I haven't had time to post -- or at least, when I have had time, I"ve been tired. When there isn't a class or a meal or dancing or a dropin session, it feels like time for bed.
But on Wednesday, they take a much-needed break from the concerts and the evening is pretty free, so I decided to catch you up on what's happening.
Cornetto Class with Doug Kirk
We did more playing the first day than we did all week when I took the class 4 years ago. A lot of the advice I've gotten is goingn to be long-term beneficial rather than making me sound better instantly, but I feel like this class is a success.
I was initially a little disappointed that I ended up playing serpent in the ensembles instead of cornetto, but it really does make for better ensembles to have lots of sizes. The piece we'll probably play on the student concert is a six part piece with me on serpent, two tenor cornettos, one alto cornetto (in F) and two regular cornettos on top. I was having to work very hard to get the low F's centered and in tune, and then today Doug said, "I wonder if this piece would sound better a step up." And it did. Apparently the sixteenth century people were always doing that -- if they were playing an instrument that liked sharps better than flats, they transposed it.
This year there are nine people in the loud wind section -- two cornettos, 2 sackbuts (alto and tenor), 1 tenor and 2 bass dulcians, me on serpent, and a guy who switches between tenor serpent and tenor dulcian. I think it's going to be fun.
The conductor made parts for the major piece on the program from the score with partify, and didn't give the parts other than the top line the measure numbers, but keeps telling people what measure number he wants to start on. And I can't always follow his beat on mensuration chages. But he picked good music and is enthusiastic about performing it with a cast of thousands.
Afternoon: Gombert and others with Marilyn Boenau and Pervernage with Dan Stillman
This year, there weren't any famous brass players on the faculty, but there is a famous dulcian player, and the not-so-famous dulcian players have been recruiting new people faster than the brass or other reeds have. So although they didn't want me in any of the advanced loud wind classes, they have classes for the less-experienced dulcian players that don't mind me playing with them.
I was expecting to mostly play cornetto, since I can play cornetto a bit higher than anyone plays dulcian. But it turns out they like the serpent, too.
Marilyn even let me play the tenor serpent on a top line that would have been low on the cornetto, but was the right kind of soaring on theh tenor serpent. It turns out I sound pretty good if I hear good pitches to play with and am warmed up on cornetto.
Dan has been experimenting. Monday, I played cornetto higher than the dulcians could play. Then yesterday, he had me play serpent lower for longer than he'd expect a dulcian to play. It turned out not to be such a good idea on the serpent, either. But it was educational.
Today he found a 7 part piece with a top line he's playing on alto dulcian, and a bottom line that's fine for a bass dulcian. So he has me playing a baritone line. 7 parts in that range is pretty close harmony, and sometimes sounds pretty wierd, with the less experienced dulcian players playing notes their fingers or their reeds don't know what to do with. But it's a good class of people working really hard at something they really want to do.