Double-Reed Schedule

Indiana Early Double Reed Workshop XV

Spring 2015


 Wednesday – Monday, April 22 – 27, 2015


Bob Wiemken & Joan Kimball, instructors

 running concurrently with the


Indiana Sackbut Workshop III

Adam Bregman, instructor


The Iberian Peninsula II

Music from Spain & Portugal

ca. 1550 – 1650


Repertoire Concentrations:


Cancionero Musical de la Casa de Medinaceli

The Lerma Codex

Cancionero de la Sablonara

Libro de Tonos Humanos


This Spring 2015 workshop continues our year long look at music from the Iberian Peninsula, picking up where we left off in the Fall 2014 workshop, which was roughly at the middle of the 16th century. We’ll resume our look at the great repositories of Spanish music, the cancioneros, digging deeply this time into Medinaceli, Sablonara and the Libro de Tonos Humanos, the latter taking us up to about 1625. In addition to those collections, we’ll add the manuscript copied out specifically for the wind players at the Collegiate Church in Lerma, Spain, and discover the types of music that band used to adorn the various liturgical events there.


Topics of consideration will include the ornamentation treatises of Diego Ortiz and Sancta Maria, and the differencias and tientos of Antonio de Cabezón. As is customary at each and every workshop, we will also continue our ongoing efforts to refine our understanding of (1) modal theory and its application in practice, (2) just and meantone intonations and their demands on the performer, especially the tuning of mi’s and fa’s and (3) clefs, transposition and original notation.  In addition, reed sessions will be available for those interested in making, adjusting or simply gaining a more informed daily life with early double reeds.


 Session I:  Dulcian Days at the IEDRW

 April 21 – 23


Dulcian, Curtal, Fagott, Bajón – whatever you call it, it remains the most important and lasting early double-reed instrument to have emerged from the hands of makers in the 16th century. Dulcian Days at the workshop will focus attention on this versatile and demanding double-reed instrument. We’ll pursue its history and development, its uses in the Renaissance and early Baroque periods, its specific technical concerns, fingerings and reeds, its full family of sizes and preferred consorts, its possible repertoire and its regional variants. But most of all, we will play dulcians, individually and in consort.

(for intermediate through advanced players of dulcian, pitch will be A=440)

Daily Schedule

 Tuesday,  April 21 – Prep Day


Arrive – late afternoon or evening. Get settled into the camp, unpack and set up instruments in the chapel.


Dinner – either at the camp, or an arranged dinner out together for those who have

arrived early or in time for a scheduled outing. approx. 6 – 6:30 pm.

Evening – ad hoc playing session for those arrived, interested and eager to play. Time



Wednesday, April 22 – Opening day

8:00 – 9:00 am      Breakfast

9:00 – 10:15 am    Welcome and Introduction

Warm ups, technical review: embouchure, chromatics, fingerings

10:15 – 10:30         Morning break:  coffee/tea refreshers, snacks

10:30 – 12:00         Bajon & Bajoncillo on the Iberian Peninsula

Tutti playing session: building dulcian repertoire,

transpositions, clefs, notation

12:00 – 2:00 pm   Lunch and early afternoon free time

2:00 – 3:30              Playing session: one-on-a-part consort repertoire

3:30 – 4:00              Afternoon break

4:00 – 5:30              Option A:  Ortiz Recercadas

Solo repertoire/continuo playing for bass dulcian

(open to players and auditors)

Option B:  Playing session II – consort repertoire continued

(mixed levels)

5:30 – 6:20              Dinner break

7:30 – 9:00              Option I:  Reed triage, construction, adjustment (big house with Bob)

Option II:  Playing session: si placet, evening consort (chapel       with  Joan)

9:00 – bedtime      Social gathering: libations & snacks in the big house


Thursday, April 23

8:00 – 9:00              Breakfast

9:00 – 10:15           Warm ups, technical review: tuning and articulation exercises;

tonguing fast passages & ornaments

10:15 – 10:30         Morning break: coffee, tea, snacks

10:30 – 12:00         Playing session: one-on-a-part consort repertoire

11:50 – 1:30           Lunch and break time

1:30 – 3:30              Masterclass, final tutti playing & wrap-up

3:30 – 6:00              Afternoon break & move to Assembly building (large room)

