A Midsummer Night's Dream by William Shakespeare Act V (5) Public Domain Audio Theatre

act 5 of a midsummer night's dream this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org a midsummer night's dream by william shakespeare act five scene one athens the palace of theseus enter theseus hippolyta philistrate lords and attendance to strange my thesis that these lovers speak of more strange than true i never may believe these antique fables nor these fairy toys lovers and mad men have such seething brains such shaping fantasies that apprehend more than cool reason ever comprehends the lunatic the lover and the poet are of imagination all compact one sees more devils than vast hell can hold that is the madman the lover all is frantic sees helen's beauty and a brow of egypt the poet's eye and fine frenzy rolling doth glance from heaven to earth from earth to heaven and as imagination bodies forth the forms of things unknown the poet's pen turns them to shapes and gives to arie nothing a local habitation and a name such tricks have strong imagination that if it would but apprehend some joy it comprehends some bringer of that joy or in the night imagining some fear how easy is a bush supposed to bear but all the story of the night told over and all their minds transfigured so together more witnesses than fancy's images and grows to something of great constancy but however strange and admirable here come the lovers full of joy and mirth enter lysander demetrius hermia and helena friends joy and fresh days of love accompany your hearts more than to us wait in your royal walks your board your bed come now what masks what dances shall we have to wear away this long age of three hours between our after supper and bedtime where is our usual manager of mirth what revels are in hand is there no play to ease the anguish of a torturing hour call phyllis strait here mighty theseus say what abridgement have you for this evening what mask what music how shall we beguile the lazy time if not with some delight there is a brief how many sports are ripe make choice of which your highness will see first giving a paper reads the battle with the centaurs to be sung by an athenian eunuch to the harp will none of that that have i told my love and glory of my kinsmen hercules the riot of the tipsy baccanals tearing the thracian singer in their rage that is an old device and it was played when i from thebes came last to conqueror the thrice three muses borning for the death of learning late deceased and beggary that is some satire keen and critical not sorting with a nuptial ceremony a tedious brief scene of young pyramus and his love thisbe very tragical mirth merry and tragical tedious and brief that is hot ice and wondrous strange snow how shall we find the concorde of this discord a play there is my lord some ten words long which is as brief as i have known a play but by ten words my lord it is too long which makes it tedious for in all the play there is not one word apt one player fitted and tragical my lord it is for pyramus therein doth kill himself which when i saw rehearsed i must confess made mine eyes water but more merry tears the passion of loud laughter never shed what are they that do play it hard-handed men that work in athens here which never labored in their mind still now and now have toiled their unbreathed memories with this same play against your nuptial and we will hear it no my noble lord it is not for you i have heard it over and it is nothing nothing in the world unless you can find sport in their intense extremely stretched and conned with cruel pain to do you service i will hear that play for never anything can be a mess when simpleness and duty tender it go bring them in and take your places ladies exit philistrate i love not to see wretchedness overcharged and duty in his service perishing why gentle sweet you shall see no such...

A Midsummer Night's Dream by William Shakespeare Act lV (4) Public Domain Audio Theatre.

