Single-action pedal and hook harp in Germany
Nancy Thym and Paul Knoke
German songs by Louise Reichardt (1799-1826) with harp accompaniment, and from the “Musikalische Rüstkammer auff der Harffe” (1719). The title, literally an “arsenal” of techniques (or weapons) essential for playing the harp, included popular music of the time such as opera ariettas and rousing Studentenlieder – student songs sung by fraternity groups in the Weinkeller – wine cellar/inns in Leipzig.
This repertoire can be played on diatonic, chromatic, hook or pedal harp. Modern technique can be adapted while exploring single-action pedal harp and historical hook harp technique (a practice of using anchored fingers which survived among the itinerant harpers of the 19th and early 20th centuries).
Workshop Harp accompaniment for Medieval German songs
Nancy Thym
Repertoire includes works of Hildegard von Bingen, Carmina Burana, Neidhardt von Reuenthal, Jenaer Liederbuch, Oswald von Wolkenstein, Lochamer Liederbuch.
Harp playing – yes. Singing – yes. But both together? How can I develop harp accompaniments so that I can still concentrate on singing? The course discusses methods for developing accompaniments such as drone and chordal patterns, descant melodies which compliment the vocal line and intabulation of the voices of two or three part songs. Course will also cover pronunciation and vocal style. Open to all levels.
Street Band
Nancy Thym & Thilo Viehrig
Tired of being glued to written music and the stress of getting each note perfect? Then come and relax. This is a fun class with melodies that will jump right into your ear and have you dancing with your instrument. Medieval and Renaissance dances (Arbeau, Praetorius, Playford), traditional European folk tunes, songs and melodies of the itinerant musicians of Bohemia and Germany. Since traditional and street musicians usually did without music, we will be learning the tunes by ear and arranging them for the instruments at hand. Lots of room for improvisation!
All instruments including recorder & penny whistle, harp & lyre, hurdy-gurdy, ocarina, vielle & nun’s fiddle, spoons & bones, concertinas, trombones, and other unusual street instruments and voices welcome.
* This class was first offered as a collaboration between the late Tom Zajac and Nancy Thym. It is offered here in memory of him.
School of Pauman 1452 – Fundamenta, Pausae and Applications
Judy Kadar
- Improvising on a tenor in two voices based on the examples in the “Fundamentum Organisandi” 1452 by Conrad Pauman
- Pausae: Improvisation patterns appropriate for diminution of long notes
Similar to Fundamentae in the Buxheimer Orgelbuch c.1460
For keyboard, lute and harp
Songs from the Glogauer liederbuch 1480
Judy Kadar
A rich source of German 15th century music, this manuscript of instrumental music contains some of the greatest hits of the day as well as several abstract settings of “Jays pris amours”. Hours of entertainment…
For harp and other instruments.
Beginning harp
Judy Kadar
Everything sounds great on the harp! Whether droning to a fetching tune or plucking simple melodies while learning a variety of accompaniments, enjoy creating satisfying sonorities while learning the basic technique of this totally awesome instrument.
Note: harps available
Dances from the Terpsichore for harp solo and ensemble
Christa Patton
Many of the dances from this collection by Michael Praetorius make very fun solos or ensemble pieces incorporating melody as well as basic basso continuo skills.
All harps are welcome.
Erster Theil Kleiner geistlichen Concerten (Leipzig, 1636)
Songs for 1, 2, 3, 4, and 5 voices with continuo
Christa Patton and Julianne Baird
Heinrich Schütz combined Lutheran hymn-based composition with Italian innovation in sacred and secular music. “Eile mich, Gott, zu erretten,” from this collection bears an instruction that it must be sung in “Stylo oratorio” a declamatory style known to the Italians as recitar cantando. Exploration of this wonderful repertoire with instruction for singers and continuo players.
All voices and continuo welcome.
Chromatic harps – A trio of skills
Christa Patton
Meet the Chromatic harp of the 17th century. The listener is enveloped in the extremes of it’s sumptuous range, it’s decorative swirling figures, cascades of notes, and vaporous sonorities transforming one’s humours from troubled to joyous, rhapsodic to despairing, angry to placid. It was an instrument that could quiet the unquiet soul.
The Trio of Skills includes – Repertoire of the 17th century Italian arpa a tre registri (triple harp) by composers such as Girolamo Frescobaldi, Luigi Rossi, Giovanni Maria Trabaci, Asciano Mayone – Accompaniments using elements of the solo repertoire and rules of basso continuo and – Technique informed by the touch of the instrument and the demands of the repertoire that is played upon it.