Tinternell

Date:
Late 15th century or early 16th century

Description:
Tinternell is a lively and well-known dance tune, often associated with the Renaissance period. It is commonly categorised as a volta, a type of dance in triple time. The melody is bright and repetitive, with a rhythmic structure that invites movement, making it a popular choice for court dances and festivities of the time.

Discussion:
The origins of Tinternell are somewhat unclear, though it is generally considered to be of German or Flemish origin. It was popular across Europe during the late 15th and early 16th centuries. The piece appears in a number of Renaissance collections and is often arranged for both instrumental and vocal performances. Though it originally would have been played on instruments such as the lute or organ, modern renditions of Tinternell are often arranged for ensembles of early music instruments like viols, recorders, and other period instruments.

The lively and repetitive nature of Tinternell makes it a perfect piece for dance settings, though it can also be appreciated as a joyful piece of music for performance.

Composer:
Traditional (attributed to the Renaissance)

Arranged by:
Various arrangements for instrumental and vocal groups, often for ensemble settings or as part of a dance suite
The arrangement we use is by Joseph Casazza

Sheet Music:
Available in collections of Renaissance dance music
The arrangement we use is available here as a pdTinternellf, mus, or musescore file.

Parts:
Typically arranged for instrumental groups or voice and instrument combinations, often SATB or for early music ensembles

Type:
Dance music / volta

Language:
Instrumental (no lyrics)

Ranges:

• Soprano: G4–C5
• Alto: C4–G4
• Tenor: A3–D4
• Bass: E3–A4

Advice for beginners:
Tinternell is a lively and rhythmic piece that can be quite accessible for beginners. For instrumentalists, the repetitive nature of the melody makes it a good piece for improving timing and articulation. For singers, though there are no lyrics, the piece can be performed with joyful expression and precise rhythm. Beginners should focus on mastering the steady tempo and rhythmic accuracy, and ensemble players should pay attention to blending with other parts.

Repeat structure: 
Katherina Weyssin think the setting in Practise for Dauncinge wants a more complicated repeat structure to fit the dance neatly:
Consider the music as coming in three strains, A, B, C, starting at each double barline.
This repeat structure will take the dancers once through the dance:
A BBC AAA BBC
The dance is typically done 1-4 times in a row.

Sound Files:
Here are some sound files for reference.

• Dance