Ignatius Sancho, Devon Morales

Softcover Ignatius Sancho wrote Minuet Nos. 9 and 10 for harpsichord as part of a longer published collection of minuets titled Minuets, Cotillions, and Country Dances. This piece explores the classical style of playing; including bowings, dynamic changes, and phrasing. The consistent 3/4 time signature allows students to perform with a lyrical musical style while maintaining forward movement. The piece uses both D major and A major and requires all sections to use extensions. This refined piece is a great introduction to a lesser-known Classical era composer and is a beautiful addition to your concert repertoire. Ignatius Sancho (c. 1729-1780) came into the world enslaved. Born on a ship headed to the West Indies, now known as the Caribbean Islands, at the age of 2 he was brought to England and later escaped slavery. After his escape he was able to find employment and education within the House of Montagu where he gravitated to literary and musical studies. He is believed to be the first published Black British composer but did not put his name on his musical publication, opting to simply state the music was composed by an African.Softcover Ignatius Sancho wrote Minuet Nos. 9 and 10 for harpsichord as part of a longer published collection of minuets titled Minuets, Cotillions, and Country Dances. This piece explores the classical style of playing; including bowings, dynamic changes, and phrasing. The consistent 3/4 time signature allows students to perform with a lyrical musical style while maintaining forward movement. The piece uses both D major and A major and requires all sections to use extensions. This refined piece is a great introduction to a lesser-known Classical era composer and is a beautiful addition to your concert repertoire. Ignatius Sancho (c. 1729-1780) came into the world enslaved. Born on a ship headed to the West Indies, now known as the Caribbean Islands, at the age of 2 he was brought to England and later escaped slavery. After his escape he was able to find employment and education within the House of Montagu where he gravitated to literary and musical studies. He is believed to be the first published Black British composer but did not put his name on his musical publication, opting to simply state the music was composed by an African.

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