Of the movements in this Capriol Suite project, this is the longest and it has been the most challenging.
It has all sorts of counter-melodies and cross-rhythms going on, it was far cry from simply deciding which instrument to play which of the original string orchestra parts on. It has many sections; the intro and letters A. through to L. Each is different and needed to be thought about separately.
It is the most exciting movement, and having done this I feel I've broken the back of this whole project.
Tuesday, 2 October 2018
Monday, 24 September 2018
Tordion - sounding finished
In my last post I had almost finished the Tordion from Capriol Suite. But there were some embarrassing dodgy high notes on the descant recorder part. I've since bought a sopranino and have been able to re-record those same notes in a more comfortable register.
I'm much happier with it. It's starting to sound finished.
I'm much happier with it. It's starting to sound finished.
Thursday, 20 September 2018
Third movement of Capriol Suite finished, with a little remedial work to do
This is movement 3, a 'Tordion' which is a light dance "popular from the mid-15th to the late-16th centuries" (it sez on Wikipedia).
On paper there doesn't seem to be too much to it; it's a light dance, and like the first two movements of Capriol, fairly short. I noticed that up till letter B there's a swell and change of style on every fourth bar, so I've souped that up a bit; the biggest is the third time that happens. After letter B (on the sheet music) there's a gradual dim with a change of style from stacc. to pizz. with a gradual dying away so I've tried to reflect that, switching to clean sound at D. That change is not very noticeable because I'm palm-muting throughout (except for the breakouts.)
The top part (Violin 1), which I'm playing on soprano recorder, reaches to the top of the range and in order to hit the top C's I'm whacking them a bit hard. I should get hold of a sopranino so I can play those high parts with a little more finesse.
On paper there doesn't seem to be too much to it; it's a light dance, and like the first two movements of Capriol, fairly short. I noticed that up till letter B there's a swell and change of style on every fourth bar, so I've souped that up a bit; the biggest is the third time that happens. After letter B (on the sheet music) there's a gradual dim with a change of style from stacc. to pizz. with a gradual dying away so I've tried to reflect that, switching to clean sound at D. That change is not very noticeable because I'm palm-muting throughout (except for the breakouts.)
The top part (Violin 1), which I'm playing on soprano recorder, reaches to the top of the range and in order to hit the top C's I'm whacking them a bit hard. I should get hold of a sopranino so I can play those high parts with a little more finesse.
Sunday, 12 August 2018
Next project - Capriol
I've been wondering what to do after drawing a line under My Lords and Ladies.
I had a few ideas, I've tried some Monteverdi and some Italian dances in general.
A very long time ago I started looking at the score for Peter Warlock's Capriol Suite. Having pulled that out again and started to do a little work on it, it's clear that it's going to work out well.
Peter Warlock wasn't a 16th Century composer (early 20th Century). He wasn't really called Peter Warlock (he was Philip Hestletine - Peter Warlock is a much cooler name). But the 6 movements in the suite are all based on 16th century dances.
Here's the first rough demo. I really like the arrangement (I've pretty much just played notes off the score). An opportunity to play lots of brass.
I usually work like this - record all the parts without worrying too much about perfection, to get an idea of how it'll sound, and get ideas about any modifications I might want to do. There are some wrong notes in it. Some are my mistakes, but you also discover errata on the score. For example, if you've downloaded the string orchestra score from IMSLP, the 12th bar of B has a wrong note in the bass. The rest of the parts are obviously playing notes from a D major chord (D, F#, A) but the bass has a Bb, which clashes horribly and I think should be a D.
Capriol 2 - Pavane mp3
Update 30 Aug 18, more work in progress
Capriol 1 - Basse Danse mp3
I had a few ideas, I've tried some Monteverdi and some Italian dances in general.
A very long time ago I started looking at the score for Peter Warlock's Capriol Suite. Having pulled that out again and started to do a little work on it, it's clear that it's going to work out well.
Peter Warlock wasn't a 16th Century composer (early 20th Century). He wasn't really called Peter Warlock (he was Philip Hestletine - Peter Warlock is a much cooler name). But the 6 movements in the suite are all based on 16th century dances.
Here's the first rough demo. I really like the arrangement (I've pretty much just played notes off the score). An opportunity to play lots of brass.
I usually work like this - record all the parts without worrying too much about perfection, to get an idea of how it'll sound, and get ideas about any modifications I might want to do. There are some wrong notes in it. Some are my mistakes, but you also discover errata on the score. For example, if you've downloaded the string orchestra score from IMSLP, the 12th bar of B has a wrong note in the bass. The rest of the parts are obviously playing notes from a D major chord (D, F#, A) but the bass has a Bb, which clashes horribly and I think should be a D.