act 4 of a midsummer night's dream this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org a midsummer night's dream by william shakespeare act four scene one the same lysander demetrius helena and hermia lying asleep enter titania and bottom peas blossom cobweb moth mustard seed and other fairies attending oberon behind unseen come sit thee down upon this flowery bed while i thy amiable cheeks do coy and stick musk roses in my sleek smooth head and kiss thy fair large ears my gentle joy where is peace blossom ready scratch my ad please blossom where's moonshore cobweb ready moon sure cobweb goodmanshire get you your weapons in your hand and kill me a red-dipped humblebee on the top of a thistle and goodman sure bring me the oni bag do not fret yourself too much in the action monsieur and goodman sure have a carry the only bag break not i would be loath to have you overflown with honey bags ignore where's monsieur mustard seed ready give me your knife moonshore mustard seed pray you leave your courtesy good monsieur what's your will nothing goodman's europe but well cavallari cobweb to scratch i'm most of the barber's monsieur for me things are in marvelous area about the face and i'm such a tender ass if my hair do but tickle me i must scratch what wilt thou hear some music my sweet love i have a reasonable good air in music let's have the tongues and the bones or say sweet love what thou desirest to eat truly a peck of provender i could munch your good dry oats me thinks i have a great desire to a bottle of hay good hay sweet hay hath no fellow i have a venturous fairy that shall seek the squirrel's horde and fetch the new nuts i'd rather have a handful or two of dried peas but i pray you let none of your people starve me i have an exposition of sleep come upon me sleep thou and i will wind thee in my arms fairies be gone and be always away exient fairies so does the woodbine the sweet honeysuckle gently and twist the female ivy sew and rings the barky fingers of the elm oh how i love thee how i dote on thee they sleep enter puck welcome good robin advancing thou this sweet sight her dotage now i do begin to pity for meeting her of late behind the wood seeking sweet favors from this hateful fool i did upgrade her and fall out with her for she his hairy temples then had rounded with a coronet of fresh and fragrant flowers and that same dew which sometime on the buds was want to swell like round and orient pearls stood now within the pretty flower its eyes like tears that did their own disgrace bewail when i had at my pleasure taunted her and she in mild terms begged my patience i then did ask of her her changeling child which straight she gave me and her fairy sent to bear him to my bower in fairy land and now i have the boy i will undo this hateful imperfection of her eyes and gentle puck take this transformative scalp from off the head of this athenian swain that he awaken when the other do may all to athens back again repair and think no more of this night's accidents but as the fierce vexation of a dream but first i will release the fairy queen be as thou must want to be see as thou wast want to see diane's bud or cupid's flower hath such force and blessed power now my titania wake you my sweet queen my oberon what visions have i seen me thought i was enamored of an ass there lies your love how came these things to pass oh how mine eyes do loathe his visage now silence a while robin take off this head titania music call and strike more dead than common sleep of all these five the sense music hoe music such as charmeth sleep music still now when thou wakest with thine own fool's eyes peep sound music come my queen take hands with me and rock the ground whereon these sleepers be now thou and i are new and amity and will tomorrow midnight...

A Midsummer Night's Dream by William Shakespeare Act lll (3) Public Domain Audio Theatre.

act three of a midsummer night's dream this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org a midsummer night's dream by william shakespeare act three scene one the wood titania lying asleep in enter quince snug bottom flute snout and starving are we all matt pat pat and here's a marvelous convenient place for our rehearsal this green plot shall be our stage this hawthorne break our tiring house and we will do it in action as we will do it before the duke peter quinn's what sayeth thou bully bottom there are things in this comedy of permus and this be that we'll never please first permis must draw a sword to kill himself which the ladies cannot avoid i want to see that buyer lincoln a powerless fear i believe we must leave the killing out when all is done not a wit i have a device to make all well write me a prologue and let the prologue seem to say we will do no arm with our swords and that pyramus is not killed indeed and for the more better assurance tell them that i pyramus am not pyramus but bottom the weaver this will put them out of fear well we will have such a prologue and it shall be written in eight and six no make it two more let it be written in eight and eight will not the ladies be a feared of the lion i fear it i promise you masters you ought to consider with yourselves to bring in god shield us a lion among ladies is a most dreadful thing but there is not a more fearful wildfowl then you're lying living and we ought to look to it therefore another prologue must tell he is not a lion name you must name his name and half his face must be seen through the lion's neck and he himself must speak through saying thus or the same defect ladies or fair ladies i would wish you or i would request you or i would entreat you not affair not to tremble my life for yours if you think i come heather as a lion it were pity of my life no i am no such thing i am a man as other men are and then indeed let him name his name and tell them plainly he is snug the joiner well it shall be so but there is two hard things that is to bring the moonlight into a chamber for you know pyramus and thisbe meet by moonlight doth the moon shine that night we play our play a calendar a calendar look in the almanac find out moonshine find out moonshine yes it does shine that night why then may you leave a casement of the great chamber window where we play open and the moon may shine in at the casement i or else one must come in with a bush of thorns and a lantern and say he comes to disfigure or to present the person of moonshine then there is another thing we must have a wall in the great chamber for pyramus and thisbe says the story to talk through the [ __ ] of a wall you can never bring in a wall what say you bottom

some man or other must present wall and let him have some plaster or some loam or some rough cast about him to signify wall let him hold his fingers thus and through that cranny shall pyramus and this be whisper if that may be then all is will come sit down every mother son and rehearse your parts pyramus you begin when you have spoken your speech enter into that break and sew everyone according to his cue and her puck behind what hempen homespuns have we swaggering here so near the cradle of the fairy queen what a play toward i'll be an auditor an actor too perhaps if i see cause speak pyramus thisbe stand forth this be the flowers of odious savers sweet odors odors savors sweet so hot by breath my dearest this be dare but hark a voice stay thou but here a while and by and boy i will do they appear exit a stranger pyramus and airplayed here exit must i speak now i marry must you for you must understand he goes but to see a noise that he heard and is to come again most radiant pyramids most lily white of hugh of color like the red...

