[LUTE] Re: Merchant of Venice show tunes

[jslute]

   When I did Merchant of Venice I set "Tell Me Where Is Fancy Bred" to
   the tune of Watkins Ale.

   Jim Stimson

   Sent from my Verizon, Samsung Galaxy smartphone

    Original message 
   From: Ron Andrico 
   Date: 1/7/18 1:17 PM (GMT-05:00)
   To: Leonard Williams , lute@cs.dartmouth.edu
   Subject: [LUTE] Re: Merchant of Venice show tunes

  The Merchant of Venice has a few important instances of music, but
  since there is so much courtroom drama there seems to be less of it
  than in the other plays that were written by committee and
   attributed
  to Shakespeare.  But depending upon the era the staging of your
   current
  production is aiming for, there could be some interesting music
   found
  to add strength, verisimilitude and spice.
  The play is based partly upon the Italian _Il Pecorone_, from the
   late
  14th century but published in Milano in 1558.  If your production is
  set in the time of the original story, one could add some
   interesting
  estampies and saltarellos from the 14th century.  If you are aiming
   for
  an Elizabethan production, yes, Italian Romanesca, Passamezzi, etc.
  would work.
  Interestingly, a prominent character in the play is named Bassanio,
   and
  it is well known that the Italian Bassano family of musicians, first
  imported to England by Henry VIII, were Jewish.  One could dip into
   the
  Tudor dance music associated with Henry and Elizabeth - there is a
  Musica Britannica volume devoted to this music.
  To find references to music in the play, look to the stage
   directions.
  There is a point in Act III, Scene ii where you find the directions
  [Here music], and a song follows.  The refrain in the text is *Ding,
  dong, bell* as found in Ariel's song in Tempest, *Full fathom five*
  composed by Robert Johnson.  The other important musical scene is
   Act
  V, Scene i, where music for a trumpet is discussed and this
   quotation
  crops up:
  By the sweet power of music; therefore the poet
  Did feign that Orpheus drew trees, stones, and floods;
  Since nought so stockish, hard, and full of rage,
  But music for the time doth change his nature.
  The man that hath no music in himself,
  Nor is not moved with concord of sweet sounds,
  Is fit for treasons, strategems, and spoils;
  The motions of his spirit are dull as night,
  And his affections dark as Erebus:
  Let no such man be trusted.  Mark the music.
  RA
__
  From: lute-...@cs.dartmouth.edu  on
   behalf
  of Leonard Williams 
  Sent: Sunday, January 7, 2018 4:45 PM
  To: lute@cs.dartmouth.edu
  Subject: [LUTE] Re: Merchant of Venice show tunes
 Thanks, all for your insights and suggestions!
 Leonard
 On Fri, Jan 5, 2018 at 6:51 PM, Leonard Williams
 <[1][1]arc...@verizon.net> wrote:
 Collective Elizabethan Wisdom:
 A local company is performing Merchant of Venice in a few
 months. I'm wondering what Italian pieces might be appropriate
 based on their inclusion in British MSS of the day? Is there a
 record of any of the tunes originally referenced in the play?
 Since I would very likely not be performing them, a discography
   woud
 be most useful.
 Grazie mille!
 Leonard Williams
 To get on or off this list see list information at
 [2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
 References
 1. [3]mailto:arc...@verizon.net
 2. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
  References
 1. [1]mailto:arc...@verizon.net
 2. [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 3. [3]mailto:arc...@verizon.net?
 4. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1. mailto:arc...@verizon.net
  2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  3. mailto:arc...@verizon.net?
  4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: left hand exercise

[John Mardinly]

   Before I retired, when I worked at Arizona State University, I spent a
   fair amount of time walking around campus and always carried hand
   exercise equipment that I could use while walking. However, it is a
   poor substitute to actually practicing.

   This one for squeezing:

   [1]https://www.amazon.com/Pack-Strengthener-Finger-Gripper-Grippers/dp/
   B01MXHXSNP/ref=sr_1_9?ie=UTF8=8-9=hand+exercise
   r

   This one foe extending fingers:

   [2]https://www.amazon.com/FlexEx-Hand-Exerciser-Triple-Pack/dp/B00597E3
   QG/ref=pd_sbs_200_41?_encoding=UTF8_rd_i�0597E3QG_rd_r�X566NJN0FF
   JFEZANBE_rd_w=BOv8Q_rd_wgibQv=1�X566NJN0FFJFEZANBE

   You could also use these for hiking, train rides, etc. But again it is
   a poor substitute to actually practicing, but when you can't actually
   practice or do anything else worthwhile, I suppose it has some benefit.

