Please note: The below information pertains to the 2016 Madison Early Music Festival. Feel free to browse these sections in order to learn more about our annual week-long program.

Information on the 2017 Madison Early Music Festival will be added as it becomes available.

Class Descriptions

Class schedule and quick-reference list.

Quick Reference List

Complete class descriptions available below, or click on the class time segment (Early morning, Mid morning, etc.) to be directed there.
*Classes marked with asterisk are part of the Advanced Loud Band Intensive and the Early Opera Workshop and are by audition only.

Early morning

Classes
Sunday-Thursday 9:00 – 10:00 am
Friday 9:00 – 9:30 am

  • Balanced, Not Blended: Ensemble Singing Basics (PHILLIPS)
  • *Early Opera Workshop: Fairy Queen (PATTON & HARGIS) 
  • Harpsichord Techniques (STOWE)
  • Morley's Practical Music (HERBERT)
  • Renaissance Lute Technique Class (MCFARLANE)
  • Sackbut Techniques (INGLES)
  • Shakespeare for Dancers: Jigging with Will (PECK)
  • Shakespeare in the Round (LIPKIS)
  • *Shawm and Dulcian Advanced Technique and Repertoire (WIEMKEN) 
  • Viol and Violin Technique for Consort Playing (EISENSTEIN)
  • Wake-Up Bagpipes! (KIMBALL)

Mid-morning

Classes
Sunday-Thursday 10:15 – 11:15 am
Friday 9:45 – 10:15 am

  • *Advanced Loud Band: Repertoire and Technique (WIEMKEN)
  • Catholic Underground: William Byrd's Latin Music (HUI)
  • The Consort Song (INGLES)
  • *Early Opera Workshop: Fairy Queen
    (PATTON, HARGIS, STOWE, WEAVER)
  • Lutes, Bandora, and Cittern: Ensemble Music (G. HERREID)
  • Recorders: Madrigals, Motets, Fantasias and Dances (KIMBALL)
  • Recorders: The Mulliner Book (P. HERREID)
  • Song and Dance in Shakespeare's Time (EISENSTEIN)
  • Strings: Really Old Tyme Fiddling (BERRY)
    Viols: Elizabethan Consorts (BALLARD)

Late morning

Sunday-Thursday 11:30 am – 12:15 pm

  • Beginning Recorder
  • Beginning Viol
  • Beginning Voice
  • Lecture Series
  • *Early Opera Workshop: Fairy Queen
    (PATTON, HARGIS, STOWE, WEAVER)
  • Dance Class for Fairy Queen (PECK)
  • Orchestra for Purcell’s Fairy Queen (DOUGLASS, STOWE, WEAVER)

Early afternoon

Small Ensembles
Sunday-Thursday 1:30 – 3:00 pm
Friday 10:30 – 11:30 am

  • *Advanced Loud Band: Polishing Repertoire (WIEMKEN) 
  • Bard Notes: Songs from Shakespeare Plays (LIPKIS)
  • Before Shakespeare: 13th and 14th Century English music (EISENSTEIN)
  • Elizabethan Broken Consort  (MCFARLANE)
  • Elizabethan Lute Songs: The Rhetoric of the Lute Song (G. HERREID, P. ROWE, WEAVER)
  • English Ballads circa 1600: “As I abroad was walking…” (BALLARD)
  • From Across the Alps: Musica transalpina (1588) (PHILLIPS)
  • Intermediate Loud Band: The Art of the Waytes (P. HERREID)
  • Instrumental Dance Band (BERRY)
  • The Knot Untied: Complex English Polyphony (DOUGLASS)
  • The Triumphs of Oriana (HERBERT)

Mid afternoon

All-Festival Rehearsals & Concert (G. HERREID) 
Shakespeare's Musical World: A Musical Day in the Life of Elizabethan London
Saturday-Friday 3:15 – 5:00 pm
Saturday 7/16 10:00 am – Noon | Dress Rehearsal
Saturday 7/16 7:30pm – Performance

EARLY MORNING CLASSES

Sunday-Thursday 9:00 – 10:00 am
Friday 9:00 – 9:30 am  

Balanced, Not Blended: Ensemble Singing Basics (CRAIG PHILLIPS)
All levels; unaccompanied singing experience 
Designed to develop skills essential to consort and small ensemble singing, this course addresses a range of topics that include onset coordination, vowel tuning, and corporate rhythmic integrity. Through hands-on group vocal exercises, students will explore foundations of unconducted small ensemble music-making in a dynamic workshop setting.

