1 00:00:00,000 --> 00:00:06,000 WQED-FM Pittsburgh, WQEJ Johnstown, WQED Multimedia. 2 00:00:06,000 --> 00:00:10,000 If I were any readier, it would be unseemly. Here's the theme. 3 00:00:24,000 --> 00:00:27,000 Hello there, I'm Peter Shickley, and this is Shickley Mix, 4 00:00:27,000 --> 00:00:32,000 a program dedicated to the proposition that all musics are created equal. 5 00:00:32,000 --> 00:00:36,000 Or, as Duke Ellington put it, if it sounds good, it is good. 6 00:00:36,000 --> 00:00:42,000 And some people's noses get a little bit out of joint on account of how we mix it up on this show. 7 00:00:42,000 --> 00:00:48,000 But I want to say straight out here that when I do something like follow a Mozart aria with a country song by the Judds, 8 00:00:48,000 --> 00:00:53,000 I'm not going for shock value. Well, all right, maybe just a teeny-weeny bit. 9 00:00:53,000 --> 00:00:56,000 But the real point is that I really do think it's all good music, 10 00:00:56,000 --> 00:01:01,000 and I really do think that you can notice things as a result of these juxtapositions that are worth noticing. 11 00:01:01,000 --> 00:01:07,000 And I don't think it shows any disrespect to either Mozart or the Judds to put them in bed together. 12 00:01:07,000 --> 00:01:12,000 And I'm not really interested in theoretical reasons for the superiority of some music over other music. 13 00:01:12,000 --> 00:01:16,000 If I like listening to it, then as far as I'm concerned, it's worth listening to. 14 00:01:16,000 --> 00:01:19,000 And you should feel the same about what you like listening to. 15 00:01:19,000 --> 00:01:23,000 And I do agree that some music bears repeated hearings better than other music. 16 00:01:23,000 --> 00:01:27,000 But I don't think that means we shouldn't hear the nifty or the how-about-that stuff, 17 00:01:27,000 --> 00:01:30,000 as well as the truly great stuff like Beethoven and the Beatles. 18 00:01:30,000 --> 00:01:31,000 And another thing... 19 00:01:31,000 --> 00:01:35,000 OK, all right, all right. 20 00:01:35,000 --> 00:01:41,000 I must say that this time even I can understand why the old hot air sensor up there on the wall went off. 21 00:01:41,000 --> 00:01:44,000 It's time to get back on track here. 22 00:01:44,000 --> 00:01:47,000 Our bills are paid by this radio station. 23 00:01:47,000 --> 00:01:49,000 OK, now let's get this show on the road. 24 00:01:49,000 --> 00:01:54,000 On two roads, actually, because today we're dealing with parallelism in vocal music. 25 00:01:54,000 --> 00:02:00,000 Two lines are said to be parallel if they move in the same direction and keep the same basic interval between them. 26 00:02:00,000 --> 00:02:06,000 But first, let me play a brief example of music that avoids parallelism almost completely, 27 00:02:06,000 --> 00:02:09,000 so we know what we're not talking about. 28 00:02:09,000 --> 00:02:11,000 Here's a two-part motet by Lassus. 29 00:02:11,000 --> 00:02:15,000 And notice that the two lines, although they share melodic material, 30 00:02:15,000 --> 00:02:19,000 move at different times and often in different directions. 31 00:02:46,000 --> 00:02:50,000 Here's a two-part motet by Lassus. 32 00:02:50,000 --> 00:02:56,000 And notice that the two lines, although they share melodic material, 33 00:02:56,000 --> 00:03:01,000 move at different times and often in different directions. 34 00:03:01,000 --> 00:03:04,000 Here's a two-part motet by Lassus. 35 00:03:04,000 --> 00:03:09,000 And notice that the two lines, although they share melodic material, 36 00:03:09,000 --> 00:03:19,000 ♪ 37 00:03:19,000 --> 00:03:29,000 ♪ 38 00:03:29,000 --> 00:03:39,000 ♪ 39 00:03:39,000 --> 00:03:49,000 ♪ 40 00:03:49,000 --> 00:03:59,000 ♪ 41 00:03:59,000 --> 00:04:16,000 Please don't bug me about pronunciation of names, I'm hopeless. S-Z-A-B-O. All I know is that if I go into a Hungarian restaurant and they've got S-Z-E-K-E-L-E-Y cabbage on the menu, and I say, I'll have the shickley cabbage please, the waiter doesn't bat an eyelash. 42 00:04:16,000 --> 00:04:30,000 Okay, now let's demonstrate parallel motion. This is an English song from the 12th century, and we'll hear the melody three times. First in unison, which means everybody singing the same note, then in parallel fifths. 43 00:04:30,000 --> 00:04:41,000 Here, let me illustrate fifths on the authentic instrument. Not a reproduction, mind you, an authentic 1991 Casio tone bank with which this splendiferous studio is equipped. 