Description
Explore with us the fascinating world of 17th century dance music through our selection from “John Playford: The English Dancing Master”, first published in London in 1651. This music booklet invites you to bring the musical heritage to life through your own interpretations and combines historical depth with personal musical expression.
While preparing a Shakespeare performance, we came across Playford’s timeless melodies. From this pool we have selected 39 pieces specially adapted for the characteristic sound of the Dudey, an instrument that shaped the musical landscape of the era.
The melodies and their arrangements
In the first chapter, we remain faithful to the original, monophonic melodies in order to preserve the unadulterated charm of the historical compositions. The arrangements in the second chapter of “John Playford: The English Dancing Master” are the result of the interplay of dudey, gemshorn and recorder and offer flexibility for adaptation to different instruments. These arrangements are not only intended to show the diverse possibilities of the pieces, but also to encourage the expansion of personal musical boundaries.
With the added harmonies under the notes, a credit to Ian Harrison, we open up a field for creative design. It is important to us to focus on the melodies themselves and to encourage individual interaction with the music rather than including dance descriptions.
Thanks and incentive
Many thanks to all those who contributed to the creation of the booklet “John Playford: The English Dancing Master”: Ian Harrison, Iris Zimmermann, Elke Rieth, Lucas Bader and Georg Bildstein. Their efforts have made it possible for this collection to inspire musicians to go their own way in music.
From Schwäbisch Hall, we are sending this magazine out into the world with the vision that it will serve as an inspiration to make music together and develop personal interpretations.
Explore “John Playford: The English Dancing Master” and be inspired by the historical melodies that once set Elizabethan England in motion. Whether you follow the traditional compositions or take your own creative path, this collection is a testament to the power of music to connect people across time and space.
Foreword
While searching for suitable music for a Shakespeare performance, we came across Playford and his “The English Dancing Master”, published in London and dated 1651 – a wealth of monophonic dance melodies with dance descriptions.
The 39 melodies selected are in the range of a ninth and can be played on the Dudey (transposed accordingly). Nothing else has been processed. (Only in one dance is a low leading tone replaced).
This booklet contains only the monophonic melodies in the first chapter, like the original. Of course, it was edited, polyphonically set, arranged and orchestrated as needed and participating players. Improvised preludes and interludes, as well as accompaniments, were common. There is therefore a wide field for musical interpretation by the active musicians – just like in Playford’s time. Harmonies are given under the notes as a basis for this approach to the melodies. Thanks to Ian Harrison for this contribution. In the second chapter, arrangements are collected that were created in the interplay of dudey, gemshorn and recorder. However, they are also well suited for other instruments and are also intended to inspire the player to venture his own arrangements.
It was deliberately decided not to include the dance description following each melody. On the one hand, this would go beyond the scope of this publication, on the other hand, dance descriptions are available elsewhere (see references in the appendix). It is also our aim to emphasize the charm of the melodies as minstrel music.
Small bagpipes, like our Dudey, belong to the instruments of Shakespeare’s time; Praetorius was a contemporary, Playford lived somewhat later.
I would like to thank Ian Harrison, Iris Zimmermann, Elke Rieth, Lucas Bader and Georg Bildstein for their support with this booklet.
May this collection inspire you to develop and perform your own arrangements with joy.
Schwäbisch Hall, October 2016
Hermann Rieth
Author:in
Hermann Rieth
Hermann Rieth had recorder lessons with his mother as a child. Later, recorder lessons and playing became an essential compensation during his studies (mathematics and physics for the higher teaching profession) and the training period to become a hand weaver. As a teacher of handicrafts, he continued this passion in making music with students. With getting to know the Hümmelchen and Dudeys a new intensification began: learning to play the bagpipes, attending courses and making a lot of music. Soon he and a friend began organizing the Schwäbisch Haller Sackpfeifertage. In the process, he developed an interest in early music, a preoccupation with old prints and manuscripts, and an extensive collection of pieces for Hümmelchen and Dudey was formed. The occupation with the repertoire of this booklet began already in school days with the program “Hello Folk”, which Walli Whyton hosted for the English soldier station. There, sounds of folk rock and Anglo-Saxon customs were heard alongside familiar ones. Some examples are included here at the end.