*Early Opera Workshop: The Fairy Queen (CHRISTA PATTON & ELLEN HARGIS) 
Continuo Rehearsals with Singers (PATTON, HARGIS, STOWE, WEAVER)
Open to 10 singers by audition only. See Early Opera Workshop for more information.

Harpsichord Techniques (JOHN CHAPPELL STOWE)
Intermediate to advanced keyboard players

Morley's Practical Music (CHRISTOPHER HERBERT)
All levels voices and instruments
This class focuses on Thomas Morley's 1597 publication, "A Plain & Easy Introduction to Practical Music." It reviews the content of the work and focuses on its purpose as a handbook for composition by the common man. Themes discussed include hexachordal thought, rhythmic notation, counterpoint, modes, and form. Students will write a short piece using Morley's suggested methods.

Renaissance Lute Technique Class (RONN MCFARLANE)
All levels of lutes
This class will be a detailed exploration of all aspects of a player's physical relationship with the lute. From the basics of holding the lute, through posture, right and left hand and arm movements, touching the strings and subtle angling of the fingers. Advanced lute technique "tricks" will be offered to those willing to take the Ancient Guild of Lutenists Pledge of Secrecy.

Sackbut Techniques (GREG INGLES)
All levels of sackbuts
This technique class is suitable for sackbut players of all levels. Topics of discussion will include articulation, tone production and quality, breathing techniques and exercises, phrasing and warm-up routines specifically for the sackbut. Daily group reading sessions will be included as well as an option for some assigned work to be developed individually throughout the course.

Shakespeare for Dancers: Jigging with Will (JANE PECK)
Beginning and intermediate dancers.  Bring shoes comfortable for dancing.
Instrumental accompaniment welcome!
Begin your day with some of the many 16th c. dances mentioned in Shakespeare’s plays! After all, Queen Elizabeth started her day with 60 galliard steps! We will move to the interesting rhythms of the English pavans, galliards, and measures and dance to the music mentioned by Old Will. Musicians will gain understanding of the rhythmic structures of this era. 

Shakespeare in the Round (LARRY LIPKIS)
Intermediate, all instruments and voices
Rounds were a great source of tavern entertainment during the Elizabethan and Jacobean eras, and throughout the 17th and 18th centuries. We’ll create our own rounds to texts from Shakespeare’s plays and sonnets. No prior experience in composition necessary!

*Shawm and Dulcian Advanced Technique and Repertoire (ROBERT WIEMKEN) 
Open to maximum of 8 advanced players by audition/permission of the instructor. See Advanced Loud Band Intensive for more information.

Viol and Violin Technique for Consort Playing (ROBERT EISENSTEIN)
Intermediate to advanced viols and violins
We will explore the fundamentals of both right and left hand technique with an emphasis not on the solo literature for our instrument but rather for consort playing.  We will also play viol consort pieces to see our technique in action!

Wake-Up Bagpipes!  (JOAN KIMBALL)
All levels, class limited to 6 players.  Instruments provided.
Come all ye hearty players, strong of lip and lung, learn the secrets of this delightful instrument, and get the energy flow going at 9 in the morning! Can you pat your stomach and rub your head at the same time? Then this class is made for you! Bring along a set of pipes if you already play and have them, or borrow a set of small Renaissance pipes for the week and learn how to coordinate the blowing and squeezing, and the playing of a melody or two.

MID-MORNING CLASSES

Sunday-Thursday 10:15 – 11:15 am
Friday 9:45 – 10:15am

*Advanced Loud Band: Repertoire and Technique (ROBERT WIEMKEN) 
Advanced cornetto, dulcian, shawm, sackbut. Maximum of 8 participants by audition/permission of the instructor. See Advanced Loud Band Intensive for more information.

Catholic Underground: William Byrd's Latin Music (JERRY HUI)
Intermediate voices and instruments that can cover SAATB parts.
In a kingdom where Catholicism was officially banned, Latin motets were driven to an underground existence. Against all odds, William Byrd remained on the good side of the queen, escaped prosecution (unlike some of his colleagues), and continued to compose music directed for Catholics. We will be working on some of these Latin motets, and movements from his three masses (for 3, 4, and 5 voices).

The Consort Song (GREG INGLES)
Intermediate voices, sackbuts, dulcians, recorders
Resounding and tender pieces for multiple sackbuts, dulcians, recorders and voices.
We need at least one or two voices, preferably soprano and/or mezzo-soprano.

*Early Opera Workshop: The Fairy Queen (PATTON, HARGIS, STOWE, WEAVER)
Continuo rehearsals with singers. Open to 10 singers by audition only.  
See Early Opera Workshop for more information.