44 00:04:41,000 --> 00:04:50,000 Here's a note, and you go up the scale five steps. One, two, three, four, five. In scales you always count the first note. One, two, three, four, five. That's a fifth. 45 00:04:50,000 --> 00:04:56,000 In parallel fifths, it's moving, the two voices moving and keeping a fifth between them. 46 00:04:56,000 --> 00:05:07,000 And then the third time, we'll hear it with parallel triads. A triad is two sets of thirds on top of one another. Here's the note, one, two, three, one, two, three. 47 00:05:07,000 --> 00:05:11,000 Parallel triads. Here we go with Saint Nicholas. 48 00:05:37,000 --> 00:05:45,000 Timbre us faire shone us, At the birth, at the birth, 49 00:05:45,000 --> 00:05:53,000 Saint Nicholas, bring us welfare. 50 00:05:53,000 --> 00:06:03,000 Saint Nicholas, God is truth, Timbre us faire shone us, 51 00:06:03,000 --> 00:06:17,000 At the birth, at the birth, Saint Nicholas, bring us welfare. 52 00:06:17,000 --> 00:06:23,000 The wonderful early music group Sequentia, singing a 12th century song by Saint Godric. 53 00:06:23,000 --> 00:06:36,000 Words are beautiful to this song. Saint Nicholas, God's darling, Graciously prepare for us beautiful dwellings. By the merits of thy birth, By the merits of thy beer, 54 00:06:36,000 --> 00:06:44,000 That's B-I-E-R, wise guys. Saint Nicholas, bring us safely there. Beautiful little vocal number there. 55 00:06:44,000 --> 00:06:56,000 Now, probably the first non-unison singing in Western culture was singing in parallel fifths, and it's hard to resist the suspicion that the practice arose accidentally, as it were. 56 00:06:56,000 --> 00:07:07,000 I took a taxi cab just a few days ago that was driven by a man from India, and he was playing some beautiful Indian popular music on his tape deck, and two or three times he started singing along with the tape. 57 00:07:07,000 --> 00:07:17,000 And one time, instead of singing the same notes as the singer, he was singing along a fifth off. And that happens at birthday parties all over the world, I expect. 58 00:07:17,000 --> 00:07:25,000 In terms of the physics of music, if you take a given note, the note a fifth above it is the most closely related, differently named note there is. 59 00:07:25,000 --> 00:07:36,000 And it's not uncommon for people who don't have a very good ear to sing a fifth off all the while, thinking that they're singing with, that is, the same notes as everyone else. 60 00:07:36,000 --> 00:07:44,000 But the most common interval for parallel singing in Western music over the last few centuries is definitely the third. 61 00:07:44,000 --> 00:07:52,000 Let me reach over to the authentic instrument here to illustrate the third. One, one, two, three, this is third. 62 00:07:52,000 --> 00:07:54,000 Parallel thirds. 63 00:07:54,000 --> 00:08:02,000 And its close cousin, the sixth. One, two, three, four, five, six. 64 00:08:02,000 --> 00:08:05,000 This is a sweetness to thirds and sixths. 65 00:08:05,000 --> 00:08:12,000 And speaking of sweet, our first sweet features singers singing in parallel intervals, basically two parallel lines. 66 00:08:12,000 --> 00:08:19,000 In the first number, the top and bottom parts are an octave apart, in other words, functionally singing the same notes. 67 00:08:19,000 --> 00:08:22,000 And the middle part is a fifth above the bottom. Got that? 68 00:08:22,000 --> 00:08:26,000 The other numbers abound in parallel thirds and sometimes sixths. 69 00:08:26,000 --> 00:08:32,000 Remember though, these are living, breathing, beautiful pieces of music, not textbook examples. 70 00:08:32,000 --> 00:08:35,000 So the parallelism is not always strictly adhered to. 71 00:08:35,000 --> 00:08:41,000 And of course, the accompanying instruments and or voices are not necessarily involved in the parallel motion. 72 00:08:41,000 --> 00:08:49,000 There are five numbers in the parallel interval song cycle, and together they last close to 14 minutes. 