Professional Documents
Culture Documents
-xTTJNEFIJL Mt,IsIC
for PuBrrc
Eileen Hadidian
with contributions from
Frances Feldon
Richard Geisler
Fred Palmer
Made possible by a grant from
,nn
American Recorder Society
H*
EN;owtENT
CONTENTS
Acknowledgements
rll
Music index
tv
Preface
vt
Music selections
Duets
Trios
17
57
Appendices
A.
B.
C.
109
110
tt2
ACKNOWLEDGMET{TS
Many thanks to the following individuals for contributing their arrangements to this book:
Frances Feldon, franfel@aol.com
Richard Geisler (Deceased. Former director, American Recorder Orchestra of the West)
Fred Palmer, music director, Mid-Peninsula Recorder Orchestra
Thanks also to Britt Ascher and the East Bay Recorder Society for their vision in implementing this
project, the American Recorder Society for helping to fund the project, Peter Ballinger of PRB
Productions for his advice, Susan Richardson for her editing skills, and Glen Shannon for designing
the cover and general editorial assistance.
111
MUSIC INDEX
DUETS
Lauda Jesu Christo-Pastourelle
14tr c.
Italian
French
John Playford (1651)
13th c.
Suite in G Major
Grimstock
All in a Garden Green
Broome
Joan's Placket
Newcastle
Woodycock-Lull Me Beyond Thee
Ma Belle Si Ton Ame/Tourdion
Aria from Cosi Fan Tutte
Erev Shel Shoshanim- Iti Mil'vanon-Dodi
AB
NTB
AT
5
5
6
6
7
Li
Plavford
l7d c.-16ft c. French
W. A. Mozafi
Traditional Jewish
TB
8
10
AT
AT
t2
t4
ATB
S/TB
TRIOS
Suite in G Major
Grimstock
All in a Garden Green
Broome
Joan's Placket
Newcastle
Suite in D Minor
Childgrove
Daphne
Scarborough Fair
Woodycock
Lull Me Beyond Thee
Ma belle Si Ton Ame/Tourdion
Suite in C Major fromWatermusic
Fanfare
Lentement
18
19
20
20
22
Playford
ATB
23
G.F" Handel
ATB
ATB
Air
Coro
Alla Hornpipe
Aria from Cosi Fan tutte
London Trios
# 1 (Andante)
# 4 (Allegro)
W. A. Mozart
F. J. Haydn
lv
ATB
ATB
24
25
26
27
28
32
34
36
37
38
42
44
Traditional Suite
'Tis the Gift To Be Simple
Be Thou My Vision
Amazing Grace
Dona Nobis Pacem
ATB
American
Shenandoah
50
kish
5l
American
Anonymous
American
Traditional
English
Gaelic
52
53
54
54
55
56
Francisco Guerrero
SATB
TTTB
59
62
66
SATB
68
SAATB
70
SATB
73
Mon Coeur
se Recommande d
Vous
Orlando di Lasso
(an. Richard Geisler)
Philip Rosseter
(an. Richard Geisler)
Thomas Morley
(arr. Fred Palmer)
SATB
76
O Temps Divers
Orlando di Lasso
(ar. Richard Geisler)
Louis-Antoine Dornel
SATB
78
Reflexion from
the W^" Concert de Symphonie
SATB
Score
Parts
80
84
Overture in F Major
Sarabande-Chasse
Score
Parts
Locus iste
ATTB
Anton
Bruckner
95
SATB
100
Shaker melody,
1847
r02
SATB
r04
ATTB
106
Elliot
Z.Levine,1990
All
PREFACE
fntroduction
Recorder ensembles from the East Bay Recorder Society have been performing
for shut-ins and residents of retirement and nursing homes for several years. Members
found that not all music selections worked well and that they sometimes lacked skills in
connecting with this specialized audience. The chapter needed a cornmon set of music to
perform that was geared specifically to senior citizens. This Gig Book was created for
that purpose and will, as well, allow recorder ensembles to play for their own pleasure or
perform for any occasion with a minimum of rehearsal time.