(Bob will be available for individual lessons,

instrument/reed work, etc.; Ad hoc playing as desired)

6:00 – 7:00              Dinner – followed by Main Workshop




Session II:  Main Workshop


Shawms & Dulcians


Highlighted daily topics:

(1)  Friday: Ornamenting the Fabordon ala Ortiz, Cabezón and Santa María

(2) Textual phrasing of textless pieces in Lerma

(3) Sunday: Rhythmic challenges in Sablonara and Libro de Tonos Humanos

(4) Monday: Pange Lingua in its various guises


Thursday, April 23

Afternoon                New arrivals: check-in, unpack, set up instruments in ?, warm up

6:00 – 7:00 pm      Dinner

7:30 – 9:00 pm      Opening session of IEDRW XV & ISW III (Assembly Room above pool)

Welcome, introductions, get acquainted

Introduce theme, topics and foci of the workshop

Warm ups & tutti playing session

Dixit Dominus à 16 by Gerónimo Vicente

9:00 – bedtime      Opening night party in the big house


Daily Schedule: Friday – Sunday, April 24 – 26

8:00 – 9:00              Breakfast

9:00 – 10:15           Technique Sessions

Friday:       General overview, mantra, exercises, just tuning.

Leap into original notation, clefs & transpositions.

Saturday:  Modes & cadences; some facsimile reading &

recognizing ficta moments in the original notation

Sunday:      Checking those mi’s and fa’s! Ever continuing to master

the chromatics in just and meantone environments


10:15 – 10:30         Morning break

10:30 – 11:45         Topic sessions (with one-on-a-part consort playing)

Friday:       Ornamenting the Fabordon ala Ortiz, Cabezón and

Sancta Maria

Saturday:  Textual phrasing without text in Lerma MS 1. Case

Study: Pange Lingua and its multiple settings

.                                                     Sunday:      Rhythmic complexity in triple meter: how not to trip

over oneself when measuring in 5 and 7, on or off the


12:00 – 2:00           Lunch and afternoon break

Saturday, 1:00 pm – Lecture: The Lerma Wind Band & Its Music

Dr. Paul Borg, Professor Emeritus, Indiana University

2:00 – 3:30              Small group playing Session I

3:30 – 4:00              Afternoon break

4:00 – 5:30              Small-group Playing Session II

Both afternoon coached sessions will attempt to match players by

level and instruments (i.e. D & G shawms, etc.) and offer opportunities

for one-on-a-part playing.                                                                                                                                            Repertoire concentrations:

Friday:               Medinaceli I & II

Saturday:          The Lerma Codex

Sunday:             Cancionero de Sablonara & Libro de Tonos


5:30 – 7:30              Dinner and break (Sunday night dinner out in Bloomington option)

6:30 – 7:30              Si placet Rackett consort sessions in the big house

7:30 – 9:00              Friday:

Option 1 – Instrument/Reed triage, reed making (big house with


Option 2 – Playing sessions – reeds and brass together (Adam &

Joan – place TBA)


Option 1 – Instrument/Reed triage, reed making (big house with Bob)

Option 2 – Playing sessions – reeds and brass together (Adam placeTBA)

Option 3 -  Bagpipe session for established players (Joan – place

TBA; other sessions may occur on an ad hoc basis)


Dinner and night out in Bloomington – si placet

Potential, ad hoc playing session back at camp

9:00 – bedtime      Evening snacks/libations in big house (everyone brings their own or contributes to

the common store)

Monday, April 27

8:00 – 9:00              Breakfast

9:00 – 10:15           Soak up, warm up, tune up: final technique


10:15 – 10:45         Morning break and gathering in the Assembly room

10:45 – 11:45         Tutti gathering (reeds and brass) and reading of:

Laudate Dominum omnes gentes à 12 by Matteo Romero

Dixit Dominus à 16 by Gerónimo Vicente

12:00 on                   Pack, lunch and depart




Spring 2015 Sessions



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