73 00:08:49,000 --> 00:09:04,000 See you then. 74 00:09:19,000 --> 00:09:29,000 See you then. 75 00:09:49,000 --> 00:09:59,000 See you then. 76 00:10:19,000 --> 00:10:29,000 See you then. 77 00:10:49,000 --> 00:10:59,000 See you then. 78 00:11:19,000 --> 00:11:29,000 See you then. 79 00:11:49,000 --> 00:11:59,000 See you then. 80 00:12:19,000 --> 00:12:29,000 See you then. 81 00:12:29,000 --> 00:12:39,000 See you then. 82 00:12:39,000 --> 00:12:49,000 See you then. 83 00:12:49,000 --> 00:12:59,000 See you then. 84 00:12:59,000 --> 00:13:09,000 See you then. 85 00:13:09,000 --> 00:13:19,000 See you then. 86 00:13:19,000 --> 00:13:29,000 See you then. 87 00:13:29,000 --> 00:13:39,000 See you then. 88 00:13:39,000 --> 00:13:49,000 See you then. 89 00:13:49,000 --> 00:13:59,000 See you then. 90 00:13:59,000 --> 00:14:09,000 See you then. 91 00:14:09,000 --> 00:14:19,000 See you then. 92 00:14:19,000 --> 00:14:29,000 See you then. 93 00:14:29,000 --> 00:14:39,000 See you then. 94 00:14:39,000 --> 00:14:49,000 See you then. 95 00:14:49,000 --> 00:14:59,000 See you then. 96 00:14:59,000 --> 00:15:09,000 See you then. 97 00:15:09,000 --> 00:15:19,000 See you then. 98 00:15:19,000 --> 00:15:29,000 See you then. 99 00:15:29,000 --> 00:15:39,000 See you then. 100 00:15:39,000 --> 00:15:49,000 See you then. 101 00:15:49,000 --> 00:15:59,000 See you then. 102 00:15:59,000 --> 00:16:09,000 See you then. 103 00:16:09,000 --> 00:16:19,000 See you then. 104 00:16:19,000 --> 00:16:29,000 See you then. 105 00:16:29,000 --> 00:16:39,000 See you then. 106 00:16:39,000 --> 00:16:49,000 See you then. 107 00:16:49,000 --> 00:16:59,000 See you then. 108 00:16:59,000 --> 00:17:09,000 See you then. 109 00:17:09,000 --> 00:17:19,000 See you then. 110 00:17:19,000 --> 00:17:29,000 See you then. 111 00:17:29,000 --> 00:17:39,000 See you then. 112 00:17:39,000 --> 00:17:49,000 See you then. 113 00:17:49,000 --> 00:17:59,000 See you then. 114 00:17:59,000 --> 00:18:09,000 See you then. 115 00:18:29,000 --> 00:18:39,000 See you then. 116 00:18:39,000 --> 00:18:49,000 See you then. 117 00:18:49,000 --> 00:18:59,000 See you then. 118 00:18:59,000 --> 00:19:09,000 See you then. 119 00:19:09,000 --> 00:19:19,000 See you then. 120 00:19:19,000 --> 00:19:39,000 See you then. 121 00:19:39,000 --> 00:19:49,000 See you then. 122 00:19:49,000 --> 00:19:59,000 See you then. 123 00:19:59,000 --> 00:20:09,000 See you then. 124 00:20:09,000 --> 00:20:19,000 See you then. 125 00:20:19,000 --> 00:20:29,000 See you then. 126 00:20:29,000 --> 00:20:39,000 See you then. 127 00:20:39,000 --> 00:20:49,000 See you then. 128 00:20:49,000 --> 00:21:15,000 See you then. 129 00:21:15,000 --> 00:21:25,000 See you then. 130 00:21:25,000 --> 00:21:35,000 See you then. 131 00:21:35,000 --> 00:21:45,000 See you then. 132 00:21:45,000 --> 00:21:55,000 See you then. 133 00:21:55,000 --> 00:22:05,000 See you then. 134 00:22:05,000 --> 00:22:15,000 See you then. 135 00:22:15,000 --> 00:22:25,000 See you then. 136 00:22:25,000 --> 00:22:51,000 See you then. 137 00:22:51,000 --> 00:22:55,000 The Parallel Interval Song Cycle. 138 00:22:55,000 --> 00:23:00,000 It began with O Roma Nobilis, Song of the Pilgrims, 139 00:23:00,000 --> 00:23:04,000 an anonymous composition from 12th century Verona, 140 00:23:04,000 --> 00:23:07,000 performed by the Cappella Antica of Munich, 141 00:23:07,000 --> 00:23:10,000 under the direction of Conrad Ruhland. 142 00:23:10,000 --> 00:23:16,000 And then we had a duet with chorus from Così fan tutte of Mozart. 143 00:23:16,000 --> 00:23:23,000 It's between Guglielmo Inferando, sung by Bladimiro Gonzaroli and Nicola Gheda. 144 00:23:23,000 --> 00:23:26,000 And the words they were singing were, 145 00:23:26,000 --> 00:23:29,000 Ye friendly breezes, help, oh help my desires, 146 00:23:29,000 --> 00:23:32,000 And carry my sighs to the goddess of my heart. 147 00:23:32,000 --> 00:23:36,000 Repeat, repeat, you who a thousand times have heard the... 148 00:23:36,000 --> 00:23:40,000 You know why I stumbled over that word is because it's a bad translation. 149 00:23:40,000 --> 00:23:44,000 It says, repeat, you who a thousand times have heard the tenor of my griefs, 150 00:23:44,000 --> 00:23:47,000 All that you have heard to my beloved. 151 00:23:47,000 --> 00:23:51,000 Either a bad translation or a typo. 152 00:23:51,000 --> 00:23:57,000 That was Colin Davis conducting the Royal Opera House at the Garden. 153 00:23:57,000 --> 00:24:01,000 And then the next number was Everly Brothers, 154 00:24:01,000 --> 00:24:04,000 from one of my favorite albums, a little known album, 155 00:24:04,000 --> 00:24:06,000 called Songs Our Daddy Taught Us. 156 00:24:06,000 --> 00:24:09,000 Everly Brothers come from a family of singers. 