Part assignments and playlist for Walk for Hunger

Here’s the play list with some possible part assignments. All of
this is open to discussion.

Note that you should keep the things that have fallen off the play
list for May, such as “April is in my mistress’ face”, and “Vive la
serpe” with your music, as we’ll be working on them after the

Please let me know if you don’t have the chance to print everything
before the first rehearsal you come to (I’m assuming Tuesday the 12
for everyone but Paul, and Tuesday the 19th for Paul). I’m quite
happy to print things for you, but not to take up rehearsal time
finding people music.

  • May music
    • Now is the month of maying: Cantus, Anne and
      Bonnie and Patricia; Altus, Laura; Quintus, Ishmael; Tenor, Barney; Bassus, Paul
      (voice and racket). Route is instrumental between verses two and
      three. We may also do a four-foot instrumental with cornetto (or
      possibly fiddle) on the bass and everyone else on recorders. Update: we rehearsed this with the viol on bass, so
      we’ll perform it that way.

    • God morrow, fair ladies of the may: Cantus, Anne on vocal, Bonnie on
      instrumental; Altus, Laura; Bassus, Ishmael. Route: Instrumental then
      vocal. Update: This and My love hath vowed
      will not be part of the 12:30 set. They may be included in the Morley
      set at 11:30. They will happen in the 1:45 set.
    • My love hath vowed she will forsake me: Bonnie on Bass all
      through; First verse: Anne solo on A section, all on B. Second verse:
      Laura solo on A section, all on B. Third verse: Ishmael solo on A
      section, all on B. Fourth verse: all. Instrumental accompaniments to be
    • Clear or cloudy: Cantus, Bonnie, Patricia and Paul; Altus, Anne;
      Tenor, Ishmael; Quintus, Barney; Bassus, Paul and Laura. Last year we did
      instrumental and then three verses vocal.
  • Drinking Songs
    • Rounds as necessary to fill in the time. Based on the April 5
      rehearsal, Cakes and Ale and Slaves are they that heap up mountains
      would both take some work and we may not have time for it. Otherwise,
      we can take suggestions, and even do different selections for the two
      sets. If we have time, we’ll work out some simple-minded
      orchestration; for instance, If I hold up a recorder, we all
      switch to recorders on the next time for one time through, etc.
    • Changeons propos

      Vocal: Cantus, Anne and Patricia; Tenor, Laura; Bassus, Paul,
      Barney, Ishmael.

      4-foot instrumental: Cantus, Bonnie; Tenor, Laura; Bassus, Ishmael

      8-foot instrumental: Cantus, Paul (cornetto); Tenor, Ishmael
      (fiddle); Bassus, Bonnie. Laura and Patricia may join the Cantus and

      The route will be 4-foot instrumental, French vocal, 8-foot
      instrumental, English vocal.
    • Vignons, vignons: Same as Changeons propos
    • Quand je bois: Same as Changeons propos
  • Swan songs
    • Silver Swan: Vocal — Cantus, Patricia and Paul; Quintus, Anne and
      Laura; Altus,
      Ishmael; Tenor, Barney; Bassus, Bonnie.

      Route: vocal, instrumental, vocal.
    • Me, me and none but me: Cantus, Anne and Patricia; Altus, Laura;
      Tenor, Ishmael and Barney; Bassus, Paul and Bonnie.

      Route: Instrumental, two verses vocal.
    • Il Bianco e dolce cigno: Part assignments, same as Me, me and none
      but me.

      Route: Instrumental, vocal. Paul should play soprano recorder on
      the instrumental, so that there will be a top-line instrument at the
      4-foot pitch the second line is going to be at.
      Update: We decided it sounds ok with the cornetto on top, so Paul
      should use his own judgement about which to play.

  • Babylon songs
    • Babylon Streams: Cantus, Anne, Patricia and Paul; Altus, Laura; Tenor,
      Ishmael; Bassus, Barney and Bonnie. Route: Instrumental, two verses vocal.
    • Estans assis: Cantus, Bonnie, Patricia and Paul; Altus, Anne and Barney on the
      instrumental; Tenor, Ishmael and Barney on the vocal; Bassus, Laura.
      Route: instrumental, vocal. Ishmael will
      intone the opening phrase solo.
    • Watertown: Soprano, Anne, Patricia and Paul; Alto, Laura; Tenor, Ishmael;
      Bass, Bonnie and Barney.