Capriol 2 - Pavane mp3
Update 30 Aug 18, more work in progress
Capriol 1 - Basse Danse mp3
Sunday, 27 May 2018
My Lords and Ladies - album now available - 16th century rocks
With twelve tracks finished I decided to draw a line and call this project finished. There are many more 'Lords and Ladies' but I have other ideas that I'd like to explore.The music is played directly from the old sheet music, maintaining the renaissance feel of the music, with additional rhythms and guitar improvisation for a modern rock sound. I'm very proud of the result.
"that's certainly different... Well done." - my Mum.
It's available for listening and, if you'd like to keep it forever, for purchase, in two places so far - Bandcamp and CD Baby.
https://canzon-cataclysmico.bandcamp.com/releases
https://store.cdbaby.com/cd/canzoncataclysmico
Thursday, 24 May 2018
Recent work, Lord Rendal
This traditional ballad didn't really fit with the rest of the tunes that I've been recording. It is said to date back to the 17th century as 'testament of the poisoned man' or similar (and in Italian I think). But that had a very different tune.
The version I came across and really liked was by a Victorian gentleman, Granville Bantock. But I went with it anyway. Hey, they're my rules. And did what I felt was right. An opportunity to play a slow melody flugelhorn solo as the intro and finish, and get a bit raucous in the middle.
That doesn't really fit with the sentiment of the song, which is a conversation between Lord Rendal (or Randal sometimes) and his mother. He's feeling pretty ill and it turns out that he's been poisoned by his sweetheart. His mother seems more concerned about what things he's leaving to members of his family.
I'm pleased with what I've done nonetheless.
That makes 12 tracks now, and I'm going to start uploading them for purchase at Bandcamp and other sites, and preparing myself for the sound of tumbleweed.
The version I came across and really liked was by a Victorian gentleman, Granville Bantock. But I went with it anyway. Hey, they're my rules. And did what I felt was right. An opportunity to play a slow melody flugelhorn solo as the intro and finish, and get a bit raucous in the middle.
That doesn't really fit with the sentiment of the song, which is a conversation between Lord Rendal (or Randal sometimes) and his mother. He's feeling pretty ill and it turns out that he's been poisoned by his sweetheart. His mother seems more concerned about what things he's leaving to members of his family.
I'm pleased with what I've done nonetheless.
That makes 12 tracks now, and I'm going to start uploading them for purchase at Bandcamp and other sites, and preparing myself for the sound of tumbleweed.
Tuesday, 10 April 2018
Latest work, Lord Willoughby His Welcome Home by John Dowland / William Byrd
I've just finished this after some late nights and I'm really happy with it.
I upgraded my guitar halfway through working on this. The new one is set up beautifully so there are fewer intonation problems on this recording and I'm learning how to achieve a nicer recorded guitar sound.
Once again the music / chord changes lend themselves really well to a rock style, while still retaining the renaissance feel.
The sheet music I've used is from My Ladye Nevells Booke of Virginal Music (1591) (number 33). That's obviously written for keyboard but as is often the case with harpsichord or virginal music it's not too much trouble to pick out four or five parts.
I'm a little confused though because that collection of virginal music is credited to William Byrd. (It's also rather quaintly spelled 'Lord Willobies Welcome Home'[sic]) I can't see a credit to John Dowland on that arrangement, but I'm sure that Lord Willoughby's Welcome Home is a John Dowland tune.
I've found these notes on the collection of music but it doesn't mention other composers' names, only crediting William Byrd.
So I'm fairly sure that I should credit this to John Dowland, arr. William Byrd. (And rearranged by me.) If anyone can confirm or clarify, please do let me know.
I upgraded my guitar halfway through working on this. The new one is set up beautifully so there are fewer intonation problems on this recording and I'm learning how to achieve a nicer recorded guitar sound.
Once again the music / chord changes lend themselves really well to a rock style, while still retaining the renaissance feel.
The sheet music I've used is from My Ladye Nevells Booke of Virginal Music (1591) (number 33). That's obviously written for keyboard but as is often the case with harpsichord or virginal music it's not too much trouble to pick out four or five parts.
I'm a little confused though because that collection of virginal music is credited to William Byrd. (It's also rather quaintly spelled 'Lord Willobies Welcome Home'[sic]) I can't see a credit to John Dowland on that arrangement, but I'm sure that Lord Willoughby's Welcome Home is a John Dowland tune.
I've found these notes on the collection of music but it doesn't mention other composers' names, only crediting William Byrd.
So I'm fairly sure that I should credit this to John Dowland, arr. William Byrd. (And rearranged by me.) If anyone can confirm or clarify, please do let me know.
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