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).
The first chapter of this booklet contains only the monophonic melodies, like the original. Of course, it was edited, set for several voices, arranged and orchestrated as required and according to the players involved. 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 suitable for other instruments and should also encourage you to try your 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 in 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 balance during his studies (mathematics and physics for the higher teaching profession) and during his training as a hand weaver. As a crafts teacher, he continued this passion for making music with his pupils. After getting to know the Hümmelchen and Dudeys, a new intensification began: learning to play the bagpipes, attending courses and making lots of music. He soon began organizing the Schwäbisch Hall Sackpfeifertage with a friend. This led to an interest in early music, a preoccupation with old prints and manuscripts, and an extensive collection of pieces for Hümmelchen and Dudey. My involvement with the repertoire of this magazine began in my school days with the program “Hello Folk”, which Walli Whyton presented for the English soldier radio station. There, the sounds of folk rock and Anglo-Saxon customs could be heard alongside the familiar. Some examples are included here at the end.
