Renaissance Dance Ensemble Logistics
Instructor: Al Cofrin
Summary: The following is a list of helpful hints (not set in stone) that will assist you in having smooth professional performances for dance musicians.
1.) Dance Instructors:
Remember, the dance instructor who is running the ball, is GOD/GODDESS! (She/He who must be obeyed, the big honcho, the grand whazoo, the boss, the big cheese, the last word, numero uno, etc. etc.) She/He has the last say on how a dance is to be done, what version, and how fast. If the dance instructor wants to do an out of period (OOP) dance, don't get pissy! If you don't want to play the OOP stuff, let them use the boom box and you take a break. Or let the other musicians who are willing to play, play it, and you take a break. Get some water. It's a long night. Stretch your legs. Getting on your high horse during a ball will just show your lack of professionalism. Remember, you are, what is relatively considered, the hired help; an employee like the catering servers, the valet parking attendants, the piss bucket holders; etc. etc. not a guest. This is a dance gig, not a music gig. You're working for the dance instructor, this is not a music performance centred around the musicians, it's not about you, it's about the dancers. The dancers will love you and think you are gods, but in truth, you are performing a service for them, so don't let them down. End of story. When you want to do nothing but historical performance music, have a concert where the musicians are the main focus. But at a dance ball, the dance instructor calls the shots. You don't. If you need to grumble, grumble on your own time, not in the pit. Or if you do, make it sound like a crumhorn so people think your still working.
If you also happen to know something about dance choreography, remember to defer your opinions to the current instructor until after the ball. The only time you need to question something is when there might be a problem matching the musical arrangement with what the instructor is teaching. Too many cooks during a ball will just scorch the fun of dancing and generally will really kill the mood and shows a lack of professionalism. It is usually a good idea to get together with the dance instructor before hand to make sure you are both on the same page. If the instructor has obviously left out a critical step or is obviously in error, you may make a recommendation POLITELY!, in order to make sure the music is going to match up and avoid a train wreck. Remember, Delivery of your intent can make a huge difference with people. Do be aware that every region has specific nuances with dances that may be different from what you are use to. Adapt! Even in the Renaissance, regions altered stuff to match what they liked. The same goes for music. The written version of the dance is the documented version; it is not the Law of Moses lightening etched onto stone tablets. Life was not that rigid. Variants are historical. Adapt!
During a dance gig, leave your ego outside the pit.
Musicians work for the dance instructor.
2.) Play list:
It is a good idea for Dance principles to give the Music principle a list of dances that are to be done for an event prior to the event so that copies of the music can be made available or at least your musicians will be aware of what they need to bring. What is definitely not required and not recommended is the play list order. In my experience, I have noticed that most balls will not always keep to a pre-defined dance order. This is usually due to requests made in-between by dancers or perhaps a re-order of dances may be required based upon available sets. This is not a bad thing. It is better to just tell the music principle what the next dance will be. This keeps musicians from putting dance music in a list order. When the order deviation occurs, they are totally screwed. It is better that musicians keep their music in alphabetical order. It makes music easier to search for. It is extremely important for the dance instructor to let the musicians know what dance is next. Musicians are sometimes the last to know. The dancers are in place and ready, the dance instructor tells the musicians they are ready and your band stares off into space like a German shepherd watching a French art nuvo film on the Teli' trying to search for the main plot. It makes for an amusing scene :) Also when possible, the dance instructor should tap out a tempo for the music principle. It is also a good idea to instruct the dancers to go to the dance principle for requests. Again the instructor is calling the shots. The pit is just the hired help. We don't make the calls.
Dance List
Music in Alphabetical order
Train the Dancer Principal to talk to the pit
Train the dancers to make requests to the dance instructor
3.) Dancer's/Musician's attention:
Whilst the announcer speaks or the instructor is teaching, it is critically important that you attend their voice with fullness. Do not be distracting towards your fellow dancers. This applies to musicians as well. Refrain as much as possible from warming up loudly whilst announcements are made or when dancing instructions are in progress. Tuning is important but doodling on your instrument whilst the instructor is trying to "confuse" the dancers or the announcer is trying to "bore" the audience is not well looked upon :) This applies as well when the Pit director is giving instructions to the pit. The pit director needs your attention for direction. Doodling on your horn whilst this person is trying to pass on important information is nothing less then very rude.
