Last night we received our first big snowfall of the year, and that means it’s time to talk about Piae cantiones!
Why should you become familiar with Piae cantiones? Only because it’s a incredibly rich source of medieval Christmas music, some of which you already know. And because it’s easy for modern musicians to read and understand. And because of its importance to the history of religious and school music in Scandinavia. And because what other medieval Finnish music do you know? Continue reading
The reason I’ve been silent for the last month or so is that I’ve been finishing this:
A Collection of Winter Holiday Songs for Medieval & Renaissance Enthusiasts
It’s a big songbook of SCA-Period Christmas carols (and songs for other winter holidays). I’ve been working on it for 2-3 years, and I’m excited to have finally finished it.
The joy of singing holiday songs often comes from revisiting favorites, indulging in memories and joining in the ritual of singing familiar songs with others. I think that’s why many people don’t want to sing SCA-period carols: They want to sing their favorites, and they believe that none of their favorites are old enough to “count”. I hope this songbook will help show that there are plenty of pre-1600 holiday songs that are still popular today.
For example, did you know that the following songs are wholly or partially SCA-period?
- O Come, O Come, Emmanuel
- O Tannenbaum
- What Child Is This?
- The First Nowell
- Ding Dong Merrily on High
- God Rest You Merry, Gentlemen
- Good Christian Men, Rejoice
- Christ Was Born on Christmas Day
- The Boar’s Head in Hand Bear I
- Good King Wenceslas
- Auld Lang Syne
- We Wish You a Merry Christmas
I’ve tried to include as many modern favorites as possible, but there are also lots of new songs, too! For more details about how I decided what to include, please read the Forward.
I hope people will find this helpful. As always, if you have questions or comments, feel free to contact me.
Here’s the link one more time.
A few things that I’ll fix the next time I update the pdf:
- p. 28: A 2-voice version of “Veni, Veni Emanuel” was discovered by Mary Berry in the 1960s. I’ll include it in the next update. (Also, the second word in verse 2 shouldn’t be capitalized. Whoops!)
- p. 37, 224, & 247: “Sloan” should be spelled “Sloane”.
- p. 37: The missing sign for the D. S. al Fine belongs at measure 1, just after the pickup.
- p. 97: Stella ducte lumine means “drawn by the star’s light”.
- p. 103: I intended to capitalize the song’s title as “Dieux Soit en Cheste Maison”.
- p. 197: “Sellenger’s Round” is found in My Ladye Nevells Booke of Virginal Music (1591) by William Byrd (c. 1540 – 1623).
- p. 230: “Sellenger’s Round” appears in the 1687 edition of The English Dancing Master, not the 1651 edition. Also, the tune appears solidly within SCA Period in My Ladye Nevells Booke of Virginal Music (1591) by William Byrd (c. 1540 – 1623).
Note: For several songs, the popular form of the melody (which I have included) is somewhat modified from the original melody as published in period. One good example is page 120, where the modification and its source are noted in the Index but not in the main body of the book.
To add in the next edition: “Dives and Lazarus”