A Midsummer Night's Dream by William Shakespeare Act ll (2) Public Domain Audio Theatre.

act three of a midsummer night's dream this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org a midsummer night's dream by william shakespeare act three scene one the wood titania lying asleep in enter quince snug bottom flute snout and starving are we all matt pat pat and here's a marvelous convenient place for our rehearsal this green plot shall be our stage this hawthorne break our tiring house and we will do it in action as we will do it before the duke peter quinn's what sayeth thou bully bottom there are things in this comedy of permus and this be that we'll never please first permis must draw a sword to kill himself which the ladies cannot avoid i want to see that buyer lincoln a powerless fear i believe we must leave the killing out when all is done not a wit i have a device to make all well write me a prologue and let the prologue seem to say we will do no arm with our swords and that pyramus is not killed indeed and for the more better assurance tell them that i pyramus am not pyramus but bottom the weaver this will put them out of fear well we will have such a prologue and it shall be written in eight and six no make it two more let it be written in eight and eight will not the ladies be a feared of the lion i fear it i promise you masters you ought to consider with yourselves to bring in god shield us a lion among ladies is a most dreadful thing but there is not a more fearful wildfowl then you're lying living and we ought to look to it therefore another prologue must tell he is not a lion name you must name his name and half his face must be seen through the lion's neck and he himself must speak through saying thus or the same defect ladies or fair ladies i would wish you or i would request you or i would entreat you not affair not to tremble my life for yours if you think i come heather as a lion it were pity of my life no i am no such thing i am a man as other men are and then indeed let him name his name and tell them plainly he is snug the joiner well it shall be so but there is two hard things that is to bring the moonlight into a chamber for you know pyramus and thisbe meet by moonlight doth the moon shine that night we play our play a calendar a calendar look in the almanac find out moonshine find out moonshine yes it does shine that night why then may you leave a casement of the great chamber window where we play open and the moon may shine in at the casement i or else one must come in with a bush of thorns and a lantern and say he comes to disfigure or to present the person of moonshine then there is another thing we must have a wall in the great chamber for pyramus and thisbe says the story to talk through the [ __ ] of a wall you can never bring in a wall what say you bottom

some man or other must present wall and let him have some plaster or some loam or some rough cast about him to signify wall let him hold his fingers thus and through that cranny shall pyramus and this be whisper if that may be then all is will come sit down every mother son and rehearse your parts pyramus you begin when you have spoken your speech enter into that break and sew everyone according to his cue and her puck behind what hempen homespuns have we swaggering here so near the cradle of the fairy queen what a play toward i'll be an auditor an actor too perhaps if i see cause speak pyramus thisbe stand forth this be the flowers of odious savers sweet odors odors savors sweet so hot by breath my dearest this be dare but hark a voice stay thou but here a while and by and boy i will do they appear exit a stranger pyramus and airplayed here exit must i speak now i marry must you for you must understand he goes but to see a noise that he heard and is to come again most radiant pyramids most lily white of hugh of color like the red rose...

A Midsummer Night's Dream by William Shakespeare Act 1 Public Domain Audio Theatre

A Midsummer Night's Dream
by William Shakespeare

A Midsummer Night's Dream by William Shakespeare Dramatis Personae Public Domain Audio Theatre

dramatus personae of a midsummer night's dream this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org a midsummer night's dream by william shakespeare dramatus personae theseus duke of athens played by mark smith aegis father to hermia read by john leader bloomington illinois lysander in love with hermia read by mb demetrius in love with hermia read by david o'connell philistrate master of the rebels to theseus read by philippa jevons london quince a carpenter read by brian edwards queensland australia snug read by elizabeth clatt the part of bottom read by simon taylor francis flute read by david nicholl