Report on the Walk for Hunger Performance

It was challenging. The weather prediction was that the rain would
end overnight and things would clear up by the time we had to start.
This looked like it was happening when I walked the dog at 6:30.

But at 10:30 when we were scheduled to start, it was raining quite
hard. I played “Singing in the Rain” and “It ain’t gonna rain no more
no more” in between the Playford and Van Eyck I had planned for my
solo set. People walking by cheered and clapped. It may have been
the sympathy vote — you always get more voters to talk
to at an election when you’re holding a sign and it’s pouring rain.

Eventually the other people arrived. Ishmael couldn’t play fiddle,
so he got out the pipe and tabor. I tried providing a bass line with
the plastic bass recorder, but it wasn’t really in tune with the tabor

Bonnie and I set up for our Morley set. By now the rain had
lightened up, and she got out her wood recorders. I played the
Soprano and Alto parts on plastic, but decided it wasn’t worth dealing
with the Yamaha stretch and played the tenor parts on my wooden

Quilisma showed up on time and set up without needing assistance.
They were playing “Rufty Tufty” when Peter Barnes, of the “Barnes Book
of English Country Dance” walked by. We were struck by how well they
carried, even playing bass.

Unfortunately, this didn’t mean that the plastic bass carried well
enough to be heard by the singers, and in the Cantabile first set,
there were some train wrecks that I wasn’t expecting. There were
indeed a few pieces that were underrehearsed, but some of the train
wrecks were on pieces we’ve been playing for years, and have performed
successfully on numerous occasions.

So we spend the half hour of the Quilisma second set standing in a
tight circle (away from the Quilisma consort) and going over (vocally) the
things that had had problems. This was actually some of the best
singing we did all day.

For the second set, there wasn’t really very much rain, and Ishmael
got out his fiddle, but Bonnie still wasn’t comfortable getting out
the viol. I moved to serpent on a couple of things, but wasn’t able
to do as much of that as I would have liked to, because nobody but me
had rehearsed the alto part. But there were no major disasters, and
we felt good about the performance. John Maloney came by as we
rounded off the day with some of the rounds that had fallen off the
program due to time constraints, and complimented us on our clear

We went to our usual post-walk Bugaboo Creek Steakhouse rendezvous,
and after a good meal we left and the sun was shining brightly.
Ishmael said, “What a beautiful day! Let’s go play music in the
park.” But it was a joke. I don’t think any of us felt like playing
another note of that music for at least 24 hours.

There are pictures at the gallery.
Ishmael Stefanov-Wagner took the
Quilisma Consort one, and John Maloney took the one of the Cantabile
Consort. More may be coming later.

Maps of where I’ve been

Browsing Eric Raymond’s page, I looked at the maps of states and
countries he’s visited, and followed the links to create my own.

Here are the states.

create your own personalized map of the USA
or check out ourCalifornia travel guide

I have to check with my mother about our routes to and from Texas
in 1955 and 1957.

And here are the countries:

create your own visited country map

Things to take to the Walk for Hunger tomorrow

The Walk for
is my biggest gig of the year. Project Bread lets me
schedule the whole day from 10:30 to 3:00 at a site on the banks of
the Charles River. You can see this year’s playlist
and schedule.
So I’ve organized 10 people and promised to bring lots of stuff for
them. So here’s a list that I’ll probably be adding to over the
course of the day:

  • Instruments
    • Serpent
    • Recorders
      • Prescott Soprano (maybe with both bodies)
      • G alto
      • Prescott Tenor
      • Yamaha bass for Barney
      • Maybe other plastic instruments
      • Maybe F alto.
  • Music
    • Group music, in small notebook with page protectors, including all
    • van Eyck’s I’m playing, also in small notebook.
    • Barnes Book
    • Morley’s, both Tenor and Cantus.
    • Music from Washington’s Birthday.
    • Maybe the Barnes Couple dances.
    • Maybe Susato
    • Maybe more Van Eyck
  • Accessories
    • clothespins
    • Music stand
    • Banner
    • serpent stand
    • Recorder stand
    • page protectors
    • Chair (Probably chair instead of just stool this year, since I’ll
      probably want to sit to play the Morley’s with Bonnie, as well as for
      the two pieces I’m playing serpent on in the big group.)
  • Comfort
    • sweater
    • Inner fleece jacket?
    • Rain gear
    • soda water keg
    • snack?
    • Coffee
    • Sunglasses
  • Recording
    • Camera
    • Minidisc, with discs, microphone, small speaker?