157 00:24:09,000 --> 00:24:12,000 Their father was a singer and father before them. 158 00:24:12,000 --> 00:24:17,000 And this is an album of songs that range from very obviously English songs 159 00:24:17,000 --> 00:24:23,000 that came across the ocean, like Roving Gambler and Barbara Allen, 160 00:24:23,000 --> 00:24:25,000 and Down in the Willow Garden, 161 00:24:25,000 --> 00:24:28,000 to good old sentimental southern favorites, 162 00:24:28,000 --> 00:24:30,000 like Rockin' Alone and My Own Rockin' Chair, 163 00:24:30,000 --> 00:24:32,000 and That Silver-Haired Daddy of Mine. 164 00:24:32,000 --> 00:24:34,000 That song was called Long Time Gone. 165 00:24:34,000 --> 00:24:37,000 You know that little sort of thrill you get when you find out 166 00:24:37,000 --> 00:24:39,000 that you're a member of an exclusive club, 167 00:24:39,000 --> 00:24:43,000 you find out that somebody else likes some obscure thing that you like. 168 00:24:43,000 --> 00:24:47,000 I got that feeling when I read in an interview with Paul Simon once 169 00:24:47,000 --> 00:24:49,000 that this was one of his favorite albums. 170 00:24:49,000 --> 00:24:52,000 The Everly Brothers, Songs Our Daddy Taught Us. 171 00:24:52,000 --> 00:24:57,000 And then we had an item from a nice album of music for children 172 00:24:57,000 --> 00:24:59,000 by Karl Orff and Gunhild Kittmann. 173 00:24:59,000 --> 00:25:05,000 This is work that Orff did with school children originally in Germany, 174 00:25:05,000 --> 00:25:08,000 although this album has the songs translated into English, 175 00:25:08,000 --> 00:25:10,000 and that was Five Fools in a Barrel. 176 00:25:10,000 --> 00:25:13,000 Five Fools in a Barrel drove into Harrow, tra-la-la, et cetera. 177 00:25:13,000 --> 00:25:15,000 They bumped and they bumped and they limped and they lumped, 178 00:25:15,000 --> 00:25:18,000 and the faster they rumbled, the faster they tumbled. 179 00:25:18,000 --> 00:25:20,000 And the barrel went bust, as you hear when kids say, 180 00:25:20,000 --> 00:25:22,000 and they fell in the dust. 181 00:25:22,000 --> 00:25:24,000 Everybody has a very good time laughing about that one. 182 00:25:24,000 --> 00:25:27,000 This is the chorus of the children's opera group, 183 00:25:27,000 --> 00:25:30,000 the chorus of the Bancroft School for Boys, 184 00:25:30,000 --> 00:25:33,000 and an instrumental ensemble. 185 00:25:33,000 --> 00:25:37,000 Okay, and then finally we had a beautiful duet by Brahms. 186 00:25:37,000 --> 00:25:41,000 Sung by Judith Blagen and Friederike von Stade, 187 00:25:41,000 --> 00:25:46,000 with Charles Wadsworth at the piano, called Weg der Liebe. 188 00:25:46,000 --> 00:25:49,000 Number two, there are two poems with that title. 189 00:25:49,000 --> 00:25:52,000 These words, the Gordian knot which was tied by love, 190 00:25:52,000 --> 00:25:54,000 can mortal hand undo. 191 00:25:54,000 --> 00:25:56,000 Why struggle, why think up cunning device, 192 00:25:56,000 --> 00:25:59,000 since no matter what you do, love finds a way. 193 00:25:59,000 --> 00:26:01,000 And if he were locked up and forgotten, 194 00:26:01,000 --> 00:26:03,000 his name sealed and never mentioned, 195 00:26:03,000 --> 00:26:05,000 with moanful winds you would glide to me 196 00:26:05,000 --> 00:26:07,000 and bring word with him to me. 197 00:26:07,000 --> 00:26:10,000 If you were far across mountains, far across seas, 198 00:26:10,000 --> 00:26:13,000 I would climb over the mountains, swim through the seas. 199 00:26:13,000 --> 00:26:17,000 If, my love, you were a swallow gliding near the brook, 200 00:26:17,000 --> 00:26:21,000 I, my love, would be a swallow gliding after you. 201 00:26:21,000 --> 00:26:24,000 Now I usually would try to give the words of non-English things 202 00:26:24,000 --> 00:26:26,000 before you hear the suite. 203 00:26:26,000 --> 00:26:28,000 In this case, I figured I'd just as soon have you 204 00:26:28,000 --> 00:26:32,000 thinking about parallel intervals as much as the words anyway. 205 00:26:32,000 --> 00:26:35,000 I'm Peter Schickele, the program is Schickele Mix 206 00:26:35,000 --> 00:26:39,000 from PRI, Public Radio International. 207 00:26:39,000 --> 00:26:42,000 Now let's move on to parallel chords, 208 00:26:42,000 --> 00:26:45,000 three or more different lines moving together. 209 00:26:45,000 --> 00:26:50,000 The first two numbers in this next suite feature parallel triads, 210 00:26:50,000 --> 00:26:53,000 which I will illustrate on the A.I. 211 00:26:53,000 --> 00:26:57,000 A parallel triad, we already had this earlier. 