The book includes repertoire from the medieval, Renaissance, and Baroque
periods, as well as traditional music, in two to four parts. Some of the pieces are given in
both trvo- and three-part arrangements. Chord symbols are provided above the bass lines
for harp and guitar players. Most of the pieces are organized so that ensembles can play
them as long sets.
Background
For centuries people have written about music's power to help in healing body
and soul. The effects of music on creativity, learning and health are now widely
documented. In the past ten years studies have established impressive data showing the
effects of music in various medical situations. Music can reduce anxiety, decrease pain,
lower blood pressure, heart rate, and stress-related hormones, increase endorphin levels
and enhance the immune system.
Entrainment
When playing for people in rest hornes or clinics, the ultimate goal is entrainment.
The term means synchronizing the music with the person's energy.
When you first play for a roomful of people, they are often restless, preoccupied,
sometimes agitated. Start with some fast music that matches their energy; thin afterabout
five minutes begin to slow down the music gradually. This draws the listeners into a
calmer state. If you are able to observe the listeners as you play, you will notice that their
breathing becomes more regular,thatthey begin to relax and may even close their eyes!
That is just fine
it
the music is acting as a good sedative.
- meansyou
In other situations,
come into a roomful of people whose energy is low. In
that case, start with slower music which matches their state, then gradually speed it up.
You will often notice their bodies become involved, moving to the music.
V1
Always observe t}re energy of your listenen, before starting to play. Bringing
upbeat music right away to people feeling lethargio often doesn't work, whereas ifyou
practice entrainment and match their energy before gradually shifting it, their bodies will
follow the change of pace and align to the new rhythm. In the sarle marner, starting to
play slow, relaxing music to a roomful of people who are agitatd won't work; whereas if
you match their energy, then gradually slow down the music, they will entain to the
slower rhythm.
Instrumentation
'
'
o
The sound of the lower recorders is much mellower to the ears than higher
instruments. Play Alto-Tenor-Bass combinations as much as possible.
Adding other instnxnents enhances the texture and creates variety: viola da
gamba or cello orthe bass line, guitar or folk harp playing chords.
ft1 the four-part pieces, harpists and guitarists can add their own chords. The
pieces that would be enhanced by chordal accompaniment are Monsieur's
Almaine, Phillips Pavin, Reflexion, Sarabande and Chasse.
'
and baroque.
Start with stimulative or sedative music depending on the setting you are playing
in. Get your listeners into enfrainment mode, pu*ng them intoihe rnusic so-the!
can begin to relax and decrease their anxiety, or liven up, depending on your
.
'
'
'
'
intention.
Organize pieces according to similar moods, modes, and keys.
Build long, ten-minute sets in which you can segue from one piece to the next
without stopping, in a seamless, elegant way.
Determine your intention: do you want the music to go fast-slow, slow-fast, or
fast'slow-fast? Put together yotr music sets accordingly.
EX: Playford's Instrumental Suite in G follows the pattem fast-slow-moderatefast.
Recognize the importance ofrepetition. It is soothing and comforting to have
some familiarity, which is achieved by repeating a melody or motif
Introduce variation: play a piece several times, each time in a different way.
vlr
'
'
'
'
Practical advice
. Write up a one-page descripion of what your group offers.
r Contact the activities director at each senior center or rest home.
. Visit the site to see what the performance space is like.
' I\rt together one hour of repertoire that flows smoothly, with one break in the
middle. Use the process of enfiainment for each half
' Dress nicely; a good presentation is very important, and shows respect for your
'
-'
'
audience.
On the day you are playing, inffoduce yourselves and explain that you will be
offering two sets ofmusic with no intemrption. Ask people to save applause for
the end of each set.
Leave some time at the end to describe your instruments and answer questions.
Don't give up! If a door slams in your face, try another. If you don't get a
response, try again. I have found that even when I offer something for free as a
community service, it sometimes takes three to six montls to get a positive
response from an adminisbator.
Read about healing music and how it works. Consult the bibliography at the end
ofthis book.
EileenHadidian
September 2005
VlII
DUETS
Allegro
Suite in G Major
I. Grimstock
JohnPlayfor4 165I
V. Newcastle
T/S
JohnPlayford, 165I
10
W-
ft------l
E.
*-ttr-
Descant *
* Descant
pitrt can be added to the melody the seconil time through or played on its own.
