1 00:00:00,000 --> 00:00:13,560 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 2 00:00:13,560 --> 00:00:24,840 Hello there, I'm Peter Schickele, and this is Schickele Mix, a program dedicated to the proposition that all musics are created equal, or as Duke Ellington put it, if it sounds good, it is good. 3 00:00:25,670 --> 00:00:37,650 And today we're going to listen to some words as well as music. And the good word is that our bills are paid by the American Public Radio Program Fund, whose contributors include the Ford Foundation, and also by this radio station. 4 00:00:37,650 --> 00:00:49,030 Since the voice is the basic human instrument, there's a natural desire on the part of humans to want to sing their favorite music, whether it was originally vocal music or not. 5 00:00:49,350 --> 00:01:01,130 And this, combined with the fact that music with words is generally more fun to sing than music without, has given rise to the practice of putting words to instrumental pieces. 6 00:01:01,130 --> 00:01:21,470 Sometimes the results become full-fledged popular songs like Stranger in Paradise, which is based on music by the Russian composer Borodin, and Full Moon and Empty Arms, which is based on a theme from Rachmaninoff's Second Piano Concerto, or as some musicians call it, Rocky II. 7 00:01:22,090 --> 00:01:27,330 Now sometimes words become attached to well-known music without anybody knowing where they come from. 8 00:01:27,330 --> 00:01:34,130 I assume that this, for instance, this bugle call, did not start out its life with lyrics. 9 00:01:34,610 --> 00:01:41,910 [sung: words to the bugle call "You're in the Army Now"] 10 00:01:43,150 --> 00:01:53,170 You know, that chip in that naughty word detector must really be something. It seems to know at the beginning of a word, I guess from the context maybe, that it's got to go. 11 00:01:53,170 --> 00:02:02,190 Anyway, there's a long-standing tradition of putting words to classical themes simply for fun and also for instructional purposes. 12 00:02:02,890 --> 00:02:04,450 Many people know, 13 00:02:04,490 --> 00:02:10,000 [sung: words to the theme of Schubert's Unfinished Symphony] 14 00:02:11,200 --> 00:02:14,680 Probably not so many are familiar with the later version, 15 00:02:14,720 --> 00:02:20,000 [sung: the same words, with Schoenberg in place of Schubert] 16 00:02:20,040 --> 00:02:38,320 I read somewhere once that there was a man named Ebenezer Prout who took it upon himself to write words to the subjects or themes of all 48 fugues in Bach's Well-Tempered Clavier, which led someone else to set the following words to another Bach fugue subject. 17 00:02:38,760 --> 00:02:48,220 [sung: words to a Bach fugue subject, addressed to Ebenezer Prout] 18 00:02:49,060 --> 00:02:56,100 Now here's one that I find tantalizing. A friend says he used to know words to the famous theme from Haydn's Surprise Symphony. 19 00:02:56,700 --> 00:03:03,950 [sung: words to the theme of Haydn's Surprise Symphony] 20 00:03:04,000 --> 00:03:06,100 But he can't remember the rest. 21 00:03:06,680 --> 00:03:12,620 Be that as it may, I have here in my hands a book that is a classic in this field. 22 00:03:13,420 --> 00:03:20,700 I look for copies of this book every time I go into a second-hand bookstore and I've probably given it to at least a half a dozen friends over the years. 23 00:03:20,980 --> 00:03:26,420 It seems to be getting harder to find these days, so maybe it's getting used up or maybe other people are catching on. 24 00:03:26,420 --> 00:03:32,320 It's called Great Symphonies: How to Recognize and Remember Them, and it's by Sigmund Spaeth. 25 00:03:32,340 --> 00:03:44,200 It was published in the 1930s, and in it, Mr. Spaeth puts words to the principal themes of the most often played symphonies of the 18th and 19th centuries. 26 00:03:44,200 --> 00:03:58,440 The chapters are called Beginning with Papa Haydn, The Miraculous Mozart, The Climax of Beethoven, Schubert's Singing Symphonies, Schumann's Four Symphonies, 27 00:03:58,460 --> 00:04:00,420 he doesn't get a real adjective there, 28 00:04:00,420 --> 00:04:09,140 Masterpieces of Mendelssohn, Bowing to Brahms, César Franck's One Symphony, and Russia's Symphonic Contribution. 29 00:04:09,480 --> 00:04:11,940 Very dry title for Russians. 