clarinet choir arrangements available for the public should span well before

the Baroque era to broaden the repertoire options for the musicians. By providing a modified

performance practice and suggestions tailored for clarinet, the player has the knowledge base to

perform these different genres. The clarinet can now be a part of a large output of music despite

its later invention.

In addition to expanding the ensemble’s repertoire, those performing will also receive

several benefits from the arrangements. By creating a clarinet performance practice and

advocating for new arrangements of early music, the clarinetists should feel like they have ample

historical context behind every genre discussed. Educators and performers can use this document

to address musical elements before learning the repertoire. By reflecting on the historical

information first, they can reinforce their decisions. Provided the knowledge, clarinetists can

perform at a higher level as a soloist or in a chamber group setting.

One of the main goals of this project is to have the arrangements published in the near

future. Focusing on one specific section of the repertoire at a time, a series of collections can be

made for clarinet choir. These collections can be organized by instrumentation, genre, composer,

and even extended for solo clarinet. The motivations for these ideas came from the need of early

music arrangements and contributing to the database. This document is only the beginning of a

new movement, welcoming clarinet choirs to participate in the Renaissance and Baroque periods.

151

Bibliography

Books

1. Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau New York:

W.W. Norton, 1974.

2. Bartlett, Ian, and Robert J. Bruce. William Boyce: A Tercentenary Sourcebook and

Compendium, Newcastle upon Tyne: Cambridge Scholars Pub, 2011.

3. Brennan, Gerald, and Chris Woodstra. All Music Guide to Classical Music: The

Definitive Guide to Classical Music, San Francisco, CA: Backbeat Books, 2005.

4. Carter, Stewart, and Jeffery T. Kite-Powell A Performer's Guide to Seventeenth-century

Music, Bloomington: Indiana: UP, 2012.

5. Clark, David Lindsey. Appraisals of Original Wind Music: A Survey and Guide,

Westport, CT: Greenwood, 1999.

6. Harrán, Don. Salamone Rossi: Jewish Musician in Late Renaissance Mantua, Oxford,

New York: UP, 1999.

7. Hoeprich, Eric The Clarinet, New Haven: Yale UP, 2008.

8. Jackson, Roland John. Performance Practice: A Dictionary-guide for Musicians, New

York: Routledge, 2005.

9. Jeffery Kite-Powell and Micahel Praetorius. Syntagma Musicum III. Vol. 3, New York:

Oxford UP, 2004.

10. Kite-Powell, Jeffery. A Performer's Guide to Renaissance Music, Bloomington, IN:

Indiana UP, 2007.

11. Miller, R. J. Contemporary Orchestration: A Practical Guide to Instruments, Ensembles

and Musicians, New York: Routledge, 2015.

12. Nadal, David. Lute Songs of John Dowland, Mineola, NY: Dover Publications, 1997.

13. Randel, Don Michael. The Harvard Dictionary of Music, Cambridge, MA: Belknap of

Harvard UP, 2003).

14. Reed, Alfred. The Balanced Clarinet Choir, Ann Arbor, MI: Leblanc Corporation, 1955.

15. Rice, Albert. From the Clarinet D'amour to the Contra Bass: A History of Large Size

Clarinets, 1740-1860, Oxford: Oxford UP, 2009.

16. Robertson, Michael. The Courtly Consort Suite in German-speaking Europe, 1650-1706,

Farnham, England: Ashgate, 2009.

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Online Sources

1. “A Brief History of the Clarinet Choir.” Ufl.edu. Accessed March 29, 2016. http://legacy.arts.ufl.edu/music/clarinet/articles.html.

2. “A Selected List of Clarinet Trio, Quartet, and Choir Music.” Dfapam.com. Accessed March 26, 2016. http://www.dfapam.com/clarinetchoir/2006ensemblelist.pdf.

3. "Clarinet Choir Repertoire." Halleonard.com. Accessed March 29, 2016. http://www.halleonard.com/product/viewproduct.action?itemid=4474030&lid=4&keywords=clarinet%20choir&subsiteid=1&.

4. "Clarinet Symphony." Halleonard.com. Accessed March 29, 2016. http://www.halleonard.com/product/viewproduct.action?itemid=4475322&lid=0&keywords=clarinet%20symphony&subsiteid=1&.