1t
Le Tourdion
G Am
EmAm
t2
t4
Gm
Gm
Iti Mil'vanon
A
DmgbCAmDn
15
Dodi Li
Traditional Jewish
A
Refrain
T
lr-
-l-
c6
Dm Am
Reftain
TRIOS
l8
Suite in G Major
Allegro
A/S
ryC
B
I. Grimstock
I^
Moderato
20
IV.
A
T
Joan's Placket
22
V. Newcastle
T/S
T/A8
23
Suite in D Minor
1. Childgrove
A
T
llz
24
II. Daphne
C Dm Gm
Dm
gbc
AmDm
26
IV. Woodycock
Playford, 1651
s/T
T
27
28
ft;---__lE
T/S
GAmGCAmBm
30
Le Tourdion
32
Suite in C major
L Fanfare
A
T
B
G. F, Handel
34. E.
D.S. al Fine
34
II. Lentement
35
III. Air
36
Andante con moto
37
fV. Coro
38
V. Alla Hornpipe
D.C. al Fine
4z
T
G
DGV/4A7
D5
44
London Trio # I
Franz Joseph Haydn (1232-1809)
London Tria # 4
46
,AJleSro,
50
Traditional Suite
I. 'Tis the Gift ro Be Simple
A
51
Irish
52
SIowly
54
V. Shenandoah
A
A/T
T
55
T
B
English
56
QUARTETS/
QUINTET
Personent Hodie
59
Piae Cantiones (1582)
Per- so-nent
In mun-do
vo-ces pu
pan-rus rn
- ru-
no -
bis
-bu-lo
et de vir,
per-di- dit,
est
bru -
sum-mo
De-o
rec-tor su-per
et de vir
per-di - dit
lae,
vo - lui- tur,
da
g1-ne-o,
spo-li - 4
Lau-dan-tes
pi
Prae-se -
Et de vir,
Per-di-dit,
1u-cun-dae
po- ru - tur
60
Per- so-nent
ln
mun-do
qui no-bis
sta-bu -
et de viq
per-di- dit,
est
ho-di -
e,
na-sci-tur
na -to -
vu,
dit,
tus,
mm,
vo-ces
pan-ils
ln
sum-mo De -
-tor
e - ru- lae,
vo-lui-tur,
pu
da
Lau-dan-tes
-se - pl
tus.
su-per - no - rum.
ven -
tre pro-cre
prin-ceps in - fer
-a - no -
tus.
rum.
61
Ma'gis
mu-ne - ra
tres
pa-n-tgr
Om-nes cle
Ma-gis tres
Om-nes cle
pu-e-n,
ri-cu-li,
do,
do,
do,
stel-lu-lam se-quen
rp-sum
ti-bi
rp-sum
lau-des
ti-bi
a-do-ran -
mun
au-rum thus,
thus,
o,
thus,
I
i-de-o
thus,
thus,
au-rumthus
au-rum thus,
i-de-o
o,
o,
tun -
- ru-lum
Pa - ru-lum
Can-tent ut
Au-rum
do
do
Au-rum thus,
I-de-o,
et myr- rham
glo-ri -
a,
thus,
o,
thus,
o,
thus,
o,
- i - of-fe - ren -
do.
do.
au-rumthus
i-de-o
Pa
Can-tent
thus, thus,
I-de-o,
o,
a-do-ran
lau-des
ad-ve-nis-ti
i-de-o-
-e-ri,
of- fe-runt,
ve - ne-runt,
of - fe- runt,
o.
Personent Hodie
62
SOPRANO
ho-di-e
Per- so-nent
In mun-do
ju-cun-
po-ni-
na -
dae,
qui no-bis
est
fur,
sta-bu-
bru -
lo
a-
no
na
to
v[,
dit,
V[,
dit,
vo - ces
sci- tur,
tus,
-llun,
vlr,
dit,
- ru- lae,
Lau-dan-tes
Prae-se - pi
vo lui- tur,
pan-nis
sum-mo De - o
re- ctor su-per -
dano-
Et de vt,
tus.