Lutes, Bandora, and Cittern: Ensemble Music (GRANT HERREID)
Beginning, intermediate and advanced players. Instruments available.
Ensemble arrangements of Elizabethan and early Jacobean music for lutes and other plucked strings of various sizes and tunings. Individual parts can be designed to include all levels of ability.

Recorders: Madrigals, Motets, Fantasias and Dances (JOAN KIMBALL)
Advanced recorders, limited to 6 players
Explore the rich and varied repertoire, both vocal and instrumental, of late 16th century English composers in the reign of Elizabeth I.  The class will focus especially on articulation, as well as tight ensemble playing. Renaissance‐style recorders preferred, but not mandatory.

Recorders: The Mulliner Book (PRISCILLA HERREID)
Intermediate-high intermediate SATB recorders 
Many of the keyboard pieces in The Mulliner Book are wonderfully suited to recorders. If you'd like to improve your fast playing, or long for greater breath control, the solemn In Nomine, lilting dances, and highly ornamented chant verses of The Mulliner Book provide ample opportunity to improve all aspects of recorder technique.

Song and Dance in Shakespeare's Time (ROBERT EISENSTEIN)
Intermediate instruments and voices.  Everyone can sing and play!
We will explore the English genres of part song and consort songs for voices and instruments, and the 'groundling' music from the Elizabethan theater, country dances and ballads, including songs and tunes mentioned in the plays.

Strings: Really Old Tyme Fiddling (BRANDI BERRY)
Advanced and high intermediate bowed strings
Shakespeare was a lover of both the classics and the folk songs. This improvisatory class focuses on both for the strings, delving into the tunes and divisions from Playford's collections such as Apollo’s Banquet, the Division Violin and others. This is the oldest kind of fiddling with the oldest “new” giggs, Scotch tunes, and more. We will look at the folk and Renaissance traditions, and how they merge in these collections.

Viols: Elizabethan Consorts (MARY ANNE BALLARD)
High intermediate to advanced viols
Depending on enrollment, we will choose from the following repertoire: 4, 5, or 6 parts, works of White, Tye, Tallis, Byrd, Bevin, or the In Nomine, starting with the original Taverner and a contemporary contrafactum, “In Trouble and Adversitie” (for which singers could be enlisted). The In Nomine was the FIRST real genre of consort music for viols.

LATE MORNING CLASSES

Sunday-Thursday 11:30 am – 12:15 pm

BEGINNING CLASSES
Please inquire about rental instruments.

  • Beginning Recorder
  • Beginning Viol
  • Beginning Voice

LECTURE SERIES
The lectures in the series presented on Sunday, July 10 and Tuesday, July 12 will be repeated as pre-concert lectures those same evenings at 6:30pm.
Note: The pre-concert lectures on Saturday, July 9 and Friday, July 15 are presented only before the concerts.

*Early Opera Workshop: The Fairy Queen (PATTON, HARGIS, STOWE, WEAVER)
Continuo rehearsals with singers. Open to 10 singers by audition only. 
See Early Opera Workshop for more information.

Dance Class for Fairy Queen (JANE PECK)
Intermediate dancers and singers in the Early Opera Workshop
We will use the Inns of Court manuscript as well as Playford and Negri to create dances for Purcell’s Fairy Queen. Learn many of the 16th century dances mentioned in Shakespeare’s plays!

Orchestra for Purcell’s Fairy Queen (DAVID DOUGLASS, JOHN CHAPPELL STOWE & CHARLES WEAVER)
Advanced strings, continuo and recorders
Grab a rare opportunity to join the Early Opera Workshop Orchestra, and perform excerpts from The Fairy Queen by Henry Purcell. The ensemble will rehearse separately, and together with singers.  Open to violins, violas, cellos, violas da gamba (all sizes), continuo (lutes, theories, harpsichords, harps), and possibly a few advanced recorder players. 

EARLY AFTERNOON CLASSES

SMALL ENSEMBLES

Sunday-Thursday 1:30 – 3:00 pm
Friday 10:30 – 11:30 am

*Advanced Loud Band: Polishing Repertoire (ROBERT WIEMKEN) 
Advanced cornetto, dulcian, shawm, sackbut
Maximum of 8 participants by audition/permission of the instructor only. See Advanced Loud Band Intensive for more information.

Bard Notes: Songs from Shakespeare Plays (LARRY LIPKIS)
All levels, all instruments and voices
We will perform the classic repertory of songs from Shakespeare’s plays, such as “It Was a Lover and His Lass,” “O Mistress Mine,” and many others, and put the songs into the context of the plays by acting out the lines that lead into the songs.