5. Danfelt, Edwin Douglas. “The Clarinet Choir a Means of Teaching and Performing Music” Phd diss., University of Rochester, UMI 1964.

6. Nowak, Kenneth. “A Survey and Analysis of Selected Clarinet Choir Literature for Use at the High School Level,” MA diss., California State University, Ann Arbor: UMI, 1980.

7. Weerts, Richard K. "The Clarinet Choir." Journal of Research in Music Education 12.3 (1964), pp. 227-30.

Score References

1. Boyce, William. Symphony No. 1 in B♭ Major, Edited by Philip Hazel. 2012. Accessed May 2014, International Scores Music Library Project, http://imslp.nl/imglnks/usimg/1/16/IMSLP215420-WIMA.2a33-symph1.pdf.

2. Boyce, William, and Constant Lambert. 1928. Eight symphonies. No 1. London: Oxford University Press.

3. Boyce, William, Max Goberman, and H.C Robbins Landon. 1962. Symphony I B-Dur. Wien: Verlag Doblinger.

4. Boyce, William, and Bruce Behnke. 1983 Symphony no. 1: for flute quartet or flute choir. Denver, CO: ALRY.

5. Dowland, John. The Earl of Essex Galliard, Edited by Ulrich Alpers. 2012. Accessed Dec 2014, International Scores Music Library Project, http://imslp.nl/imglnks/usimg/e/e7/IMSLP205078-WIMA.9e87-lp_12_earle_of_essex_galiard.pdf.

153

6. Dowland, John, and Edgar Hunt. 1953. Lachrimae pavans, galiards, and almands. London: Schott & Co.

7. Dowland, John, Edmund H. Fellowes, and Thurston Dart. 1965. The first book of ayres: (1597, 1600, 1603, 1606, 1613). London: Stainer & Bell.

8. Dowland, John, Diana Poulton, and Basil Lam. 1974. The collected lute music of John Dowland. London: Faber Music in association with Faber and Faber.

9. Gabrieli, Giovanni. Canzona Primi Toni, Edited by Martin Grayson. 2010. Accessed Aug 2015, International Scores Music Library Project, http://imslp.nl/imglnks/usimg/0/0c/IMSLP78103-PMLP155569-Gabrieli-Primi-Toni-Recorders-Score.pdf.

10. Gabrieli, Giovanni, and Robert King. 1960. Canzona primi toni Sacrae symphoniae – Venice 1597 for four-part brass choir with organ. North Easton: Robert King Music.

11. Gabrieli, Giovanni, and R.P. Block. 1972. Symphoniae sacrae (1597), 1. Canzona primi toni à 8: for 4 trumpets and 4 trombones. London: Musica Rara.

12. Gabrieli, Giovanni, and Alex Cauthen. 1994. Canzona primi toni: for 8 trombones. Denton, TX: Kagarice Brass Editions.

13. Lully, Jean-Baptiste. LWV 71 Armide: Passacaille, Edited by Allen Garvin. 2013. Accessed Dec 2014, International Scores Music Library Project, http://hz.imslp.info/files/imglnks/usimg/9/92/IMSLP279876-PMLP454327-01- passacaille---0-score.pdf.

14. Lully, Jean-Baptiste, and Madame Delsarte. 1857. Armide, Tragédie, Lully. Acte V, scène II. Passacaille [Air à 1 v., choeur à 4 v. et orch], réduit au piano par Mme Delsarte. Paris: F. Delsarte.

15. Lully, Jean-Baptiste. 1990. Passacaille from Armide for strings, winds, and basso continuo. New Bern, NC: Whitley Bauguess Associates.

16. Lully, Jean-Baptiste, Henri Posseur, Johann Sebastian Bach, Ludwig van Beethoven, Johannes Brahms, and Anton Webern. 1987. Un jardin de passacailles; pour orchestrada chamber (1987). Milano: Edition Suvini Zerboni.

17. Praetorius, Michael. Musarum Aoniarum Terpsichore: XIV Bransle de Villages. Edited by Nicolas Sansarlat. 2010. Accessed Dec 2014. International Scores Music Library Project, http://ks.imslp.info/files/imglnks/usimg/5/59/IMSLP86283-PMLP176492-Bransle_de_Villages.pdf.

