To set up network translation:
route add -host 192.168.129.201 usb0;
iptables -t nat -F;
iptables -t nat -A POSTROUTING -j SNAT -o eth0 –to 192.168.1.100;
echo 1 > /proc/sys/net/ipv4/ip_forwardpp;
route add -host 192.168.129.1 usbd0;
route delete -net 192.168.129.0/24 usbd0;
route add default gw 192.168.129.1;
(This is from the website I was using
http://www.ruault.com/Zaurus/ethernet-over-usb-howto.html — history doesn’t work on the
It looks like the zink side survives a reboot, but the tuba side does not.
Today I added two things to the page navigation.
The first is a categorized blog. You can read it in html, as an
rss feed, or let me know and I can sign you up for my rss to email
gateway, and you will get new blog entries for any or all categories
by email. Please let me know what you think.
I also put a link from the blog to my personal blog at
serpent.laymusic.org is my home computer, and I’ve been running a
webserver on it for some time but have avoided putting links to
anything on that site from the main site. I’ll reconsider this policy
if it turns out to be a problem.
I also set up a google AdSense account. So far, the ads I’ve seen
have been inoffensive. Let me know if you feel otherwise.
The Renaissance Band continues to chug through Dowland’s “A
Pilgrim’s Solace”. This week’s new one was Tell me,
true Love, where shall I seeke thy being.
It was a particularly difficult transcription problem, and the
solution is unsatisfactory in several ways.
- The Cantus part repeats the B section with the same words. The
bassus part has what’s effectively a first ending that’s more
elaborate than 17th century repeat notation can deal with, so it’s
written out. The transcription mirrors that, so I have inserted
rehearsal letters in the bass part. B is the start of the first
repeat, and C corresponds to the second time through the repeat in the
- The above problem doesn’t really affect the Altus and Bassus,
since they only come in on the repeat of the chorus. That is, the
start of the notes and words is at section C in the bass. In our
rehearsal, we had the people on the Tenor and Altus parts sing Bassus
and Cantus on the A and B sections, and switch to their parts for C.
In performance, we would probably have a solo singer on A and B, and
then everybody come in on C.
- The verses have very different numbers of syllables. The underlay
of the first verse, which is all Dowland did, works fine. The other
verses would need some tweaking if you were going to perform them.
Let me know if you get a better solution to the problem than I did.
I (Laura) have just updated the songlist. Check
whether you’re missing something before the next meeting, and let Bruce know if you should bring
The BRS is going to
have a Play the Recorder Month event at the Cambridge Public Library
on Saturday, April 2, 2005, from 2-4 PM.
We’ll be getting a number of groups to play for 10-15 minutes each,
have a table with literature and information about how to get involved
in playing the recorder, and refreshments at the break and after the
I think it would be a good chance for our group to try out some of
the May stuff, but I understand that some people might not want to
spend a whole Saturday afternoon in Cambridge for 15 minutes of
So if you’re interested in playing, let me know.
I think if we keep to every other week, we won’t be conflicting
with Roaring Jelly for a while. So:
- February 1
- February 15
- March 1
We only had three people at our last meeting. Given the weather,
it was really, “Wow, we had three people!” But we didn’t get to work
on the four-part music we were planning. So we’ll do “Ding, Dong!
Merrily on high” and “Tell me true Love, where shall I seeke thy
being” next time.
- Campian, When Laura Smiles.
- Ding Dong! Merrily on High, testing for inclusion in the 2005
supplement to “Carols for Parties”
- Dowland, “Tell me true Love”
- Campian, Never Weather-beaten Saile
The next rehearsal will be February 15. Anne will be in Spain, and
Stuart may have to go back to Taiwan. Paul is still coming back and
forth from Chicago.
We will continue chugging through “A Pilgrim’s Solace”, but will
have to stop at some point to start work on the April and May
performances. People who haven’t been coming regularly who would like
to play or sing with us should start coming.
I’m thinking of doing just a drinking songs group, or possibly part
of the River group at the April performance, and the river group, the
drinking songs, and the May group for the Walk for Hunger.
We’ll have to start working on some of the less familiar stuff we
want to do for May. We’ll also have to start doing consistent and
systematic review of the more familiar ones, so I’ll have a better
organized playlist drawn from the setlist soon.
I got an email from someone pointing out that the links to the
source didn’t work. That turned out to be an easy fix — the links —
were of the form “http:music/morley/3v/filename.zip”. Removing the
http: caused them to work.
Unfortunately, I also looked at the pdf files on the web, and they had
some serious problems with the printing of the incipits.
I’m sure I will complain more later about lilypond’s gratuitous syntax
changing, but in any case, 2 hours later, I have pdf files that seem
to be much better.
This resulted in a conversion to lilypond 1.9.5 from 1.4. I don’t
actually approve of putting up odd-numbered versions of lilypond, but
convert-ly wouldn’t convert automatically to 2.0, and my Debian
unstable system won’t run 1.4. So this was a compromise.
Anyway, let me know if you see any more problems.
We did enough stuff that we wanted to remember doing that we decided I
would keep a log of A-list rehearsals, as well as the regular
We started with a review of the French drinking songs at the back of
the book. “Changeons Propos” went so badly the first time that we
were surprised at how well the others went. “Vive la Serpe” is still
problematic. In my opinion, it’s because so many people are off the
beat so much of the time that it’s hard to count during the rests. It
got easier, but I think this one’s a real test of rhythmic precision.
Hence, one worth working on.
Anne had identified a Campian that might be a suitable part of a May
group. It was fun, but should probably be orchestrated with at least
some of the four verses sung by a soloist.
We finished with a bunch of Dowlands.
- Go, crystall teares,
- Weep you no more sad fountains
- Me, me and none but me
- The retirement party group, both “His golden locks time hath to
silver turned” from the first group, and the three part one starting
with “Time’s Eldest Son” from the Second Book.
Both “Go, crystall teares” and “Weep you no more sad fountains”
were worth working on some more.