I think it was W.C. Handy who came up with 'Shoeboot's Serenade', which was a Bluesy/rag-timey version of 'Schubert's Serenade' ... (or was it Fats Waller and a stride/Boogie version?) ......

Well, by golly, here it is:  https://www.youtube.com/watch?v=oJ858REJBKA&list=RDoJ858REJBKA&start_radio=1

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Originally posted by groundhogpeggy

Not trying to break any rules by linking YouTubes...lol...which I still don't understand...anyhow...here's an interesting idea...I just ran across this messin' around on YouTube and thought of discussions on FHO between classical playing and other type playing...in this case she's saying BG, but could be anything...like Maiden's Prayer, etc. youtube.com/shorts/VzcYF2INBWk...wzu7X9rNm

Or...just in keeping with the tune in mind...Pachelbel's Canon in D, here's an idea this really brilliant guy came up with using his looping machine (someday I hope to get me one of those things!) and his kitty cat...
youtu.be/r7WI4A8N8dA?si=sPeuBGizf2vpueCO

...and it just makes me think of the many discussions where it boils down to "ownership" of the music...is it ok for a classical player to take possession of a folk tune, or is it ok for a folk musician to take possession of a classical tune? Is it ok for a northerner to take possession of a southerner tune, and the other way around. Take possession isn't a great way to say it; maybe "share" would be a better term. Is it ok to share you ideas on some old timer's tune from your own perspective...or for that matter, is it ok to be yourself, play your way, and enjoy doing that...or do we have to be persnickety about every little thing? Just thinkin'...I can still sorta do that...lol...although not much. Still trying to recover from hitting the wall hard...knowing if I could play music it would help me, but I can't at the moment. But I can still think about it sometimes. So whatcha'll think? Should music have ownership? I ain't talking about legalities, I.e. copyright or whatever...I mean just artistic license.

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Every time I hear that tune I think of The Streets of London by Ralph Mac Tell. 

I've heard a songwriter say, I had to write it or someone else would. This speaks of a common and universal conscienceness. This encapsulates telepathy, remote viewing and all sorts of woowoo, as they call it. Nobody owns anything. If anything, we are stewards of things while we are living.
Once upon a time I was into creating things, professionally. My name is on a few patents. But so is my bosses name who had nothing to do with coming up with 'the thing.' And I only came up with it because it just seemed obvious to me.
I don't/can't write songs because I'm attached to other people's songs, as if they were my own. When you play music, it's almost like stepping inside the creators mind. I play weekly with a guy that's wrote over 300 songs. It's interesting. Writers write because they must. I play because I must. I've told folks, if you don't want me singing harmony, say so in advance, because it's going to happen.
Take care of yourself GHP.

To me, it's just like reading the dots for a folk tune (OT, BG, TRAD, etc.)
There's no room to indicate ALL the expressions, inflections, ornaments, there's just dots; so we interpret them in our own way.
Whats holding us back from doing the same with Pachelbel's canon or any other classical piece. I often fiddle around with I, V, VIm, IIIm, IV, I, IV, V; making up my own random variations, one day I will stick with one.

To me, music is just a physical law, so to speak, that humans can utilize to zero in on how deep and profound, and how beyond words our emotions run. It's just here, like gravity...it's here and everybody who feels compelled to play or sing should feel free to do so. The discouragement of, like...no you can't play that style/tune whatever, because you didn't grow up there...or you weren't trained or exposed to that so stay away from it, etc., that whole thing really seems flatout wrong to do to people who feel like playing or singing. I'm not saying everybody's pro level...and even sometimes getting to pro level could spoil it all...not in everybody of course, but I think some understanding and encouragement for people who just love music enough to feel compelled to make their own would be an awesome thing to see. I'm not talking about copyright, or legal, financial issues...that's a thing that also messes up the music, but yeah I get it that if you make a living with music it would be a part of your mindset. Hmmm...Mark Twain had something to say about similar stuff like that...lol. Seriously, if my first and only steady music gig (unpaid I should add, but at least I didn't have to wait 3 months between gigs at that point...lol) would have gone on to blossom into a career, I thought, back then, I would go for it. But being a person who is bored with financial affairs and hasn't been motivated by money, I might have failed on that account and so who knows. And of course maybe I wasn't good enough to become a professional. Maybe it would have ruined everything for me. But what I'm saying is I understand professionals of course necessarily have a separate mindset going on...in the horrible scenario of the combo of music and business being dependent on one another...lol. I get that. But it would be nice to see the banjos, fiddles, guitars, dulcimers etc. come out of the closets, get tuned up, and for people to find encouragement and get the courage to enjoy themselves by entering that age old hobby of back porch musicianship, jamming with friends, and maybe even a gig here and there for important occasions if you're lucky. I would love to see that again. Seems to me it's in the process of being snuffed out.

