Planning the site redesign

There are two main things I’m going to work on in the next week or
two about the site. One is improving the format, hopefully so that
those pesky IE5.0 on Mac OSX people can read it, and also because the
current design with all the site links in the right column is starting
to be unwieldy, now that I have the google ads (which might be
producing useful checks some day). So I’m going to try out some
three-column designs, and see what happens.

The other big problem is the lilypond version problem. I have
written out a lot of my thoughts on this problem in an email to the
lilypond
user list
. I’m hoping to work on fixing and redesigning the
db2htm.py script over the weekend.

Corrections based on Feb. 8 rehearsal

Heurteur, Grace et vertu

My oversimplification of the alternative endings was too simplified to
be playable, so I have unsimplified it but not to the extent the AR
edition does.

Also, there was a typo in the words, which has been fixed.

Barney is convinced there should be an indication of the elision,
but I don’t do that anywhere else. But I have asked the Lilypond user
list whether it’s possible.

Update: 02/10/05
I wrote the lilypond
user list
with the question
about how to do this
, and didn’t get anything useful back.

There was a dotted rest in the cantus part, which I transcribed
from the AR edition, but my typesetting standards don’t allow dotted
rests, so I have taken it out.

Campian, Babylon Streams

There was an underlay problem in verse 5, which is now fixed.

If
one were really going to sing all 9 verses, one would want to do
something like italicize the even numbered ones.

Arcadelt, Il bianco e dolce cigno

The lyrics were missing lots of hyphens. I forget where I got that
from — I probably didn’t enter the lyrics directly. Fixed now. Let
me know if I overdid it. I’m pretty sure “sconsolato” is one word,
but I suppose it could be “scon solato”.

Added Thomas Campian’s Babylon Streams

The Cantabile
Renaissance band
has been doing more Thomas
Campian
lately, and we also have a set of songs that have
something to do with rivers, because we play every year for the Walk for Hunger on the banks
of the Charles River.

There’s a piece called Babylon Streams by Thomas Campian that the West Gallery Quire does.
It was published in the Scottish Psalter in 1615 with words from the
New
Version
of the Metrical psalms. But Bruce Randall usually uses
the words from Walter Scott’s Dies Irae translation, which are very
impressive.

But I thought it would be fun to sing to the Babylon words along
with the Billings
Lamentation over Boston
and the Psaume
CXXXVII
by Paschal de l’Estocart.

So it’s up.

Other additions on February 8, 2005

Neither of these are new typesetting, but I noticed they weren’t there
when I was writing up Babylon
Streams
, so I added them.

We thought Campian’s
My love hath vowed he will forsake me
might work in the May songs
group we do at the Walk for Hunger, so I set
that.

And we did Psaume CXXXVII
by Paschal de l’Estocart to a translation by Clement Marot last
year at the Walk, and it was a big hit. The Serpent especially
likes it.

February 8th A list rehearsal

Tuesday, February 8, usual time and place. As usual, please let me
know whether you can come as soon as possible.

Good news is that Bruce Randall will be able to play April 2 at the
Central Square Library.

We’ll have to start deciding what to play as soon as we know who can
come. I’m thinking of either as much of the river set as fits in the
time and works with the personnel (e.g. if we don’t have 5 people we
won’t do Silver Swan), or a drinking songs set.

So the sooner you decide whether you can make it on April 2, the
better.

I’m hoping to have the Heurteur that we liked a couple of weeks ago
transcribed, and print out some of the less familiar stuff from the
setlist at
so we
can try it out.

Report on the February 8 A List rehearsal

We mostly worked on the river music set, which is really two sets — the Psalm 137 set and the Silver Swan set.

  • Bop duets
  • Silver Swan Round
  • Grace et vertu
  • Bruce’s Wordsworth setting
  • Campian, Babylon Streams
  • Estans assis
  • Billings, Lamentation over Boston
  • Arcadelt, Il bianco e dolce cigno
  • Dowland, Me, me and none but me

I think the conclusion was that the Arcadelt really belongs with
the other Silver Swan ones, but the round doesn’t. The Campian is ok,
but probably not interesting enough as is for 9 verses. It would of
course be better in a setting where people were singing along.

So our river music set(s) are shaping up to be:

  • Campian
  • Estans Assis
  • Billings
  • Gibbons
  • Dowland
  • Arcadelt

Comments, additions, deletions, order changes?

Schedule

Next week (February 15) is a regular rehearsal, to which we hope Bruce
and Stuart will come. Anne will be in Spain.

So the next possible A-list rehearsal is February 22. Note that
this is not a definite schedule until I send out the email invitation.

Blogmania

Bonnie was asking whether it was necessary to check the blog as
well as read the email.

My policy is that anything that affects scheduling will be sent out
by email.

However, I’m putting a lot of stuff that people here might be
interested in in the blogs. For instance, this morning I did the
corrections to the music that we found last night, and described them
in
the publishing blog

In other words, there isn’t going to be a rehearsal you’ll miss by
not reading the blogs, but if you want to know what I’m up to, you may
want to check both my personal blog

my
personal blog
(which this is part of)

and

the www.laymusic.org site blog.

Money

I have signed up for Google ads on my site, and it looks like a small
number of clicks actually makes a noticeable amount of money. So when
you’re checking the site, if you have nothing better to do, click on
some of the ads. I get paid just for people clicking on them — you
don’t have to buy anything.

Added Guillaume Le Heurteur, Grace et vertu, bonté beaulté, noblesse

I have the AR edition of
“French Chansons for Three Voices (ca. 1550), Part I: Three-Part
Chansons Printed by Gardane (1541)”

Several of our favorite drinking songs are from there. When there are
three good people at a small rehearsal, as there were the Tuesday
after the blizzard of ’05, we sometimes read through some of the ones
we don’t know. On that occasion, this was our favorite of the seven
or eight we read, so I said I would transcribe it, and I have.

There’s a slight infelicity in the transcription. The modern system
of alternate endings on a repeated section was developed after regular
barlines were a consistent feature of printed music. I feel that with
music written before this happened, it’s a lot easier to read without
all the tied notes that the regular barlines require.

In this piece, there isn’t a good way to decide where to put the
repeat sign, and have the alternate endings work for all parts without
tied notes. So I decided on the simplest solution, which is to repeat
back to almost the beginning of the phrase.

This leaves the Cantus
part exactly as the AR edition has it (minus a fermata on the last note). The Tenor part is missing the
half note which should be tied to the ending half note on the first
ending, which I have noted in a footnote. The bassus part singers
have to know to not sing the pickup to the last phrase at the end of
the piece.