Musicians be courteous and minimize unnecessary noise
Tune your instrument, but don't doodle or practice parts (this is the gig, practice at home)
4.) Musician's arsenal:
Music, stand, a pencil, chair, stand light, clothespins, instrument. Not every performance will be well lit. Therefore, it is in your best interest to purchase a battery-operated music stand light for dark performances. You can get these at most School Band related Music stores for about $16. A battery operated book light with a clip works pretty well too. If you are using a collapsible stand, you may want to bring along a thin hard board to place on your stand for the clip light to fasten to. They usually need a flat surface. Bring extra batteries. It may be a long night. For outside gigs, bring a wooden chair (or something that doesn't look too modern) to sit upon. Also bring your music stand, instruments (duh!) and music (and maybe a tankard to drink out of). Remember that people will appreciate your presence and may want to fill your tankard with something yummy, so make sure you have something for them to fill. Most of the times they just want to see if you can still play your instrument whilst in a state of intoxication. There is only one thing to do in this case, Humour your fans.
Stand, pencil, clothespins, battery operated book light
Music
Instrument
Electronic tuner
Drinking cup/tankard
5.) Orchestration:
The most important part of your dance music is going to be the MELODY LINE and the PERCUSSION. Especially when you are performing for a large noisy hall. These two are the most (and I cannot stress this enough) important part of what is coming out of the pit (where the band sits). Everything else is "gravy." The 3rd most important is the bass line. Which is why you always want to put your best readers on the top and bottom. The middle is "gravy". Which is also why you never ever ever EVER want to have your weakest players on soprano recorders. Always bring an extra plastic tenor if you have to give that new player that just bought a $16 clear plastic colored recorder that sounds like shit and give them a tenor. Tenors are great as they add to the fullness of the whole sound yet they don't punch across the hall. And trust me, you don't want inexperienced players punching bad notes across the hall on recorders that look like they were purchased from a bachelorette party catalogue (batteries not included). Yes they are interesting looking but truly have the most horrible tone quality with zero harmonic resonance. Blah! Can you tell how I feel about these things.
A Caroso style ball is the best venue for playing the divisions since it usually is performed in a quiet hall where one would be able to appreciate the different parts. Other than that a pit needs to go for the "Sledgehammer" method of getting the melody line out to the dancers. I usually recommend only one percussionist in a pit. If there are more available have them take turns. Percussion travels very far in a hall. It does not take much and there is usually a tendency for percussionist to be heavy handed. Just be aware, (though my preference is to work with percussionist that can read music like the melody line players), most percussionist in re-enactment groups do not come from a musical backgrounds such as band or orchestra like many melody players do. So their experience with ensemble playing may be limited. Be patient and work with un-trained percussionist. That's why I prefer percussionist in the pit who can read music which generally means they have some music training. The melody line players do. Percussionist should be no different. I usually recommend only two types of percussion for a dance pit: Hand Tabor or rope tension tabor with stick. Anything else including a dumbek just does not work as well for Renaissance dance. Also remind percussionist that they do not have the option of watching the dancers whilst they are playing. The percussionist responsibility is to keep their eyes on the director and the written music (unless they have the tune format well memorized). Normally this is learned in ensemble classes in band or orchestra, but again, not all percussionist have had this advantage (especially those who just purchased a doumbec and wants to bang away in the pit. The reason for this is that cues are taken from the director as well as watching the directors fingers, as he/she plays an instrument, is useful in clarifying tempo and time. The other melody line players are doing the same, the percussionist should be no different. The Director, on the other hand, is the one who is keeping track of overall tempo deviations and is also watching the dancers to cue off of them. Which is one good reason for the director to have the dance music memorized as they usual don't have the option of reading the music.