Per-di-
mm.
et de vir
dit,
per- di - dit
tus.
rum"
Ma-
gis
tes
ve - ne- runt,
ri-cu-li,
O-mnescle
mu-ne - ra
of - fe- runt,
pu-e- ri,
pa-ri-ter
a-
ip - sum
lau - des
ri-
thus,
thus,
o-
do
bi
ran
fun
au -
rum thus
i-de-o
Pa - ru-lum
Can-tent ut
m- qur-runt
an-ge - li
Au - rum thus,
I-de-o
et myr-rham
slo-ri - a.
thus,
o,
thus,
o,
i - of - fe ex-cel-sis
au-rum
i - de-
ren
De
63
Personent Hodie
Piae Cantiones
ALTO
52
(i582)
64
Personent Hodie
Piae Cantiones (1582)
TENOR
ho-di -
Per-so-nent
In mun-do
Lau-dan-tes
ju-cun-
Prae-se-pi
po-ni-
Et de vir,
Per- di - dit,
vir,
dit,
dae,
qui no-bis
tur,
sta-bu-
vir,
dit,
a-fus.
- mm.
na- sci-tur
est
sum-mo De - o
rec-tor su-per
na
lo bru - to
et de vir,
per- di- dit,
vo- ces
pan-nis
vlr
dit,
e - ru- lae,
vo - lui- tur,
da -
- no -
et de vir
gr-ne-
per- di - dit
spo-li -
tus.
rum.
65
Personent Hodie
BASS
l7
ju-cun- dae,
po- ni - tur,
Lau-dan-tes
Prae- se - pi
v[, v[,
dit, dit,
Et de vir,
Per- di - dit,
Pa - ru-lum
Can-tent ut
m- qur-runt
an-ge - li
47
Au-rum
I-de
au
- nrm
i-de-o
Per- so-nent
ho-di -
In mun-do
na- sci-tur
qui no-bis
sta-bu - 1o
Pu
e - ru- lae,
vo - lui- tur,
sum-mo De - o
da
re - ctor su- per - no
tus,
rum,
et de vir,
- tus.
- rum.
et de vir - gi-ne-o
per- di - dit
ri-cu-
stel-lu-lam se - quen
ad-ve-nis-ti
mun
li,
mu-ne- ra
pa-ri-ter
spo-li-
thus,
o,
thus,
o,
a,
pu-e-
do,
do,
au-rum
i-de
et myr- rham
slo-ri - a
ces
pan-nis ln
per-di- dit,
thus,
o,
thus
est na bru-to -
vo-
thus,
o,
do
o.
ri,
do.
do.
-,
*";;';:,2iII:;;::J;::'.,'
J
Tbnor
ar
c/aro-r J2 -r6/.cnos
Qos
ionriorrs y viilanescas
Sfrrmcrrm qpur,rrero
to
Espiriruares
l+o
?!-nor
II
Tenor
III
Sass
/i28
li'rs
TrwsoiSedJor ncor[zrs
|gxicfrard Qetsttt
68
wy:m"'s
o"
mf
-mf
Ortgtd.o di !-asso
(1fi2-Lte4 )
.{}
<-'.r
--
-____
j-
--e-:
(um
nf ---
nf
---:P
My Heart Doth
<
m/-.-P
-Etl=
-p
PPF----
-------
PPP
....-....-.....................-PP
-:
>>
Beg, p.2/2
70
O&{ourntng
Philip Rqsseter
1575-rc23
Soprano
but
Alto
Alto
rnourn
lng,
Tenor
Bass
but
thus
mourne,
thus
will I song,
my
..._\
dar
13
MO{.JNSItrRS ALMAINE
From The First Book of Consort
Arranged by Frederic Palmer
)
.rl
_'j
Lessons
Thomas Mor'ley
(1557-1602)
1+
PHILLIPS PAVII..{
From The First Book of Consort Lessons
Thomas Moriey
(l557-1602)
r
B
16
TtvrccriWfor Resrderc
by
RiclwdGeisler
SANCTUS
Tomas Luis de Victoria
tt49- 16il
Soprano
Alto
Tenqr
Bass
Sanctus- SCORE,
]frctoi4
p.2!2
7'l
I
a)
gio-n -
78
o WantonTime
) _7.or
Wrotd
Orlandn dil-asso
(Lss2-75e4)
( O Temps Diaers )
sempte legato
that
mbsme
of be -
hold
semry legato
TENOR
semprc legato
BASS
sempre legato
rrottr" herwhommy
yort-
iong
for
roth prorecsby
In
*n-"*f
spireof my
gi- lnnce'
$cad
- frst
ness,
^,-r
spite
of
stead
- fast
- ness
the
Deep
pain cats'd by my
lot'd
caus'd by my loVd
by
my lov'd
Oh time, oh do take time to play thjs meiancholy madrigal. Do not hurry ttuough it. Play
the musical phrases as iong legato sighs of longing. The song's sadness has much beauty.