a tinker read by john leader bloomington illinois starvilling a taylor read by jessica miller australia hippolyta queen of the amazons betrothed to theseus read by corey samuel hermia daughter to igeas in love with lysander read by laurie ann walden helena in love with demetrius read by rosalind wills of silver spring maryland the part of oberon read by father zeily the part of titania read by deborah irving puck or robin goodfellow performed by karen savage peace blossom a fairy read by larissa jaworski brisbane australia cobweb a fairy read by charlene v smith moth read by alana jordan united states mustard seed a fairy read by jamie ashian stage direction read by paul williams end of dramatus personae

hello tellers and mini jazz players and anyone else who's popped by to the performing arts free school welcome to my uh little nightly class um i'm going to work through lots of exercises in the coming weeks and these are exercises and tips and tricks and things that are going to really benefit you not just if you're a jazz improv student of mine or if you're um you know working with the blues or if you're improvising or any of that although it's very helpful and uh or a necessity actually let's face it this is also really good if you're just a plain old classical musician and if you're doing any of the graded exams you're doing suzuki whatever it is that you're doing these are really really good classes to um just you know give it some advantage really but the other thing about these warm-ups is they're really useful for sounding pretty good you sound pretty good pretty quick that's very important for the neighbors i think so what are we going to do we're going to do a flowing arpeggio a sweep of the keys we'll do it really slowly i don't recommend that you speed these things up for a very long time because when you start rushing you make mistakes and what happens is when you learn a mistake when you do it more than once or twice or three times it becomes so ingrained you can't get rid of it so we're going to start well i've got a quite a small yamaha a yamaha what is it an e353 my baby crayon baby ground arrives thursday apparently it's been delayed in bath but anyway i'm digressing um so i haven't got that many octaves i've got my middle c and then uh two other c's and then i've got three uh in the other direction so for today that's i'm afraid that's the best i can do but hope uh you know one would hope that you've got a bigger keyboard than i if you only get one you can do it with one you can just um repeat rather than doing the sweep you can just repeat as i go up and down the keyboard okay so i'm not going to hold having a small one against you whatsoever we can make do we all do we all make do us musicians so let's start on whatever c you've got i'm starting two octaves to the left of middle c and i want you to spread your whole hand out to the next c now if you're a little person you may or may not be able to manage that if you can't reach you're just going to have to move and you know sometimes small hands are a bit of a hindrance to pianists and cellists actually um and we just have to work ways around uh the problem of distance and often that means shifting we have to be shifty shifty little characters that's what we have to be if we have small um digits so um let's let's start on that base c and then i want you to play your e with your third or fourth whichever is more comfortable personally i use my third on the e and then the second with the g and we've got this big scoop in our hands look it's rather generous spacing that means we can miss two notes out now and we can go back to the c well not back to the c where it's another c so let me play that um that's familiar isn't it yes of course it is because it's the third fifth and root note and this is so much music today is made up of those chords but we'll talk about that another time so c e g c c e g c

okay now i want you to practice that over and over and over again and be nice and fluid about it make sure your pinky and your thirds or your fourth uh are pressing nicely and evenly and you can play the whole chord if you like but now what we're going to do this is something really oh it's quite exciting a bit of a new thing we're going to come over with our third and play that e again now what happened there your pinkies landed on the c don't play it but look you're in perfect position to play the arpeggio an octave higher that's how does that work when you're putting your third over well think about it

it makes perfect sense so if we came over with our fifth

that would be really difficult and clumsy so we don't we come over...

hello everybody welcome to um a little exercise session we're working this week at the performance arts free school on establishing a really good practice routine and actually fundamentally your practice for any instrument doesn't really change very much over the years you still have to keep dexterous you still have to keep your wing your finger your wings even but your fingers working you still have to warm up and there are certain exercises that you you're going to find useful all of your life especially for the warm up really the only difference is that you're going to become really really quick at them so today i've got uh two little podcasts this is the first one and i'm going to show you a little way of warming up and this is a preliminary exercise for the arpeggios that we're going to be doing later so what i want you to do is i want to get you to get your pinky and play it put it play the c an octave after middle c hopefully your piano is big enough and you have that octave um i know some people join me and they have you know very small pianos but hopefully you've got that you can play hopefully chords at least an octave on pretty much any piano that i've seen um so even if you don't have a piano but you've you know maybe your kids have got one you could use theirs so c hopefully an octave uh to your left of middle c but whatever you've got because we can play it up here you can also play it up here you can play it down here wherever but i'm going to use this one so and i want you to play your c your e and your g but look i want you to do it a bit a bit differently i don't want you to play five three thumb i want you to play five three one okay why am i asking you to do that well that's because when you play an arpeggio we're going to use our thumb for something else but we're not doing that today this is a warm-up exercise that you will hopefully hold on to for the rest of your days as a pianist so we're going to play that try add with three fingers down all at once okay and now separately