Melody line Melody line Melody line
Inexperienced players on tenors and altos not on soprano or bass instruments
Minimal Percussion with attention to director
Director should have dance music memorized (should know the dance choreography as well)
6.) Instrumentation:
As far as recruiting musicians, the thing that everyone has to remember is that historical instruments are ungodly expensive, so you have to be a little accommodating in putting together a pit since not everyone can afford to take out a mortgage for some of this stuff. Consider gathering musicians from outside your organization. Many early music musicians and groups in a city are not familiar with some of the re-enactment organizations and are usually looking for places to practice their art. This is a wonderful way of introducing newcomers to your organization. Take advantage of their interest. If you can't find musicians with historical instruments, then consider finding music readers who play modern instruments that sound close to the historical ones; (hammer dulcimer, classical guitar, oboe, bassoon, classical flute, folk harp, classical strings, trombone, 12 string guitar, mandolin, Irish cittern, kazoo). So they are not historical designs, ... Live with it! The purpose of a pickup dance musician's pit is to provide an early music like sound for the dancers. Adapt. Obviously you have to draw the line somewhere. But that is a very grey line. I see a lot of folk guitars at re-enactment events and Renaissance Festivals. Well, steel folk string guitars sound very close to a 16th c. Bandora, especially the 12-string variety. Most re-enactment and festival folks are on a budget. Don't expect them to go out and buy a $3K Bandora. Though, I think a Fender Strat with Marshall amplifier stacks is probably right out. Even an electronic keyboard can be cleverly disguised to with some cloth and some imagination. Just make sure that they know how to play their instruments and more importantly read music. For this type of music READING is CRITICAL!!!!!!!!!!!!!!!!!!!!! Doing this gig by ear ain 't going to cut it. You have to read the charts in a pickup band environment, no exceptions.
All Acoustic instruments
Sight-Readers a must
7.) The Sacred Band Pit (Al Cofrin Soapbox Purely just my Opinion):
Okay, here is the touchy subject. It has to do with educating the dancers and audience about the pit. The pit is usually defined as the area where musicians are playing and have their instruments laying about for easy access. The problem is that non-musicians do not always understand the value of the instruments that we are using and therefore you will see non-musicians stepping over them, handling them, brushing up against music stands, and placing belongings near them, and allowing children to run around them. The musicians know better. Non- musicians are usually not familiar with this concept. In my mind, I understand that the most folks are not aware of this transgression and are not to blame for this, which makes it our responsibility to educate them. It is very important for us to politely spell it out in big huge letters, the following rules for the dancers concerning the pit area.
If you are not playing in the band, please do not enter the perimeter of the pit. I don't give a rat's ass if you are a re-enactment organization brass hat, the Queen of England, Prime Minister, the president or the Pope. The perimeter of the pit is there to protect things that most event participants cannot afford to replace unless they sell their car or cash in their CD.... whatever. Think of it as a tournament list field with fighters engaged. If a participant accidentally steps on my $4000 instrument, they may end up performing a real financial death scene as a result. I remember an event where the organization's "Crown" wanted to come into the pit to chat with one of the musicians. I recommended that our musician just step out of the pit to chat with the crown than for the crown to step into the pit. "But I am royalty!", she said. My answer: "So (censored) What?!" The point is, is that when it comes to the safety of the instruments, nothing else takes precedence. Make believe royalty or whatever. You are protecting your real world investments. The pit perimeter protects those from any unpleasant lawsuits or hostile scenes.
If someone needs a musician whilst he/she is in the pit (such as children or others needing attention), please don't let him or her enter the pit to talk to him or her. As a musician, you can leave pit and go take care of business.
One item to inform dancers/audience is Never, Ever reach out to touch an instrument that is not theirs. Many musicians, like myself, consider their instrument as an extension of themselves. Reaching out to touch or handle an instrument without permission is similar to reaching out and grabbing someone's bodily privates. I could not be more serious about this. Always ask first? And don't always expect a "yes". I have to be very comfortable with someone before I let them handle one of my babies or worse put their slimy "I don't know where the (censored) it has been" mouth on one of my horns.
Another item to pass on to dancers/audience: Please don't be offended if you offer to carry a musician's instruments for them and they politely refuse. Most musicians prefer not to pass on the responsibility of accidentally damaging an instrument upon a gentle with good intentions. You have to realize that most people do not know that the little piece of wood that a musician carries around can range anywhere from $300 to $10,000. At any one event, a musician's instrument could very well be the most expensive single item present on site. Replacing a period instrument becomes more expensive each year and there is usually a 1-year to 5-year wait to replace it. So you can understand how a musician can become obsessive over a single piece of wood.
One thing that site co-ordinators are now doing, is bringing a small version of list field posts with yellow cloth ribbon to tie a perimeter around the pit to give a visual reminder of the no step in zone for the patrons. This may sound extreme but a musician will do what they have to do in order to continue bringing historical music to events and still maintain the safety of the delicate instruments.