212 00:26:57,000 --> 00:27:04,000 Or sometimes an inversion. 213 00:27:04,000 --> 00:27:06,000 Although in this case, I think both examples 214 00:27:06,000 --> 00:27:12,000 are pretty much in the root inversion. 215 00:27:12,000 --> 00:27:14,000 Actually, the root inversion is not really an inversion. 216 00:27:14,000 --> 00:27:16,000 Ah, well, never mind. 217 00:27:16,000 --> 00:27:19,000 Anyway, the third uses dominant 7th chords, 218 00:27:19,000 --> 00:27:21,000 the third number in this suite. 219 00:27:21,000 --> 00:27:25,000 Dominant 7th chords, which are like this, 220 00:27:25,000 --> 00:27:29,000 that chord, and one of the most spectacular instances 221 00:27:29,000 --> 00:27:31,000 of parallelism I know of. 222 00:27:31,000 --> 00:27:34,000 So here's the parallel chord song cycle. 223 00:27:34,000 --> 00:27:37,000 I'll be back in about eight minutes. 224 00:27:37,000 --> 00:28:06,000 ¶¶ 225 00:28:06,000 --> 00:28:16,000 ¶¶ 226 00:28:16,000 --> 00:28:21,000 ¶¶ 227 00:28:21,000 --> 00:28:48,000 ¶¶ 228 00:28:48,000 --> 00:29:00,000 ¶¶ 229 00:29:00,000 --> 00:29:13,000 ¶¶ 230 00:29:13,000 --> 00:29:39,000 ¶¶ 231 00:29:39,000 --> 00:30:06,000 ¶¶ 232 00:30:06,000 --> 00:30:21,000 ¶¶ 233 00:30:21,000 --> 00:30:46,000 ¶¶ 234 00:30:46,000 --> 00:31:14,000 ¶¶ 235 00:31:14,000 --> 00:31:24,000 ¶¶ 236 00:31:24,000 --> 00:31:34,000 ¶¶ 237 00:31:34,000 --> 00:31:49,000 ¶¶ 238 00:31:49,000 --> 00:32:09,000 ¶¶ 239 00:32:09,000 --> 00:32:24,000 ¶¶ 240 00:32:24,000 --> 00:32:44,000 ¶¶ 241 00:32:44,000 --> 00:32:59,000 ¶¶ 242 00:32:59,000 --> 00:33:12,000 ¶¶ 243 00:33:12,000 --> 00:33:27,000 ¶¶ 244 00:33:27,000 --> 00:33:47,000 ¶¶ 245 00:33:47,000 --> 00:33:57,000 ¶¶ 246 00:33:57,000 --> 00:34:07,000 ¶¶ 247 00:34:07,000 --> 00:34:22,000 ¶¶ 248 00:34:22,000 --> 00:34:37,000 ¶¶ 249 00:34:37,000 --> 00:34:52,000 ¶¶ 250 00:34:52,000 --> 00:35:12,000 ¶¶ 251 00:35:12,000 --> 00:35:27,000 ¶¶ 252 00:35:27,000 --> 00:35:30,000 The parallel chord song cycle 253 00:35:30,000 --> 00:35:32,000 began with another number 254 00:35:32,000 --> 00:35:35,000 from the Karl Orff Children's Project there. 255 00:35:35,000 --> 00:35:38,000 And thinking about it, I was wrong, by the way, 256 00:35:38,000 --> 00:35:41,000 when I said before that this was translated into English. 257 00:35:41,000 --> 00:35:43,000 Obviously, these are not translations. 258 00:35:43,000 --> 00:35:45,000 These are English poems. 259 00:35:45,000 --> 00:35:48,000 They're much too idiomatic to be translations. 260 00:35:48,000 --> 00:35:50,000 The work that Orff did, 261 00:35:50,000 --> 00:35:53,000 he originally started working with children 262 00:35:53,000 --> 00:35:55,000 in the 20s and 30s, 263 00:35:55,000 --> 00:35:58,000 but in the late 40s, he started a radio program 264 00:35:58,000 --> 00:36:00,000 and started working with kids. 265 00:36:00,000 --> 00:36:03,000 And then, I think, around 1950 or 51, 266 00:36:03,000 --> 00:36:08,000 he was joined by his assistant Gunil Kipman, or Kipman, 267 00:36:08,000 --> 00:36:11,000 and this bunch of music comes from then, 268 00:36:11,000 --> 00:36:16,000 and the pieces were adapted to English poems and sayings, 269 00:36:16,000 --> 00:36:18,000 such as we've heard here. 270 00:36:18,000 --> 00:36:20,000 This one was King Herod. 271 00:36:20,000 --> 00:36:22,000 It says it's an old traditional carol 272 00:36:22,000 --> 00:36:24,000 sung to a melody from Eastern Europe. 273 00:36:24,000 --> 00:36:26,000 Then we heard the last part 274 00:36:26,000 --> 00:36:30,000 of the Crosby, Stills & Nash suite, Judy Blue Eyes, 275 00:36:30,000 --> 00:36:35,000 which has some classic parallel triad singing, 276 00:36:35,000 --> 00:36:38,000 and then the last one was the Beach Boys, Friends, 277 00:36:38,000 --> 00:36:40,000 from the album Called Friends, 278 00:36:40,000 --> 00:36:42,000 and those dominant 7th chords, 279 00:36:42,000 --> 00:36:44,000 I mean, they just sort of grow 280 00:36:44,000 --> 00:36:47,000 like one of those movies of a plant in speeded-up motion. 