Three Susato Dances from The Danserye: Interchangeable Woodwind Ensemble Score & Parts

David Marlatt's expansion from Susato's original four-voice texture into a flexible five-part woodwind setting opens these dances to ensembles without forcing specialized instrumentation decisions. The Early-Medium grade level respects the integrity of Renaissance voice-leading while remaining accessible, and the interchangeable parts mean you're not held hostage by who shows up on any given rehearsal day.

These dances have the directness of folk music combined with the sophistication of court life. The melodies are tuneful and memorable, moving with purpose through simple harmonic progressions that feel inevitable rather than predictable. You hear in them both the refinement of Renaissance craftsmanship and the joy of musicians actually dancing.

Woodwind ensembles at the intermediate level looking for authentic Renaissance repertoire without the instrumentation headaches. This works equally well for concert performance, festival competition, or as a gateway into early music for students who've never encountered Susato before.

• Keep the harmonic rhythm clear and steady; Renaissance dances rely on the ensemble locking into a consistent pulse. Resist the urge to push the tempo or add rubato.
• Balance the melodic line against the supporting voices. The primary tune should sing through without the accompaniment receding into mere background.
• Articulation matters more than dynamics in bringing these dances alive. Light, crisp tonguing on shorter notes creates the appropriate character.
• If performing multiple dances in sequence, allow a breath between them rather than rushing directly from one to the next.

Pair these with your group's other Renaissance or early Baroque selections to build a thematic concert or festival round. They're substantial enough to anchor a program but compact enough to fit alongside larger works, and they serve as an ideal introduction to period style for audiences unfamiliar with instrumental music before the Baroque.

• Reading and performing Renaissance voice-leading and harmonic syntax
• Maintaining steady pulse and rhythmic precision in duple and triple meters
• Balancing independence and interdependence in ensemble texture
• Adapting to flexible instrumentation without losing musical coherence
• Performing articulation and phrasing appropriate to Renaissance style