Celle ou
defense:
il
?o
Reflexion
From the VI6me Concert de simphonie (1723)
Arranged by Frederic Palmer
Soprano Recorde
Alto Recorder
Bass Recorder
Louis-Antoine Dornel
(c. I 680-c.1 756)
82
1<
g"t
83
SOPRANO RECORDER
8ta
Reflexion
From the VI6me Concert de simphonie (1723)
Louis-Antoine Doi'nel
(c.1680-c.1756)
I-entement
g4s
*r
---l-"
ALTORECORDER
8t
Reflexion
From the VI6me Concert de simphonie (1723)
Arranged by Frederic Palmer
Lentement
Louis-Antoine Dornel
(c. 1 680-c.1 756)
TENOR RECORDER
86
Reflexion
From the VI6me Concert de simphonie (1723)
Arranged by Frederic Palmer
Lentement
Louis-Antoine Dornel
(c.1 680-c. 1 756)
BASS RECORDER
8?
Reflexion
From the VI6me Concert de simphonie (L723)
Arranged by Frederic Paimer
I-entement
Louis-Antoine Dornel
(c.1 680-c.1 756)
88
3. Sarabande
from Overture in F Major
Alto Recorder
Tenor Recorder
Tenor Recorder
Bass Recorder
A. Rec.
T. Rec-
T. Rec.
A.
Re-c.
T. Rec.
T. Rec.
B. Rec.
B. Rec.
9o
7. Chasse
from Overture in F Major
Alto Recorder
Tenor Recorder I
Tenor Recorder 2
Bass Recorder
T. Rec.
T. Rec.
A. Rec.
T. Rec.
A. Rec.
T. Rec.
T. Rec.
B. Rec.
A. Rec.
T. Rec.
T. Rec.
B. Rec.
A. Rec.
T. Rec.
T. Rec.
B. Rec.
T. Rec.
B. Rec.
A- Rec.
T. Rec.
T" Rec.
-"----
9+
Alto Recorder
3. Sarabande
from Overthrre in F Maior
Tenor Recorder
3. Sarabande
from Overture in F Major
9t
Tenor Recorder 2
3. Sarabande
from Overture in F Maior
By GeorgPhilip Telemann
Arr. by Frances Feldon
Bass Recorder
3. Sarabande
from Overture in F Major
ml'-
96
Alto Recorder
7. Chasse
Tenor Recorder
97
1
98
Tenor Recorder 2
7. Chasse
from Overture in F Major
99
Bass Recorder
7. Chasse
from Overfure in F Major
IOO
LOCUS ISTE
in This Place
SOPRANO
ALTO
TENOR
BASS
Anton Bruckner
1824-1896
f
u'-=-+A-----: t
mf
*f
nW
c)
ri
-\-
nw
rl
4-4-d
,nf
L, -'---/-
--/ r
o--fr
t
I
mf
)
I
nry
nw_
--#/
\y
A
lo2
The
Hum b le Heart
George DeWi tt Hym na I
t03
Alr
,'
1F
IJ
to+
New Lebanon,
LO6
Li{t Up Mi"e
P"alm 1?1,1-4,7-8
A-ar6;ed {or record.n b9 Ric}.*d G"icl".