   A. John Mardinly, Ph.D., P.E.
   The Sleep of Reason Produces Monsters
   Francisco Goya

   On Jan 6, 2018, at 10:12 AM, Jurgen Frenz
   <[3]eye-and-ear-cont...@protonmail.com> wrote:

 Thank you for sharing. Yes technical exercises is not everybody's
 approach. But I do think that _A LITTLE_ of it every day surely is
 beneficial.
 Best
 Jurgen
 --
 "There is a voice that doesn't use words. Listen."
 JalÄl ad-DÄ«n Muhammad Rumi
  Original Message 
 Subject: [LUTE] left hand exercise
 Local Time: 6 January 2018 10:27 PM
 UTC Time: 6 January 2018 15:27
 From: [4]davidvanooi...@gmail.com
 To: lutelist Net <[5]Lute@cs.dartmouth.edu>
 As said before, I'm not much into exercises on the lute, lifting wine
 glasses and turning pages is about as sporty as it goes for me, but I
 currently have an on-line pupil who likes to have some. I made her
 this, beneficial for left-hand posture, slurs, ornaments, keeping
 fingers close to the fingerboard, killing time and feeling good about
 doing workout without having to go to the gym:
 [1][1][6]https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu.b
   e_ZulNNDwYK08=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=
   VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B
   4sae98PSdoDXMbngpU=3yib-u9wxrm98JzyKK5SnDnvAEp3gWL_ShEz9EOhKVA=
 Ideally to be played in any key you can think of, singing along with
 the right note names, and in any rhythm you feel is today's rhythm.
 David
   __
 David van Ooijen
 [2][7]davidvanooi...@gmail.com
 [3][2][8]www.davidvanooijen.nl
   __
 References
  1.
   [3][9]https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu.be_Zul
   NNDwYK08=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8
   OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B4sae9
   8PSdoDXMbngpU=3yib-u9wxrm98JzyKK5SnDnvAEp3gWL_ShEz9EOhKVA=
  2. [4][10]mailto:davidvanooi...@gmail.com
  3.
   [5][11]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.davidvan
   ooijen.nl_=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLP
   J8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B4sa
   e98PSdoDXMbngpU=Ts0YqQi3MIfHWlWyBM5bgMA0dRLO5OTKQ2LfaCpaexg=
 To get on or off this list see list information at
 [6][12]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs
   .dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIFaQ=l45AxH-kUV29SR
   Qusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBR
   t90E=MKMfZpnQBDkJaANvZes-Myj-B4sae98PSdoDXMbngpU=hl3uwp-ODsRuZMB0pu
   -E_ko9duvtANUDfDZO27sAz8M=
   References
 1.
   [13]https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu.be_ZulNN
   DwYK08=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE
   -c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B4sae98P
   SdoDXMbngpU=3yib-u9wxrm98JzyKK5SnDnvAEp3gWL_ShEz9EOhKVA=
 2.
   [14]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.davidvanooi
   jen.nl_=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8O
   E-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B4sae98
   PSdoDXMbngpU=Ts0YqQi3MIfHWlWyBM5bgMA0dRLO5OTKQ2LfaCpaexg=
 3.
   [15]https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu.be_ZulNN
   DwYK08=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE
   -c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B4sae98P
   SdoDXMbngpU=3yib-u9wxrm98JzyKK5SnDnvAEp3gWL_ShEz9EOhKVA=
 4. [16]mailto:davidvanooi...@gmail.com
 5.
   [17]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.davidvanooi
   jen.nl_=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8O
   E-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=MKMfZpnQBDkJaANvZes-Myj-B4sae98
   PSdoDXMbngpU=Ts0YqQi3MIfHWlWyBM5bgMA0dRLO5OTKQ2LfaCpaexg=
 6.
   

[LUTE] Re: Merchant of Venice show tunes

[Leonard Williams]

   Thanks, all for your insights and suggestions!