I aspire to world peace as well. The problem is the reality is that world peace has never existed on this planet, and the concept of world peace quite possibly could get even more abstract. Music is a strong form of communication on our emotional side. Unfortunately a lot of people try to impose their interpretation of music on others and dismiss the interpretation of others music. It’s a shame but it’s the reality. Sometimes we are guilty in our own little way too like it says in the bible, ‘He who is without sin cast the first stone’.

Her reworking of Pachelbel's Canon has a Scandinavian flavor to my ears.

Funny story... When I first moved to "the city" I was at a jam and someone asked me if I knew Pachelbel's Canon. I thought he was asking for a Taco Bell theme or something...he couldn't believe I hadn't heard of Pachelbel's Canon, haha

Trading tunes between genres has been a common thing for centuries, certainly throughout the history of the violin. Fiddlers and “classical” players often exchanged tunes or copied themes. There are some old English fiddle tunes that are restatements of themes by composers like Handel. Geminiani and O’Carolan played together, traded tunes, and composed for each other. Jazz players borrowed classical themes regularly. Pop music used to borrow heavily from classical. Rock musicians borrowed a lot. The Monkees got a lot of people really excited when they sang a 16th century Christmas song, Riu Riu Chiu. The Pachelbel canon was used endlessly. It has been made into fiddle tunes. Around the 2000s metal guitarists got obsessed with Vivaldi’s summer. Bluegrass musicians have gotten interested in playing Bach to demonstrate their chops, especially since Chris Thile tried his hand at recording it.

While I was at an old time dance a few months ago, the fiddler played Old Time tunes during the dancers but took a little break and played a bit of a Biber sonata in between dances. I was probably the only one who knew what it was, but it didn’t offend anyone.

I don’t agree that any form of music belongs only to one group of people. I would say that there are some who are the best examples of a style and provide the best direction for following that style closest to its origins, but that doesn’t mean it can be kept from everyone else based on geography or teaching background or that it’s so sacred that no one else can dare to use it as inspiration.

I like the idea of preserving styles, but only so that we can understand what they are and where they originated for the sake of learning. Once that’s accomplished, players can do whatever they want with it. It may or may not be to the liking of various audiences, but that’s where the musician has to choose between pleasing the audience and pleasing himself.

I had heard of Pachelbel but not Taco Bell...lol...until we moved up here and I thought it tasted pretty bad to me.

To me, it ain't music if it doesn't please myself when I play it...lol...back when I played at the steak house, I avoided eye contact with the guy who owned it whenever he walked past me while I was playing/singing...he always told me to play either Bridge over Troubled Water, or else Puff, the Magic Dragon. I cannot stand either one of those songs....lol...hard to imagine my audience would have loved hearing me klunk through them.

Musicians who find widespread success often say that they get tired of playing the music that made them popular over and over. They often want to branch out in different directions for the sake of variety or experimentation, but the fans just want to hear their favorite music and don’t care about the musicians’ personal lives. If you’re on tour, you’re playing the same thing over and over every night, with only the venue changing.

Musicians in that situation have to a) find a way to genuinely enjoy playing the same thing over and over, b) learn to play the music well regardless of personal feelings—the show must go on, or c) choose to branch out and then alienate the audience and lose the reason for being popular.

I hope that players enjoy what they play, but in the end that matters a whole lot less to me than that they play well. If I go somewhere to hear music, I’m there for the music, not to hear a soap opera about the musician’s personal life and some dime store psychoanalysis.

I think this applies to the idea of genre-crossing as well. I want to hear music played well. If that means a player who isn’t from the specific geographical area or educational background, I’m just as happy to hear it as I am to hear the “genuine article.” Good playing is much harder to find than authentic playing. Like the musician’s personal life, things like birthplace and who you’ve played with are just window dressing.

Back in the late 80s, Taco Bell was a handy place for us musicians... we'd busk and make a few bucks and "head for the border"...   

Sounds like fun times at Taco Bell. We didn't have them where we lived and just found about them when we came up here. I tried it once and really didn't like them. Then one of the student workers where I worked up here told me he had worked there and cooked the meat and sweat dripped down all over the meat...he told the manager he thought it wasn't sanitary and the manager shrugged it off like..."Who cares?" Lol...that made me kinda happy that I didn't like the taste of their food...lol. But really so many restaurants do gross stuff like that. When I worked as a waitress at Jerry's down in our part of KY in the 70s, the cooks would be stomping all over those ham and Swiss cheese things that went into the bread after they grilled them...they'd have them stacked up beside the grill but they would eventually topple over from the heat and they'd be stomping all over them with their muddy, crappy boots and then fling them up on the grill with their mechanic-blackened fingers when someobody ordered one. Before I started working at Jerry's, I liked the food, after about the first 2 weeks working there, I stayed away from everything but the coffee...lol.  I woulda stayed at Jerry's longer but after a guy got shot in there one night I figured I'd leave for a while and let my PTSD from that whole thing go away before I went back to crowded restuarants on the interstate.  My next restaurant job was about a year later as the one and only groundhog musician and balladeer with guitar at the Steak House.  Fortunately, nobody was shot in there, at least not while I was there...as the saying goes, " Music soothes the savage beast..."lol.