281 00:36:47,000 --> 00:36:51,000 You know, the plant just sort of blossoms in front of your eyes. 282 00:36:51,000 --> 00:36:53,000 And here it is, tidbit time. 283 00:36:53,000 --> 00:36:57,000 Now, very often, our tidbits are of a somewhat humorous nature, 284 00:36:57,000 --> 00:36:59,000 whether they were meant that way or not, 285 00:36:59,000 --> 00:37:01,000 but today's is not only serious, 286 00:37:01,000 --> 00:37:05,000 it is also one of my absolute favorite pieces of music 287 00:37:05,000 --> 00:37:06,000 in the whole world, 288 00:37:06,000 --> 00:37:09,000 and people who are familiar with my serious compositions 289 00:37:09,000 --> 00:37:11,000 won't be surprised to hear that. 290 00:37:11,000 --> 00:37:14,000 This one album cut has been a major influence 291 00:37:14,000 --> 00:37:16,000 on my harmonic language. 292 00:37:16,000 --> 00:37:18,000 I played it for my son once, and he said, 293 00:37:18,000 --> 00:37:20,000 Hey, Dad, this sounds like you. 294 00:37:20,000 --> 00:37:23,000 This song features similar but not parallel motion. 295 00:37:23,000 --> 00:37:27,000 In other words, the 2 vocal lines move in the same direction, 296 00:37:27,000 --> 00:37:30,000 but don't keep the same basic interval between them. 297 00:37:30,000 --> 00:37:32,000 The top part may move up a second, 298 00:37:32,000 --> 00:37:34,000 while the bottom part moves up a third, 299 00:37:34,000 --> 00:37:37,000 changing the distance between them from a fifth to a fourth. 300 00:37:37,000 --> 00:37:39,000 Okay, never mind. 301 00:37:39,000 --> 00:37:41,000 It's a gorgeous piece of music, 302 00:37:41,000 --> 00:37:44,000 a Nindo praise song for men and women 303 00:37:44,000 --> 00:37:47,000 of a Bantu tribe in Tanganyika. 304 00:37:47,000 --> 00:37:49,000 The liner notes accurately point out 305 00:37:49,000 --> 00:37:51,000 the similarity between this piece 306 00:37:51,000 --> 00:37:54,000 and a certain kind of Gregorian chant singing. 307 00:37:54,000 --> 00:37:56,000 Also, if any of you have a page 308 00:37:56,000 --> 00:37:58,000 of illuminated Gregorian chant music 309 00:37:58,000 --> 00:38:01,000 hanging on your wall as a decoration, 310 00:38:01,000 --> 00:38:04,000 there was a time when that was all the rage, 311 00:38:04,000 --> 00:38:06,000 look at the end of each line of music, 312 00:38:06,000 --> 00:38:09,000 and like as not, there'll be a little check-like mark, 313 00:38:09,000 --> 00:38:11,000 which is there to warn the singers 314 00:38:11,000 --> 00:38:14,000 what the first note of the next line of music will be 315 00:38:14,000 --> 00:38:16,000 for when you switch down. 316 00:38:16,000 --> 00:38:18,000 Now in this song, notice how the composer, 317 00:38:18,000 --> 00:38:21,000 an 18-year-old standing in front of the rest of the singers, 318 00:38:21,000 --> 00:38:24,000 says the first word or two of the upcoming line 319 00:38:24,000 --> 00:38:26,000 to remind everybody what comes next. 320 00:38:26,000 --> 00:38:29,000 Here is his song, Awu Mungoya. 321 00:38:29,000 --> 00:38:56,000 Awu Mungoya singing 322 00:39:00,000 --> 00:39:02,000 Ka Xe Nyi Ne Tsa 323 00:39:02,000 --> 00:39:04,000 Ka Xe Nyi Ne Tsa 324 00:39:04,000 --> 00:39:31,000 Ka Xe Nyi Ne Tsa 325 00:40:04,000 --> 00:40:06,000 Ka Xe Nyi Ne Tsa 326 00:40:18,000 --> 00:40:20,000 Ka Xe Nyi Ne Tsa 327 00:42:20,000 --> 00:42:41,880 Awu Mungoya, sung by the Gogo tribe, a Bantu tribe in Tanganyika. 328 00:42:41,880 --> 00:42:48,320 And those of you who have listened to this program quite a bit, this is from that Deka 329 00:42:48,320 --> 00:42:54,180 album, that old Deka album that you've heard several cuts from before, of music from Africa. 330 00:42:54,180 --> 00:42:58,800 Just about every cut on this album is tremendous, and this is my favorite of them all. 331 00:42:58,800 --> 00:43:04,200 Of course, those women in the background, the liner notes say that everybody, man, woman 332 00:43:04,200 --> 00:43:07,320 and child in the tribe, knew this song. 333 00:43:07,320 --> 00:43:12,800 And the women in the background singing, that one woman hits that high note, it's just, 334 00:43:12,800 --> 00:43:17,180 it would be hard to sit down, it would be impossible to sit down and compose something 335 00:43:17,180 --> 00:43:18,360 like that. 336 00:43:18,360 --> 00:43:22,280 And what they're doing is really, instead of having an interval, let me hit the old 337 00:43:22,280 --> 00:43:28,520 A.I. here, I guess they're about on that pitch, I don't have perfect pitch, I guess it's about 338 00:43:28,520 --> 00:43:29,520 like that. 339 00:43:29,520 --> 00:43:32,920 To me, and I expect they wouldn't think of it this way, because they probably are not 340 00:43:32,920 --> 00:43:38,320 thinking chordally, but to me, it's like they're outlining a dominant seventh chord. 