   Leonard

   On Fri, Jan 5, 2018 at 6:51 PM, Leonard Williams
   <[1][1]arc...@verizon.net> wrote:
   Collective Elizabethan Wisdom:
   A local company is performing Merchant of Venice in a few
   months. I'm wondering what Italian pieces might be appropriate
   based on their inclusion in British MSS of the day? Is there a
   record of any of the tunes originally referenced in the play?
   Since I would very likely not be performing them, a discography woud
   be most useful.
   Grazie mille!
   Leonard Williams
   To get on or off this list see list information at
   [2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
   References
   1. [3]mailto:arc...@verizon.net
   2. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:arc...@verizon.net
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   3. mailto:arc...@verizon.net?
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Merchant of Venice show tunes

[Alain Veylit]

There are so very nice Italian songs in Robert Dowland's Musical Banquet 
- see http://fandango.musickshandmade.com/collections/preview/202


Alain


On 01/07/2018 05:59 AM, Christopher Stetson wrote:

Hello, Leonard and all.
I've been waiting for any of the more learned, less anecdotally-based
members to join in, but no one seems to be jumping so I'll chime in.
Much of the English music of the late 16th/early 17th c. is very
Italian influenced, as is, for that matter, music from anywhere in
Europe.   For specific examples, any of the Passamezzi, Rogero
(Ruggiero), Greensleeves (Romanesca?), Sing We and Chant it (A Lieta
Vita), etc.   However, if you're trying for an authentic performance
practice, I doubt if the band at the Globe would have given any thought
to incorporating specifically Italian tunes in the playlist for MoV.
I hope this helps,
Chris.

On Fri, Jan 5, 2018 at 6:51 PM, Leonard Williams
<[1]arc...@verizon.net> wrote:

  Collective Elizabethan Wisdom:
  A local company is performing Merchant of Venice in a few
  months.   I'm wondering what Italian pieces might be appropriate
  based on their inclusion in British MSS of the day? Is there a
  record of any of the tunes originally referenced in the play?
  Since I would very likely not be performing them, a discography woud
  be most useful.
  Grazie mille!
  Leonard Williams
  To get on or off this list see list information at
  [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--

References

1. mailto:arc...@verizon.net
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Yet more Re: [VIHUELAR) Re: Moravsky Manuscript AND five course guitar stringing

[mjlh...@tiscali.co.uk]

I can't possibly respond to all of this.  You seem to be so muddled 
that it is difficult to grasp what you actually mean..
I think your interpretation of the tablature tuning checks is simply 
wrong. The fact that much of the music does not use the sixth unstopped 
course,(or for that matter the seven unstopped courses of the mandora) 
is irrelevant.  The tablature tuning check for the gytara indicates 
that it has 5 stopped courses and one unstopped bass. You are muddling 
up two different facets of the manuscript. None of this has any bearing 
on how the 5-course guitar was strung.

My analysis of the keys of the pieces is as accurate as I could make in 
the time available.The pieces which use the sixth course are in C major 
or flat keys and the ones which do not are almost all in A major, with 
a few in D major.   The manuscript was obviously copied over a period 
of time.  The pieces from f.76v form a new section with pieces numbered 
1-56, probably copied at a later date.  The manuscript is a very 
complex document.

You also seem to be confused about Stradivarius. It is not clear 
whether these instruments are lute shaped or figure of 8 shaped. The 
surviving patterns are of the neck and pegboxes only. The stringing 
instructions for the one of them indicate that the high octave strings 
are on the thumb side of the course.  

I will have to leave it there.

As ever
Monica

Original Message
From: hodgsonmar...@yahoo.co.uk
Date: 07/01/2018 14:48 
To: "Monica Hall", "Daniel Shoskes", "VihuelaList", "Baroque Lute List"

Subj: Yet more Re: [VIHUELAR) Re: Moravsky Manuscript AND five course 
guitar stringing

Dear Monica.
My responses are interposed below in bold, new roman and italic for 
clear differentiation (sadly, though, not in my preferred typeface for 
the others on the list version which only goes to them in standard 
typeface and no spacing but, from what Wayne tells me, it'll reach you 
with correct typeface etc)
I think we must still agree to disagree about much of 
this!..
Best wishes,
Martyn
  From: "mjlh...@tiscali.co.uk" 
 To: hodgsonmar...@yahoo.co.uk; Daniel Shoskes ; 
VihuelaList  
 Sent: Saturday, 6 January 2018, 16:41
 Subject: Re: [VIHUELA] Further to Re: Moravsky Manuscript AND five 
course guitar stringing
   
