Three Susato Dances from The Danserye: 6 Flutes Score & Parts

David Marlatt's arrangement translates these four-part Renaissance dances into a natural fit for flute sextet without sacrificing the style or buoyancy of the originals. The collection sits at an ideal difficulty level where ensemble players must genuinely collaborate on articulation and phrasing rather than simply playing their notes, making it an excellent vehicle for teaching musical cohesion. The optional percussion part offers a clever way to deepen the arrangement's rhythmic character for groups ready to explore that dimension.

Spirited and courtly. The dances bounce with forward momentum and clear phrasing, alternating between moments of infectious rhythmic drive and passages of surprising lyrical warmth. The six-part texture creates a rich, blended sound that feels fuller than a traditional woodwind quintet while remaining intimate and transparent.

Intermediate flute choirs and community wind ensembles looking for repertoire that entertains both players and audiences without requiring orchestral forces. These pieces work well for groups comfortable with light Renaissance style and wanting material that rewards careful ensemble listening.

• Lock the stylistic details first. These dances live or die by precision in articulation and dynamic contrast; spend rehearsal time matching exactly how the ensemble attacks and releases rather than racing to nail the notes.
• Shape each phrase as a complete musical thought rather than keeping all voices at the same dynamic level. Identify which line sings the melody and let it breathe while other parts provide sensitive accompaniment.
• Balance the flute choir vertically. Sixth flute parts often get buried if the upper voices aren't reined in; encourage the first and second flutes to listen down and adjust so the full harmonic color rings through.
• If adding the optional percussion, rehearse it separately first, then integrate it gradually. Percussion can overwhelm the delicate Renaissance textures if not handled with restraint.

Ideal for opening a concert or a set of shorter pieces, especially in programming that explores Early Music. This suite pairs beautifully with other Renaissance or medieval arrangements, or as a palette cleanser before or after heavier contemporary works. Consider programming it as an educational showcase of how music from five centuries ago adapts to modern instruments.

• Matching articulation across six independent lines
• Balancing parts to maintain transparent texture
• Executing clean dynamic contrast and sudden shifts in style
• Listening vertically to achieve harmonic blend
• Reading from individual parts while maintaining ensemble cohesion
• Applying period-appropriate phrasing conventions to Renaissance material