together separately

okay it could come back down again but we'll talk about that in a minute and now what i want you to do is move everything up one note now that was a c major triad by the way now if you move everything up a note

it sounds different doesn't it that's because it's a minor it's a d minor triad listen to that again

it's a rattling i think uh it's my glasses i think let's try this again

yes my glasses so let's do that again properly c major tread d minor tread is something different isn't there in the third some different quality about it let's move up another note everything move to the right so now we're on a g an e a g and a b it's another minor it's an e minor e minor tread or e minor chord

let's move up one more to the f ah we're back to majors can you hear it slightly um it's all in the third is that slightly uh um brighter more um whoa here i am sort of sound and it's all to do with that third what it means is the space between the thirds and the first has an extra semitone okay now we're going to go up again towards i'd say my window but you don't actually know where my window is so up coming up towards middle c and this tried this is a g major triad some another major

let's play it separately g b d wonderful now let's come up again ah it's that minor isn't it can you hear it really tell when you when you do all this you know one after the other okay and now we're going to come up another one and this chord is called b minor diminished don't worry about y at the moment just is and then if we come up one more we're back to c

okay let's do that again so what i want you to do is play the chord and then play the three notes and go to the d and then come up to the e and up to the f major

up to the g major up to the a minor

and up to the b diminished okay and then we're back at c again and when we...

hello tail tellers and mini jazz players and mini blues players welcome to the performing arts free school um now then let me see how are we going to start well i tell you what we're going to spend the next 12 days working on 12 blues scales okay and they're so easy they're so easy and they're going to allow you to improvise really really easily now if you don't know i'm doing the mini jazz classes grade one abrsm um piano uh book we're working through that and this blues scale is going to help you make beautiful music for your solo parts in your exams but we don't have to do all that exam stuff we don't want to we can just do it for our own pleasure these wonderful scales are going to help you make beautiful beautiful music and you're going to be able to make it up as you go along and that's just fantastic because you'll impress even yourself your biggest critic critic is yourself no doubt so let's start with middle c and then we're going to play an e flat with our second finger and an f natural with our third and then we're going to play an f sharp with our fourth okay go do that for me c e flat f f sharp back down uh let's start with the f sharp f sharp f natural e flat c okay don't worry i'm going to give you a backing track in a minute and you can play around and improvise yourselves it's really great fun and then rather than play the g with our pinky we're going to pass our thumb under and we're going to play thumb on the g section of the b flat and third on the c now there are lots and lots of different ways of um you know mapping out how your scales and and the fingering that you're going to use but this is the fingering we're going to use today okay and this is i think the best for our purposes for the time being that doesn't mean to say you'll be doing this all the time because when you get more advanced you become a little bit more uh flexible and you have to sometimes stretch your hand about the place so let's try that all in one go c e flat f f sharp thumb under g b flat c back down again b flat g f sharp f natural e flat and c okay one more time

okay so don't forget to pass your your fourth finger over now let's try it from the middle c

a mirror version okay and then we're going to come back again i'll explain why we're doing this mirror version in a minute

now i just think it's going to be much more useful for us to start that c down there with our third finger so c base c e flat f

f sharp with your fourth g with your third b flat with your second and thumb on that c okay under back up fourth over okay how did you get on well that's it but i do think it's beneficial to go up and down okay so when you're practicing mix it up a bit start on the c and go outwards and then start on the c's and go upwards and back down again whatever you whatever you want to do and as long as you stick to those notes you're going to be absolutely fine so what i'm going to do now is i'm going to get one of my robots to play a c minor backing track with a bass um should we have libby libby is one of my robots okay now you can play double time so you can do one two three four one two three four one two three four or you can speed it up etc entirely up to you but i'm going to let that run and i recommend you practice as as long as you can have some fun with it and we'll be back tomorrow with d flat the d flat minor but we've got some other classes coming up in a minute for the bedford views if you're interested do do

do

do

okay guys i hope that was really really helpful and um yeah just open go keep going back and doing more of the same and then of course you can improvise and you can do these in any order that you want

okay have some fun with it it's great isn't it enjoy