30 00:04:12,680 --> 00:04:24,040 Now, this book was begun for children, but the author discovered, in his words, that adult music lovers, and particularly the confessed laymen, 31 00:04:24,780 --> 00:04:41,220 which implies that there are a lot of closet laymen about, were enormously enthusiastic over the possibility of securing an informal, non-technical introduction to the most important symphonies, particularly with the promise of simple aids to remembering the outstanding tunes or themes. 32 00:04:42,490 --> 00:04:51,170 Mr. Spaeth does acknowledge that some might object to the whole idea, but he feels that the educational value outweighs any objections. 33 00:04:51,170 --> 00:05:00,890 He says, No justification or apology is really necessary, therefore, although there may be those who will find fault with the details of wording here and there. 34 00:05:01,110 --> 00:05:05,690 The following rules have generally governed the creation of these symphonic texts. 35 00:05:06,330 --> 00:05:11,750 One, they must be easily singable, fitting the natural accents of the notes and the spirit of the melody. 36 00:05:11,970 --> 00:05:19,230 Two, they must be simple and direct enough to appeal to children, but not so silly as to offend intelligent adults. 37 00:05:19,230 --> 00:05:25,650 Three, they should, if possible, draw some attention to the composer or the character of the symphony, or both. 38 00:05:26,090 --> 00:05:27,370 He goes on to say, 39 00:05:27,450 --> 00:05:35,950 In this connection, there is a horrible memory of one musical educator who undertook to analyze Beethoven's Fifth Symphony for an audience of children in New York. 40 00:05:36,290 --> 00:05:44,300 For the opening four notes, definitely described by the composer as representing fate knocking at the door, this gentleman used the words, 41 00:05:44,400 --> 00:05:47,900 [sung: "I've lost my hat!"] 42 00:05:47,960 --> 00:05:57,600 Without undue arrogance, it may be assumed that no such desecration has been committed in this volume. Well, I'll leave it to you to decide. 43 00:05:58,800 --> 00:06:52,800 [sung: Spaeth's words to Mozart, Symphony No. 40 (K. 550), 1st mvt.; with Prague Chamber Orchestra, Mackerras] 44 00:06:52,840 --> 00:06:54,740 Okay, let me fade this out here. 45 00:06:56,320 --> 00:06:57,740 Now, uh, there. 46 00:06:57,900 --> 00:07:01,200 Now, in his preface to the second movement of Mozart's 40th Symphony, 47 00:07:01,200 --> 00:07:08,180 Mr. Spaeth reminds us that the actual meaning of the tempo indication andante is walking. 48 00:07:08,400 --> 00:07:39,400 [sung: Spaeth's words to Mozart, Symphony No. 40, 2nd mvt.] 49 00:07:39,510 --> 00:07:49,850 I'll tell you where to go. Just kidding. Now, in the minuet of this symphony, I think Mozart really outdoes himself. And the same may be said of Mr. Spaeth. 50 00:07:50,500 --> 00:08:19,400 [sung: Spaeth's words to Mozart, Symphony No. 40, 3rd mvt. (Minuet)] 51 00:08:19,570 --> 00:08:26,530 Okay. And the finale presents some daunting vocal problems, but let's give it a whirl. 52 00:08:27,140 --> 00:08:55,500 [sung: Spaeth's words to Mozart, Symphony No. 40, 4th mvt.] 53 00:08:55,600 --> 00:08:58,800 Okay, okay, I admit it. I added some of those tra-la-la's. 54 00:09:24,460 --> 00:09:49,900 [sung: Spaeth's words to Mozart, Symphony No. 40, 4th mvt. (continued)] 55 00:09:50,100 --> 00:09:55,160 The first movement of Brahms' Fourth Symphony is one of those pieces in which it can be 56 00:09:55,160 --> 00:09:57,820 very tricky to get just the right tempo. 57 00:09:57,820 --> 00:10:01,830 One conductor taught me these words to the opening theme. 58 00:10:02,190 --> 00:10:13,000 [sung: a conductor's words to the opening of Brahms, Symphony No. 4] 59 00:10:13,670 --> 00:10:16,570 Now, Mr. Spaeth's words are not so sacrilegious. 60 00:10:16,830 --> 00:10:20,970 They make up in taste what they lack in imaginative content. 61 00:10:21,200 --> 00:10:35,980 [sung: Spaeth's words to Brahms, Symphony No. 4, 1st mvt.; with Symphonie-Orchester des Bayerischen Rundfunks, Davis] 62 00:10:36,000 --> 00:10:45,210 But the words for the slow movement are among his richest and most memorable. 63 00:10:45,900 --> 00:12:02,200 [sung: Spaeth's words to Brahms, Symphony No. 4, 2nd mvt.] 64 00:12:02,260 --> 00:12:09,720 One of my favorite pieces in the entire symphonic literature is the first movement of Brahms' Second Symphony. 