Before Shakespeare: 13th and 14th Century English music (ROBERT EISENSTEIN)
All levels, voices and instruments
We will focus on the few but wonderful sources of English medieval music, including instrumental pieces, songs in English, conducti and motets and mass sections from the Old Hall Manuscript.

Elizabethan Broken Consort (RONN MCFARLANE)
Advanced instruments, see description
The Elizabethan Broken Consort is a specific ensemble of six players for which a very beautiful yet earthy repertoire is arranged. This ensemble needs 6 members who play treble viol or violin, flute or recorder, bass viol, lute, cittern, bandora.

Elizabethan Lute Songs: The Rhetoric of the Lute Song (GRANT HERREID, PAUL ROWE, CHARLES WEAVER)
Intermediate to advanced singers, lutes, viols, or other interested players
Explore the world of music and poetry from Elizabethan England by singing and playing the lute songs of such composers as John Dowland, Philip Rosseter and Thomas Campion. This will include solo songs as well as part songs sung to the lute. We will tease out the various rhetorical devices and techniques employed, and explore how are they expressed in their musical settings.

English Ballads circa 1600: “As I abroad was walking…” (MARY ANNE BALLARD)
All levels of singers and instrumentalists 
Broadsides and traditional balladry performed in various ways depending on enrollment. Learn the tunes and texts that go with them, sitting around in a circle singing and playing. Or, perform the ballads the old way, a capella, in groups, solos, and in dialogue form with 2 or 3 speakers.

From Across the Alps: Musica transalpina (1588) (CRAIG PHILLIPS)
Intermediate to advanced singers
This course will explore select madrigals from Nicolas Yonge's influential publication of 1588 Musica Transalpina. Repertoire assignments will be determined based on voice types of enrollees. Emphasis will be placed on pieces of Italian origin by Marenzio and Ferrabosco. The course will culminate in a performance of madrigal(s) prepared in class.

Intermediate Loud Band: The Art of the Waytes (PRISCILLA HERREID)
Intermediate to advanced shawms, cornetti, dulcians, and sackbuts
William Byrd and Thomas Tallis wrote some of the most gorgeous English vocal music of the Renaissance, and much of it works beautifully on the instruments of the loud band. Come explore works of these and other masters of the English choral tradition on wind instruments. If you’re a newcomer to the Festival, please contact the instructor (priscillaherreid@gmail.com) about what instrument(s) you’ll be bringing. 

Instrumental Dance Band (BRANDI BERRY)
All levels, strings, recorders, or other wind instruments
This class focuses on English dances from Thomas Morley, Anthony Holborne and other Shakespearean era delights. We will explore how to bring these 5-part dances to life from the page, delving into performance practice and ornamentation principles of the time.

The Knot Untied: Complex English Polyphony (DAVID DOUGLASS)
Advanced violin and viola da gamba family instruments
Perform unusual works by Tye, Baldwine, Pickforth and others that explore the outer reaches of rhythm, melody, and ensemble skills. It's not easy music, but it is a wonderful and unique adventure. We will also explore improvisation as a connected repertory.

The Triumphs of Oriana (CHRISTOPHER HERBERT)
Intermediate to advanced singers
This class explores several of the madrigals in the 1601 collection entitled The Triumphs of Oriana, which features music by the lesser-known English madrigalists. Students will be organized into vocal ensemble(s) depending on voice part distribution. The aim of the class is to assist vocal ensembles through feedback, critical analysis, and discussion of issues pertaining to the music, with the ideal of reaching a higher level of musical and artistic expression.

MID-AFTERNOON

All-Festival Rehearsal (GRANT HERREID)

Saturday-Friday 3:15 – 5:00 pm

Note: Dress rehearsal for the All-Festival Concert is on Saturday, July 16 from 10:00 am - 12:00 pm. The performance takes place that evening at 7:30 pm.

Shakespeare's Musical World: A Musical Day in the life of Elizabethan London
For all Renaissance instruments and voices
A day in Shakespeare's England offered a variety of musical experiences: the cries of street-sellers; the sounds of the hunt; hymns and psalms sung in worship; serenades of courtly love sung to the lute or viol; consorts of instruments accompanying dance, the theater, or for amusement. The All-Festival Concert will feature these diverse scenes of daily life, woven into a rich Elizabethan musical tapestry of madrigals, consort songs, devotional pieces, and instrumental music for our closing concert.