[cantabile] Meeting Reminder, Tuesday, April 26, 2005

Again, this is not a dropin group. This meeting is limited to and
compulsory for the people performing on May 1 at the Walk for Hunger.
We resume our regularly scheduled dropin group next week.

We have a lot of work to do at this rehearsal. Please come in time so
that we can be set up and tuned and ready to start playing at 7:45 PM.

Play list

The play order is as follows. Please have your music in order:

  • May music
    • Now is the month of Maying.
    • My love hath vowed she will forsake me.
    • Good Morrow, fair ladies of the May
    • Clear or Cloudy.
  • Swan songs
    • Silver Swan
    • Me, me and none but me
    • Il Bianco e dolce Cigno
  • Drinking Songs
    • Changeons propos
    • Vignons, vignons
    • Quand je Bois
    • Rounds
  • Babylon
    • Campian, Babylon Streams
    • Estans Assis
    • Billings, Lamentation over Boston


Ishmael recorded a lot of last week’s coaching session, and I found
it very helpful to listen to it. He dumped his recording to a
(1-track, 77 minute) CD, and Bonnie and I listened to it yesterday.

For those with good internet access, the track is a (humongous)
.wav file and a (large) .ogg file at If
anyone would be helped by there being a .mp3 file, I can make one of

If there’s someone without good internet access who would like to
borrow the CD, let me know. If there’s more than one person, making
copies of the CD before tomorrow’s meeting would be pretty easy.

Some random thoughts on listening to the CD:

  • The diction on “Clear or Cloudy” was indeed difficult to understand
    on the first time through, and less difficult after John’s coaching
    but still has a lot of room for improvement. If you’re driving or
    showering or walking along the street with nothing better on your
    mind, try speaking the words aloud as a “public speaker”.
  • At least with that recording equipment, I don’t think my voice is
    overpowered, so I withdraw my remarks about the group being top-heavy
    with cornettos and multiple soprano voices on the top line.
  • The startup of every verse of Changeons propos was
    embarrassing. We don’t have time to work on things like that
    tomorrow, so if there’s anything that seems to be working that way it
    gets cancelled. With all those rounds that we’re used to doing and do
    pretty well, we have the luxury of cancelling anything that we don’t
    sound pretty good on the first time through.

[cantabile] Report on the April 26 rehearsal

Finally, we played through the whole program.

We made some decisions:

  • We rehearsed “Now is the month of Maying” with viol instead of
    rackett on the bottom line, so we’ll play it that way.
  • We’ll perform the two “small-group” May songs with the Morley set
    instead of with the 12:30 set. They will be part of the 1:45 set.
  • We decided not to worry about the places where Laura’s playing
    recorder on the second line and Paul and/or Patricia is plaing
    cornetto or fiddle on the top line.
  • Ishmael will be playing and singing the first line of Estans Assis
    solo, and then be joined by Barney when the rest of us come in.
  • Ishmael will be conducting the start of “By the rivers of
    Watertown”, as well as the tempo change on the repeat of the last
    section. He will also be starting us on “Clear or Cloudy”, where I
    play serpent.


The weather prediction at the moment is for partly cloudy, with
temperatures in the low 60’s. Which is pretty comfortable, but
remember that standing around gets colder than brisk walking, the wind
comes up along the river in the afternoon, and of course their ability
to predict how fast weather patterns move is limited, and they are
predicting showers for Saturday. So bring layers.

I’ll bring my keg of carbonated water and some paper cups. If
you’re going to need food between breakfast and 3:30 when Bugaboo
Creek will feed us, bring a snack.

If you’re not driving and would like a chair to sit on, ask one of
the people who is driving to bring an extra.

For my comfort, please arrive in plenty of time. I suggest that
anyone not playing the morning session be there by noon. If you are
playing in the morning, get there at least 15 minutes before you want
to be playing.

The Eustace Diamonds

As I remember it, when I read the Trollope Parliamentary novels in
college, I thought this was the weak one, and I don’t see any reason
to change my mind.

Lizzie Eustace is an example of a character who is on the surface
normal, but ends up being self-destructive. But she’s not anything
like as interesting as the one in “He knew he was right”.

And of course it suffers by having almost nothing to do with all
the characters Trollope has set up in the other novels that we want to
hear more about.

There are also other novels where the course of a lawsuit is
followed more interestingly.

One character whom you would expect to be better examined is
Mr. Camperdown, the family lawyer who pushes the Eustace’s to recover
the diamonds from Lizzie. He seems just as monomaniacal as Lizzie,
with far less excuse.