Unfortunately the folio numbers are not very clear in the pdf. Some of 
the pages seem to have been cropped on the right- hand side when the 
film was made and the recto and verso of each folio is on a single 
page 
of the pdf.-[MH: Yes - it's a shame about this]-   I will try to refer 
to the correct ones.
To recapFolio 48r is headed “Fundamenta Gytarra”. -[MH: Indeed, and not 
as just 'Cytarra' (or Chytarra) as correctly pointed out in my last]
- The tablature checks indicate that this instrument has five stopped 
courses and one additional unstopped bass course. Folio 48v is headed 
“Accordo Gytarra et Mandora”. -[MH: This is an incorrect assumption. 
The overwhelming bulk of pieces of pieces in this MS are clearly 
written for just a five course instrument  (see my telling note earlier 
about the transcription for a five course instrument  - I naturally 
suggest for gytarra for this version of the same (Losy?) 
piece presented earlier for a six course instrument, the mandora).-You 
are right – I agree that these are two different instruments. The 
Gytarra has five 
stopped courses and one unstopped bass as shown in the first section 
of 
the tablature.  -
{MH: No, you've got this mixed up, as explained earlier and again in 
this mail. The gytarra has five courses, the madora six. The theorboed 
instrument is probably a theorboed guitar a la Strad or similar..
- The Mandora has seven unstopped basses as shown in the 
second section of tablature. It is to be assumed that the stopped 
courses of both instruments are tuned in the same way. It is not for a 
five course gytarra or a six course mandora as you seem to suggest.
-[MH:  This is a mistaken view of what the source tells us since, 
as already pointed out, most of the pieces (some 85% of them) in the 
MS are for just a five course instrument. You have assumed that the 
part between the first set of double bar lines refers equally to the 
gytarra and to the mandora.  As already explained, this is mistaken 
because the overwhelming bulk of  pieces in the MS are, in fact,  for a 
five course instrument (thegytarra) rather than for the common mandora 
tuning with six courses.  I examine this matter again below]-I don’t 
think either of these two examples refer to an instrument with 
just five stopped courses.
-[ MH: as said above, you appear to have overlooked contrary 
information about the tablature already brought to your attention 
earlier.] -On Folio 96r there is a table of alfabeto chords and a 
tablature tuning 

[LUTE] Re: Merchant of Venice show tunes

[Christopher Stetson]

   Hello, Leonard and all.
   I've been waiting for any of the more learned, less anecdotally-based
   members to join in, but no one seems to be jumping so I'll chime in.
   Much of the English music of the late 16th/early 17th c. is very
   Italian influenced, as is, for that matter, music from anywhere in
   Europe.   For specific examples, any of the Passamezzi, Rogero
   (Ruggiero), Greensleeves (Romanesca?), Sing We and Chant it (A Lieta
   Vita), etc.   However, if you're trying for an authentic performance
   practice, I doubt if the band at the Globe would have given any thought
   to incorporating specifically Italian tunes in the playlist for MoV.
   I hope this helps,
   Chris.

   On Fri, Jan 5, 2018 at 6:51 PM, Leonard Williams
   <[1]arc...@verizon.net> wrote:

 Collective Elizabethan Wisdom:
 A local company is performing Merchant of Venice in a few
 months.   I'm wondering what Italian pieces might be appropriate
 based on their inclusion in British MSS of the day? Is there a
 record of any of the tunes originally referenced in the play?
 Since I would very likely not be performing them, a discography woud
 be most useful.
 Grazie mille!
 Leonard Williams
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:arc...@verizon.net
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Jakob Lindberg

[G. C.]

   Hi,
   does anyone have Jacob's current mail address? I tried
   [1]ja...@musicamano.com on his homepage, but it bounces.
   Pls. answer privately
   Best wishes
   G.

   --

References

   1. mailto:jakob.lindbe...@comhem.se


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Merchant of Venice show tunes

[Rainer]

There is only one song: "Tell me where is fancie bred".

According to Seng the earliest extant music for it was composed by Arne in 1741.

Rainer


On 06.01.2018 00:51, Leonard Williams wrote:

Collective Elizabethan Wisdom:
A local company is performing Merchant of Venice in a few months.  I’m 
wondering what Italian pieces might be appropriate based on their inclusion in 
British MSS of the day? Is there a record of any of the tunes originally 
referenced in the play?  Since I would very likely not be performing them, a 
discography woud be most useful.

Grazie mille!
Leonard Williams



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html