65 00:12:09,720 --> 00:12:15,220 Hey, I liked it even before I heard Mr. Spaeth's words for the two main themes. 66 00:12:17,900 --> 00:12:54,850 [sung: Spaeth's words to Brahms, Symphony No. 2, 1st mvt., first theme; with Columbia Symphony Orchestra, Walter] 67 00:12:54,900 --> 00:12:57,520 Well, he's putting the words to it, not me. 68 00:12:58,000 --> 00:13:42,700 [sung: Spaeth's words to Brahms, Symphony No. 2, 1st mvt., second theme] 69 00:13:42,860 --> 00:14:12,240 In the 19th century, it was very common to describe pieces in dramatic terms, and I mean in concrete dramatic terms, to construct dramatic, not to say melodramatic, scenarios for pieces. Now the brasses attack. The strings and woodwinds fight back valiantly, but in the end, or in the development section, the hero, represented by the first theme, must find his way out of the maze constructed by the wizard, second theme, 70 00:14:12,240 --> 00:14:42,570 before he collapses from exhaustion. Now you know why Stravinsky said music expresses nothing but itself. Anyway, Spaeth was, in the mid-1930s, writing at the end of this tradition. And in the opening section of the first movement of Beethoven's Fifth Symphony, I'm going to not only sing the illuminating words, I'm also going to read some of Mr. Spaeth's descriptions of the music in between the principal themes so you can properly understand the whole drama. 71 00:14:43,500 --> 00:14:47,600 This is the story behind the story. Here we go. 72 00:14:48,100 --> 00:15:27,400 [sung: Spaeth's words to Beethoven, Symphony No. 5, 1st mvt., opening; with Berlin Philharmonic, Bernstein] 73 00:15:27,500 --> 00:15:35,300 The horns finally call a halt to permit ordinary mortals to have their say. But they do it in a very superior and contemptuous fashion. 74 00:15:35,500 --> 00:15:38,850 [sung: Spaeth's words to Beethoven, Symphony No. 5, horn call] 75 00:15:38,890 --> 00:15:44,600 The human voice speaks up rather timidly, yet showing no inclination to give in too easily. 76 00:15:45,300 --> 00:15:48,400 [sung: Spaeth's words to Beethoven, Symphony No. 5, second theme] 77 00:15:48,700 --> 00:16:02,200 Even as it is uttered, you hear the impatient pounding in the bass, indicating that fate does not intend to be kept waiting long. But the courageous voice goes serenely on in spite of the threatening noises, and soon turns the actual fate motif into a bold challenge. 78 00:16:02,400 --> 00:16:05,500 [sung: Spaeth's words to Beethoven, Symphony No. 5, fate motif as challenge] 79 00:16:05,600 --> 00:16:12,200 So, with shrieking woodwind and hammering blows, the battle is on. 80 00:16:12,800 --> 00:16:17,800 The development that follows is a real plot, not just a musical exercise. 81 00:16:22,180 --> 00:16:32,830 And there's the key word, plot. Mr. Spaeth's book, Great Symphonies: How to Recognize and Remember Them, might be subtitled Cliff Notes on the Plots of the Great Symphonies. 82 00:16:32,830 --> 00:17:01,800 Hey, listen, it's out of fashion now, but there's really nothing wrong with thinking about pieces in a narrative way as long as you, and this is my own humble opinion here, as long as you don't work too hard at imposing your story on others. Let people make up their own stories. Okay, we're going to end this part of the program with a real jaw-dropper of the genre in which we've been wallowing, a choral arrangement with words of Maurice Ravel's instrumental warhorse, Bolero. 83 00:17:01,900 --> 00:17:31,540 Now, I can't, all by my lonesome, be a chorus, but I will sing the melody line with orchestral accompaniment thanks to this handy little compact disc. And for this one, I'm going to add a little reverb here. I certainly nagged and nagged to get this thing installed. I might as well use it. And I want to emphasize that I am not putting you on here. This is a published arrangement, and I had nothing to do with the words. Nor, incidentally, did Sigmund Spaeth. Or Maurice Ravel? I don't know. 84 00:17:32,540 --> 00:19:33,000 [sung: Ravel, Bolero, melody with English text by Flora Robles; with Boston Symphony Orchestra, Munch] 85 00:19:35,500 --> 00:19:36,600 Hola, indeed. 