Musik of Shakespeare's Daye: String Orchestra Conductor Score & Parts

$42.00 USD

Musik of Shakespeare's Daye: String Orchestra Conductor Score & Parts

Name: Musik of Shakespeare's Daye: String Orchestra Conductor Score & Parts
Brand: Alfred Music
SKU: 00-24943
Price: 42.00 USD
Availability: InStock

Music by Antony Holborne, William Brade, Claude Gervaise, Thomas Ravenscroft, and John Dowland / arr. Andrew H. Dabczynski

Grade: 2

Item: 00-24943

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Through this suite of five English dances from the late Renaissance and early Baroque periods, young string players will have the opportunity to experience first-hand the "Musik of Shakespeare's Daye." Even students with only fundamental performance skills will enjoy playing the varied movements of this clever arrangement, each with musically interesting parts for all instruments. The spirited "Noel's Galliard" by Anthony Holborne is followed by the stately "Alman" (or allemande) by William Brade. The slower "English Pavan," as interpreted by the French composer Claude Gervaise, contrasts with a string setting of Thomas Ravenscroft's lively madrigal "Martin Said to the Man." The suite closes with the vigorous "King's Galliard," by the English master, John Dowland. These dances from the time of the Great Bard will make an excellent addition to any concert program, and will enrich the school music curriculum. This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Musik of Shakespeare's Daye: String Orchestra Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Series: Highland/Etling String Explorer

Publisher: Alfred Music

Page Count: 144

UPC: 038081276816

SKU: 00-24943

More about this title

About the Composer: Antony Holborne

Antony Holborne was an English lutenist and composer active in the late 16th century, publishing two major collections of dances and instrumental music that remain cornerstones of Renaissance repertoire. His works, particularly his galliards and other dance forms, showcase the sophistication and rhythmic vitality of Elizabethan instrumental music and continue to inspire arrangements for modern ensembles.

William Brade (1560-1630) was an English viol player and composer who spent much of his career in Germany and Denmark, bridging English and continental musical styles. His allemandes and other dance movements reflect the refined taste of the early Baroque court, balancing elegant melodic lines with harmonic clarity that translates beautifully to string scoring.

Claude Gervaise (c. 1510-1560) was a French composer and musician who published extensively in Paris during the Renaissance, contributing significantly to the development of the dance suite. His pavans, including the "English Pavan," demonstrate the graceful, measured character that defined the form.

Thomas Ravenscroft (c. 1582-1635) was an English composer and music theorist known for collecting and composing vocal music, including madrigals and rounds that captured the playfulness and sophistication of Tudor-era music. His settings remain popular in educational and concert contexts.

John Dowland (1563-1626) was one of the most celebrated lutenists and composers of the Renaissance, known for his expressive pavan and galliard forms and his influence across European courts. His "King's Galliard" exemplifies the dance music that defined late Renaissance instrumental writing.

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Why we love this

This suite captures the genuine character of Elizabethan and early Baroque dance music without sacrificing playability for young orchestras. Andrew Dabczynski's arrangement balances musicality with accessibility, giving every section engaging material while keeping the technical demands in line with Grade 2 abilities. The variety across five movements prevents repertoire fatigue and provides a complete concert-ready program that connects students to authentic historical music.

What to expect

Stepping into a Renaissance dance hall where music lifts and propels rather than lingers. The five movements cycle through contrasting moods: spirited and fleet-footed galliards, then measured and dignified dance forms, punctuated by the eloquent pavan and the playful madrigal setting. The orchestration brings these chamber-scale pieces to vivid life while preserving their clarity and directness.

Who it's for

String orchestra directors programming Grade 2 ensembles, especially those seeking historically grounded repertoire that engages students without overwhelming them technically. This collection works well for student orchestras aiming for festival performance or concert programs that blend educational value with genuine musical substance.

How to get the most out of it

Shape each movement's melodic line with clarity; Renaissance dances depend on transparent voice leading rather than harmonic weight, so avoid over-blending parts.
Match the rhythmic character to each dance type: the galliards need lift and precision, the alman calls for stately grounding, and the pavan requires sustained phrasing across phrases.
Use the historical context to inform articulation choices; brief, clean bowstrokes work better than continuous legato, particularly in the quicker sections.
Balance the lower voices carefully so they support the melody without muddying texture; violas and cellos should anchor without forcing.

How to use it

Open a concert with "Noel's Galliard" for an energetic, audience-friendly opener that immediately establishes a historical flavor. Program the full suite as a unified five-movement work to showcase variety and student musicianship, or select individual movements (particularly the pavan and closing galliard) to anchor thematic concert programs exploring Renaissance or early Baroque music.

Skills your students will build

Playing with stylistically appropriate articulation and phrasing for Renaissance dance forms
Reading and executing rhythmic patterns specific to galliards, allemandes, and pavans
Balancing melodic and accompanying roles within a transparent orchestral texture
Sustaining phrases across barlines and developing musical line awareness
Ensemble coordination across five distinct movements with contrasting tempos and characters