Three Susato Dances from The Danserye: Woodwind Quartet Score & Parts

David Marlatt's arrangement transforms these Renaissance gems into a perfect vehicle for developing quartet balance and ensemble listening. The echo writing and imitative passages demand genuine musical communication between stands, while the dramatic dynamic contrasts give young ensembles concrete expressive goals to chase. You get authentic Renaissance counterpoint married to a manageable instrumentation and accessible difficulty level.

Energetic and dance-like, with the infectious forward momentum of Renaissance instrumental music. The imitative writing creates a sense of playful conversation between the pairs, while the dramatic dynamic shifts add theatrical flair without becoming precious. These pieces feel alive and direct, with none of the archness that can afflict poorly arranged early music.

Woodwind quartets working at the Easy-Medium level who want substantial, authentic repertoire beyond 20th-century arrangements. This is ideal for students ready to balance four independent lines but not yet tackling the complex rhythmic or harmonic challenges of later repertoire. Educators seeking festival-ready material that teaches real musicianship will find these dances invaluable.

• Treat the imitative passages as real conversations. The second flute or clarinet should enter as a distinct response, not an echo; clarity of line matters more than perfect rhythmic unison.
• Shape phrases through the dynamic contrasts rather than relying on tempo changes. The printed dynamic markings are your map for musical architecture.
• Balance the flutes and clarinets so that thematic material reads clearly regardless of which pair carries it. This often means the higher instrument playing slightly under to let the lower one sing through.
• Use articulation to define the character of each dance. Renaissance dances benefit from crisp, intentional tonguing that honors the rhythmic drive without sounding mechanical.

Program these as a standalone set or weave individual dances into concerts exploring contrasting musical periods. The Renaissance context pairs well with folk dance arrangements or as a bridge between contemporary pieces and Baroque works. They work equally well for competition festivals, where the combination of period authenticity and fresh sonority always impresses adjudicators.

• Imitative writing and part independence in four-part texture
• Balance between flutes and clarinets as distinct timbral units
• Shaping phrases through dynamic contrast and articulation
• Reading Renaissance rhythmic notation and metric organization
• Ensemble precision across multiple independent melodic lines