341 00:43:38,320 --> 00:43:48,200 That's a dominant seventh chord, and they go... 342 00:43:48,200 --> 00:43:54,480 A very evocative sound, which I have borrowed many times and elaborated on. 343 00:43:54,480 --> 00:44:00,320 I'm still Peter Schickele, and the program is still Schickele Mix, from PRI, Public Radio 344 00:44:00,320 --> 00:44:02,960 International. 345 00:44:02,960 --> 00:44:09,060 Many many years ago, I was taken, for a birthday present, to hear Peggy Lee at one of the supper 346 00:44:09,060 --> 00:44:14,240 clubs in New York, the wall door for the Rainbow Room, I don't remember where it was. 347 00:44:14,240 --> 00:44:20,000 Anyway, my brother, being real cool, he greased the maitre d's palm with a five dollar bill, 348 00:44:20,000 --> 00:44:24,220 which got us a table right next to the band, all right, but practically behind it. 349 00:44:24,220 --> 00:44:27,740 We were sort of the right rear fender of the band. 350 00:44:27,740 --> 00:44:31,320 You could sort of see Peggy Lee's back and right arm through the music stands. 351 00:44:31,320 --> 00:44:36,080 But we had an excellent view of the little violin section, five or six middle-aged guys 352 00:44:36,080 --> 00:44:39,200 who obviously didn't usually play this kind of gig. 353 00:44:39,200 --> 00:44:45,520 Now, one of the numbers required the instrumentalists to sing the tune a couple of times, and the 354 00:44:45,520 --> 00:44:51,640 regular band members, the hip guys, obviously regarded this as an extremely corny, not to 355 00:44:51,640 --> 00:44:57,340 say demeaning, chore, which they did only because they wouldn't be paid if they didn't. 356 00:44:57,340 --> 00:45:01,560 But the string players, the squares, they thought that singing the song was more dang 357 00:45:01,560 --> 00:45:02,560 fun. 358 00:45:02,560 --> 00:45:04,760 They had big smiles on their faces. 359 00:45:04,760 --> 00:45:08,640 The difference between the regular band and the string players was sort of like Garfield 360 00:45:08,640 --> 00:45:09,640 and Odie. 361 00:45:09,640 --> 00:45:15,160 Now, let's go out with three numbers in which the instrumentalists are asked to sing. 362 00:45:15,160 --> 00:45:18,840 This suite, I'll just tell you in advance, this suite goes from the ridiculous to the 363 00:45:18,840 --> 00:45:20,200 sublime. 364 00:45:20,200 --> 00:45:24,660 In the third song, the sublime one, you have to listen very carefully to hear the three 365 00:45:24,660 --> 00:45:28,040 percussionists singing in the background. 366 00:45:54,660 --> 00:46:09,400 I love her in the morning, and I love her at night. 367 00:46:09,400 --> 00:46:13,800 I love her, yes, I love her when the stars are shining bright. 368 00:46:13,800 --> 00:46:18,360 I love her in the springtime, and I love her in the fall. 369 00:46:18,360 --> 00:46:36,440 But last night, on the back porch, I loved her best of all. 370 00:46:36,440 --> 00:47:05,080 I love her, yes, I love her when the stars are shining bright. 371 00:47:05,080 --> 00:47:35,040 I love her in the morning, and I love her at night. 372 00:47:35,040 --> 00:47:40,640 I love her, yes, I love her when the stars are shining bright. 373 00:47:40,640 --> 00:47:44,880 I love her in the springtime, and I love her in the fall. 374 00:47:44,880 --> 00:48:12,280 But last night, on the back porch, I loved her best of all. 375 00:48:12,280 --> 00:48:40,480 I love her, yes, I love her when the stars are shining bright. 376 00:48:40,480 --> 00:48:41,480 I love her in the morning, and I love her at night. 377 00:48:41,480 --> 00:48:42,480 I love her in the springtime, and I love her at night. 378 00:48:42,480 --> 00:48:43,480 But last night, on the back porch, I loved her best of all. 379 00:48:43,480 --> 00:48:44,480 I love her in the morning, and I love her at night. 380 00:48:44,480 --> 00:48:45,480 I love her, yes, I love her when the stars are shining bright. 381 00:48:45,480 --> 00:48:46,480 I love her in the morning, and I love her at night. 382 00:48:46,480 --> 00:49:09,620 I love her in the morning, and I love her at night. 