8.) Dance Music Sources:
Renaissance Dance music can be acquired through the following sources: a.) Eric Praetzel's dance music web page; Lots of downloadable dance music. http://sca.uwaterloo.ca/~praetzel/sca-music.html b.) Playford Dances Vol.1, London Pro Musica- LPM102 (~$9.50) This has 68 dances from Playford in SATB recorder formats. Boulder Early Music Shop (recorders, bowed strings, sheet music) 2010 14th Street, Boulder, CO 80302 phone: 800-499-1301 phone: 303-499-9231 f ax: 303-449-3819 -- fax e-mail: info@bems.com Web site: http://www.bems.com
Renaissance Dance music can be acquired through the following sources:
a.) Eric Praetzel's dance music web page; Lots of downloadable dance music.
http://sca.uwaterloo.ca/~praetzel/sca-music.html
b.) Playford Dances Vol.1, London Pro Musica- LPM102 (~$9.50)
This has 68 dances from Playford in SATB recorder formats. Boulder Early Music Shop (recorders, bowed strings, sheet music) 2010 14th Street, Boulder, CO 80302 phone: 800-499-1301 phone: 303-499-9231 f ax: 303-449-3819 -- fax e-mail: info@bems.com Web site: http://www.bems.com
This has 68 dances from Playford in SATB recorder formats.
Boulder Early Music Shop (recorders, bowed strings, sheet music) 2010 14th Street, Boulder, CO 80302 phone: 800-499-1301 phone: 303-499-9231 f ax: 303-449-3819 -- fax e-mail: info@bems.com Web site: http://www.bems.com
c.) Early Period and Popular Dance Music - ($30) This book has quite a number of Renaissance dances along with some Out of Period dance music used for some Renaissance Festival type dances: Al Cofrin 281/648-7885 http://www.istanpitta.com/i_009.htm avatar1@flash.net
c.) Early Period and Popular Dance Music - ($30)
This book has quite a number of Renaissance dances along with some Out of Period dance music used for some Renaissance Festival type dances: Al Cofrin 281/648-7885 http://www.istanpitta.com/i_009.htm avatar1@flash.net
This book has quite a number of Renaissance dances along with some Out of Period dance music used for some Renaissance Festival type dances:
Al Cofrin 281/648-7885 http://www.istanpitta.com/i_009.htm avatar1@flash.net
d.) Hendricks Period Music Collections (Highly Recommended) This is a full collection of period consort music arrangements by Steven Hendricks (great source of Renaissance arrangement collections) steve@thehendricks.net http://www.thehendricks.net/steven.htm
d.) Hendricks Period Music Collections (Highly Recommended)
This is a full collection of period consort music arrangements by Steven Hendricks (great source of Renaissance arrangement collections) steve@thehendricks.net http://www.thehendricks.net/steven.htm
This is a full collection of period consort music arrangements by Steven Hendricks (great source of Renaissance arrangement collections)
steve@thehendricks.net http://www.thehendricks.net/steven.htm
If you have any comments or additions to these thoughts please bounce them off me.
Al Cofrin 281/648-7885 avatar1@flash.net
Al Cofrin Musical CV:
Undergrad in Theory and Composition at the Univ. of Texas at Austin in 1983. Masters Thesis work on Medieval Monophonic Music, Rice University, 1985-86 Free-lance professional jazz string bassist in the Houston Texas area. Performs with the Texas based Renaissance ensemble Canzonetta. Director of the professional Early music ensemble: Istanpitta which has recorded three CD's www.istanpitta.com Director of Classical ensemble: Tapestry (broken consort) www.tapestryquartet.com Performs on 16th and 14th c. lute, 16th c. cittern, Medieval bagpipes, Oud, Renaissance recorders, Shawms, Medieval fiddle, Kemench, Riqq and durbeke, Krumhorns, Vehuella, Beglama Saz, Rauschfife, Renaissance flutes
Undergrad in Theory and Composition at the Univ. of Texas at Austin in 1983. Masters Thesis work on Medieval Monophonic Music, Rice University, 1985-86 Free-lance professional jazz string bassist in the Houston Texas area. Performs with the Texas based Renaissance ensemble Canzonetta. Director of the professional Early music ensemble: Istanpitta which has recorded three CD's www.istanpitta.com Director of Classical ensemble: Tapestry (broken consort) www.tapestryquartet.com
Performs on 16th and 14th c. lute, 16th c. cittern, Medieval bagpipes, Oud, Renaissance recorders, Shawms, Medieval fiddle, Kemench, Riqq and durbeke, Krumhorns, Vehuella, Beglama Saz, Rauschfife, Renaissance flutes
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