154

18. Praetorius, Michael. 1967. Französische Tänze vier Stimmen aus Terpsichore, 1612. French dances in four parts. Celle: Moeck Verlag

19. Praetorius, Michael, and David Purser. 1992. Dances from Terpsichore. Manton, Oakham, Rutland, UK: Brass Wind Publications.

20. Praetorius, Michael, and Jeffrey Luke. 2000. Three dances from Terpsichore: brass quintet. Buffalo, NY: Blue Bison Music.

21. Rossi, Salamone. Sonata Settima Sopra L’Aria di un Balletto. Edited by Christoph Lahme. 2011. Accessed March 2016. International Scores Music Library Project, http://ks.imslp.info/files/imglnks/usimg/b/be/IMSLP103828-PMLP212174-Rossi__Salamone__Il_quarto_libro_de_varie_sonate__SonSettima__CS.pdf.

22. Rossi, Salamone. 1965. Trio sonatas: for two violins and bassoon continuo. New Jersey: Rutgers University Press.

23. Rossi Salamone, and Bernard Thomas. 1989. Four sonatas for two soprano instruments and continuo: (Quatro libro). Brighton: London Pro Musica.

24. Rossi, Salamone. 1995. Sinfonie, gagliarde etc., book 1 Sinfonie, gagliarde, etc., book 2 Sonatas sinfonie, etc., book 3 Sonatas, sinfonie, etc., book 4. Neuhausen: Hänssler-Verlag.

Audio Recordings

1. Boyce, William. Symphony No. 1 in Bb Major. Il Solisti Di Zagreb, The Bach Guild, HM23SD, 1973

2. Boyce, William. Symphony No. 1 in Bb Major. The English Concert, Deutsche Grammophon 00028941963123, 1987.

3. Boyce, William. Symphony No. 1 in Bb Major. Academy of Ancient Music, Decca 00028943676120, 1994.

4. Dowland, John. The Earl of Essex Galliard. The Royal Wind Music. Lindoro MPC-0119, 2009.

5. Dowland, John. The Earl of Essex Galliard.

Julian Bream, Sony Classical, 886444034500, 1968.

6. Dowland, John. The Earl of Essex Galliard. The Rose Consort of Viols, Naxos 8.553326, 1997.

7. Gabrieli, Giovanni. Canzon Primi Toni. Philadelphia Brass Ensemble. Sony Classical Records 0746235324, 1970.

155

8. Gabrieli, Giovanni. Canzon Primi Toni.

London Symphony Brass, Naxos 8.553873, 1999.

9. Gabrieli, Giovanni. Canzon Primi Toni. New York Brass Ensemble, Orion LAN0272.

10. Lully, Jean-Baptiste. “Passacaille” from Armide. Musica Antiqua Köln, Deutsche Grammophon 46346-2, 2000.

11. Lully, Jean-Baptiste. “Passacaille” from Armide. Herreweghe Mundi HMC901456.57, 1993.

12. Lully, Jean-Baptiste. “Passacaille” from Armide. Anglebert, Alpha AlphaA074, 2005.

13. Praetorius, Michael. Dances from Terpsichore: “Bransles de Villages.” New London Consort, De L'Oiseau-Lyre 448 559-2, 1996.

14. Praetorius, Michael. Dances from Terpsichore: “Bransles de Villages.” The Parley of Instruments, Hyperion Records CDA67240, 2001.

15. Praetorius, Michael. Dances from Terpsichore: “Bransles de Villages.” Musica Antiqua de Toulon, Disques Pierre Verany 730067, 1996.

16. Rossi, Salamone. Sonata Settima Sopra L’Aria di un Balletto.

Profeti Della Quinta, Pan Classics PC10214, 2008.

17. Rossi, Salamone. Sonata Settima Sopra L’Aria di un Balletto. Rossi and His Circle, Dorian Sono Luminus DOR-93184, 2010.

18. Rossi, Salamone. Sonata Settima Sopra L’Aria di un Balletto. Montreal Baroque, ATMA Classique ACD22598, 2009.

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