383 00:49:09,620 --> 00:49:29,620 Beware, I say, thou little bird, Of my leather-flea flap, 384 00:49:29,620 --> 00:49:35,380 And come not hither, nor hither word, Lest it reach a sound rap, 385 00:49:35,380 --> 00:49:40,620 For it shall be thy little bomb, Hear me, pretty fellow, 386 00:49:40,620 --> 00:49:46,300 And tap it driftly if thou come, Harken what I tell you, 387 00:49:46,300 --> 00:49:51,660 Harken what I tell you, In thy coming, or thy bumming, 388 00:49:51,660 --> 00:49:57,580 If thou comest hither humming, Thou false bumblebee, 389 00:49:57,580 --> 00:50:04,060 In thy swarming and thy harming, If thou chants within thy charming, 390 00:50:04,060 --> 00:50:07,580 Exorcise or take. 391 00:50:21,580 --> 00:50:27,260 In nomine, o domine, Defend us from this groan, 392 00:50:27,260 --> 00:50:34,700 And charm this hurtful honeybee to laugh, Or to do a seagull. 393 00:50:34,700 --> 00:50:40,380 In thy coming, or thy bumming, If thou comest hither humming, 394 00:50:40,380 --> 00:50:45,660 Thou false bumblebee, In thy swarming and thy harming, 395 00:50:45,660 --> 00:51:05,660 If thou chants within thy charming, Exorcise or take. 396 00:51:15,660 --> 00:51:35,660 In nomine, o domine, Defend us from this groan, 397 00:51:35,660 --> 00:51:57,660 Or to do a seagull. 398 00:52:05,660 --> 00:52:17,660 Or to do a seagull. 399 00:52:35,660 --> 00:52:47,660 Or to do a seagull. 400 00:53:05,660 --> 00:53:33,660 Or to do a seagull. 401 00:53:33,660 --> 00:53:37,660 Or to do a seagull. 402 00:54:04,660 --> 00:54:09,660 Then we had a composition by the 20th century American composer Peter Shickley, 403 00:54:09,660 --> 00:54:13,660 a piece called Bestiary, and that was The Bee, 404 00:54:13,660 --> 00:54:19,660 which is a poem from 1599 by T. Cutwoad, 405 00:54:19,660 --> 00:54:23,660 from the Bestiary Calta Poetarum, or The Bumblebee. 406 00:54:23,660 --> 00:54:27,660 And the singers in the group, the group being Calliope, 407 00:54:27,660 --> 00:54:30,660 an early music ensemble consisting of four people, 408 00:54:30,660 --> 00:54:33,660 they are playing and singing. 409 00:54:33,660 --> 00:54:36,660 The words, by the way, in that poem I think are delightful, 410 00:54:36,660 --> 00:54:38,660 and there's nothing new under the sun. 411 00:54:38,660 --> 00:54:41,660 In the first place it talks about, Beware my leather flea flap, 412 00:54:41,660 --> 00:54:44,660 which I figure has to be a fly swatter, right? 413 00:54:44,660 --> 00:54:46,660 It must be a leather fly swatter. 414 00:54:46,660 --> 00:54:51,660 And then my favorite line in it is referring to that leather flea flap. 415 00:54:51,660 --> 00:54:56,660 The poet says to the bumblebee, For it shall beat thy little bum. 416 00:54:56,660 --> 00:55:00,660 So words that you thought were new are not new. 417 00:55:00,660 --> 00:55:07,660 Ending with the absolutely haunting composition by George Crum, 418 00:55:07,660 --> 00:55:10,660 Ancient Voices of Children. 419 00:55:10,660 --> 00:55:15,660 This was performed by Jandy Gaitani and the Contemporary Chamber Ensemble, 420 00:55:15,660 --> 00:55:18,660 conducted by Arthur Weisberg. 421 00:55:18,660 --> 00:55:24,660 And the three percussionists can be heard there singing the refrain. 422 00:55:24,660 --> 00:55:29,660 The words are, Each afternoon in Granada, 423 00:55:29,660 --> 00:55:33,660 A child dies each afternoon. 424 00:55:49,660 --> 00:55:52,660 And that's Shickly Mix for this week. 425 00:55:52,660 --> 00:55:57,660 Our program is made possible with funds provided by this radio station. 426 00:55:57,660 --> 00:56:01,660 We'll tell you in a moment how you can get an official playlist of all the music on today's program 427 00:56:01,660 --> 00:56:03,660 with record numbers and everything. 428 00:56:03,660 --> 00:56:05,660 Just refer to the program number. 429 00:56:05,660 --> 00:56:08,660 You have just heard program number 17. 430 00:56:08,660 --> 00:56:12,660 This is Peter Shickly saying goodbye and reminding you that it don't mean a thing 431 00:56:12,660 --> 00:56:15,660 if it ain't got that certain je ne sais quoi. 432 00:56:15,660 --> 00:56:22,660 Ooh, you're looking good. See you next week. 433 00:56:45,660 --> 00:56:48,660 See you next week. 434 00:57:15,660 --> 00:57:18,660 See you next week. 435 00:57:46,660 --> 00:57:49,660 If you'd like a copy of that playlist I mentioned, 436 00:57:49,660 --> 00:57:52,660 send a stamped, self-addressed envelope to Shickly Mix. 437 00:57:52,660 --> 00:57:57,660 That's S-C-H-I-C-K-E-L-E, Shickly Mix. 438 00:57:57,660 --> 00:58:02,660 Care of Public Radio International, 100 North 6th Street, Suite 900A, 439 00:58:02,660 --> 00:58:07,660 Minneapolis, Minnesota, 55403. 440 00:58:07,660 --> 00:58:15,660 P-R-I, Public Radio International.