= 96 or slightly slower
AIto
Tenot
BASS TACET
Bst"
A
T1
T?
n
T2
.l = ,ot
cresc-
A
cresc
n
cresc
72
cresc
n
T2
Cb
Optional CONTRABASS or Cello ENTERS
@1990. Elliot Z. Levine. Shadox,Press Spl26
I Lift Up Mine
'*'oi';;'[;o'";,::';;;{r,^7i;z:"li:;::::;g::":;;:;",':/l::'"',
Pral* 12L1-4,7-8
lilt
r09
APPENDD(A
Sources of music used for these arrangements
Wolfgang Amadeus Mozart. Ariettefrom Cosi Fan Tutte (arc. by Philippe Gaubert).
Paris: Editions Leduc, 1927 .
Piae Cantiones, 1582. Facsimile Edition.
Helsinki: Edition Faze\ 1967.
The Complete Country Dance Tunesfrom Playfordb Dancing Master (165l-ca. I72S).
Edited by Jeremy Barlow.
London: Faber Music Limited, 1985.
llo
APPEhIDD( B
sources of printed music for additional repertoire
Pierre Attaignanf
I4
Chansons.
ATTB
Air &
Gavotte
MoeckMZ762l763.
Johann Sebastian Bach,
#3.
Sansom).
x,y Press.
AATB
AATB
SATB
SATB
ATB
TTB
Five Wlancicos.
London Pro Musica LPMEML145.
Echo Editions.
George Gershwin, Various settings.
Arcadian Editions.
George Frederick Handel, Concerto.
Variable
Variable
SATB
SATB
AAT
AIT
11r
Priests
SATB
C olle c tion.
SATB
TTTB
SATB
SATB
SATB
eueen.
dances.
SATB
SATB
Baroque.
SATB
Universal Editions UE
Georg Philip Telemann, Seven Wedding Dances.
SATB
4.
SATB
LT2
APPEhIDD( C
Select Bibliography
Books
Benson, Stella. The Healing Musician - a Guide to Playing Healing Music at the Bedside.
Seattle, WA: NewGrail Media, 1999.
Bolen' Jean Shinoda. Close to the Bone: Life Tfueatening lllness and the SearchJor Meaning.
New York, NY: Scribner, 1996.
Bonny, Helen & Savary, l-nu. Music and Your Mind- Listening with a New Consciousness.
New York, NY: Harper Row, 1973.
Borysenko, Joan. The Power of the Mind to HealCarson, CA: Hay House, 1994.
Campbell, Don (ed.) Music & Miracles.
Wheaton, IL: Quest Books.
----
TheMozartEffect,
Green, Barry
Kabat-Zinn, Jon. Full catastrophe Living using the wsdom of your Body and
Mind to Face Stress, pain, and lllness. New york, Ny: Delta Book, 1990.
Katsch, Shelley & Merle-Fishman, Carol. The Music Wthin youNew York, NY: Simon & Schuster, 19g5.
Lane,
Deforia.
Music as Medicine.
Grand Rapids, MI: Zondervan,1994.
113
Lieberman, Julie-You are Your Instrument.
New York: NY: f{uiksi Music, 1991.
Mathieu, W. A. The Listening Book.
Boston: Shambala Press, 1991.
Eloise-
il4
Articles & |ournals
o_f
bttr
for
No. 3, FaIIrg$,.
Gentile, Norma & Hadidian, Eileen. oMusic and Healing It Reflections and Resourres,n
Fnrly Music Amtrica, Vol. 5, No.4, Winter 1999li000.
lg9.
May_June 1994.
Iaurie.
unda. "Music for surgery ,n Adontces: TIu louraat of Miad&dy Health,vol. 11,
No.3, Summer 1995.
Rodgers,
of
Applicatians of Music
in
Mind-Bdy Heatth.
lvledicine.
www.bwnsmdletbr.com.
115
Tel.
Email
5101534-9250
';i::'l:r:r."r;::: 'ri
healingmuses@comcast.net
Website
Healing Muses was founded from personal experience in 1999 by Eileen Hadidian, a
professional flutist and recorder player who was greatly strengthened by music during
her battle with cancer. ln 2001 Healing Muses incorporated as a 501(cX3) nonprofit
organization. Healing Muses brings soothing music to Bay Area medical centers to
those in need without direct cost to patients. The musicians who serve as Healing
Muses have demonstrated the ability to embody therapeutic presence.
Eileen also noted the following two organizations in her original edition of this Gig Book;