Renaissance Sacred MusicI believe Tudor pitch was higher than A = 440, and therefore some degree of transposition up is required. Voices then were essentially the same as ours, but they were trained differently if they were trained at all, and we have problems in particular with the countertenor part which, as a matter of interest Lassus once described as ‘the part that often makes trouble for singers’ and wrote some experimental three-voice pieces leaving it out. To transpose some pieces but not others to suit ourselves is obviously a nonsense in theory, though in practice one might be wise to be pragmatic. But with good singers almost anything can be attempted. The Tallis Scholars are prepared to sing Gibbons's peerless Hosanna to the Son of David in E flat, rather than in C; we are also prepared to sing Tallis's colossal Gaude gloriosa in E flat, rather than C.
Seating, Placement, and Vital Colors for Your ChoirAn Approach to the Placement of Individual Voices
FOUR PHASES OF REHEARSAL
Programming and Interpretation Factors to consider in choosing a repertoire : Audience, Singers, Patrons/Producers
Das 19. Jahrhundert und die Romantik