86 00:19:37,000 --> 00:19:38,600 Now, let's get that echo off. 87 00:19:39,670 --> 00:19:47,610 Ravel's Bolero with, it says here, English text by Flora Robles. I don't know if that means there's 88 00:19:47,610 --> 00:20:16,390 also a Lithuanian text or whatever, I don't know. I have a friend, a head of the Slavic Languages Department, used to be at Ohio State, who published a reverse Lithuanian dictionary. The words were alphabetized from the end of the word forward because apparently to... Okay, okay, okay. The irrelevancy alarm up there on the wall, it does go off every once in a while. By the way, in case you want to hire me to sing at your next wedding or bar mitzvah or whatever, 89 00:20:16,390 --> 00:20:18,070 my name is Peter Schickele. 90 00:20:23,640 --> 00:20:50,930 When I was in college, Jeff Davidson and I wrote a theatrical extravaganza entitled, as I recall, ARGH! You know, it's one of those things where you sit up for two nights trying to think of a name for your show and you end up picking, well, probably one of the worst names you'd thought of because all the good ones are too dirty. One of the skits was a preview, as in previews of movie coming attractions, of a forthcoming film on the life of Beethoven. 91 00:20:50,930 --> 00:20:58,370 I'm going to get my authentic instrument here. This is an authentic Casio Tone Bank made in the early 1990s. 92 00:20:58,550 --> 00:21:02,870 Now, in that show, at one point, a nostalgic Beethoven sings, 93 00:21:02,870 --> 00:21:47,600 [sung: Beethoven's song from Schickele and Jeff Davidson's college show, with Casio keyboard] 94 00:21:47,720 --> 00:21:57,180 Ah, college. Two-bit sentiments and ten-dollar words. Last I heard, Jeff Davidson was living in Rome. I think he was teaching... 95 00:21:57,180 --> 00:22:12,100 Okay, okay, okay. That's the alarm again, and I can't really argue, I guess, about that. Anyway, Jeff wrote some good lyrics. As I said earlier in the program, the urge to put lyrics to instrumental tunes is, at least among some folks, just about irresistible. 96 00:22:12,100 --> 00:22:26,940 And now we're going to hear three entertainingly clever, as opposed to educational or high-minded or simply stupid, examples. The Singing Music Meant to Be Played Song Cycle is about nine minutes long. I'll see you around. 97 00:22:27,900 --> 00:24:28,300 [music: Flotsam and Jetsam (Malcolm McEachern, B. C. Hilliam), "What's the Matter with Rachmaninoff?"] 98 00:24:30,200 --> 00:27:25,000 [music: King Pleasure, "Parker's Mood" (King Pleasure Sings); John Lewis, piano] 99 00:27:26,400 --> 00:27:27,150 [music: Michael Flanders & Donald Swann, "Ill Wind" (Mozart, Horn Concerto No. 4, K. 495, Rondo)] 100 00:27:27,180 --> 00:27:32,900 [Michael Flanders, recorded:] It has long been my earnest wish to improve the standard of the music we have in these shows of ours. 101 00:27:32,940 --> 00:27:33,950 [Donald Swann, recorded:] Thank you very much. 102 00:27:34,060 --> 00:27:53,000 [Michael Flanders, recorded:] Not at all, my dear sir. I think you know that nobody has a higher opinion of your work than you do yourself. I simply meant we should have some more good music, and to this end I have been practicing the horn, or French horn as they call it, German horn as the French call it, not, not to be confused with the cor anglais. 103 00:27:53,980 --> 00:28:08,700 [Michael Flanders, recorded:] It's a marvelous instrument. I took it up because I very much wanted to play the music of Mozart, in particular his wonderful horn concerto in E-flat, Köchel rating 495, which he wrote at the age of about 18 months. 104 00:28:09,540 --> 00:28:22,100 [Michael Flanders, recorded:] Marvelous man. I practiced it very hard, against considerable opposition, I may say, and I had hoped this evening to give you the very first performance of the last movement, the Rondo Allegro Vivace. 105 00:28:22,900 --> 00:28:30,600 [Michael Flanders, recorded:] I think to curious circumstances, as yet unexplained, I am not able to do this. I can only tell you why. 106 00:31:19,000 --> 00:31:21,890 The Singing Music Meant to Be Played Song Cycle, 107 00:31:22,150 --> 00:31:36,600 and the first number in that cycle was Malcolm McEachern and B.C. Hilliam, known to audiences between the two world wars as Flotsam and Jetsam, singing What's the Matter with Rachmaninoff. 108 00:31:36,850 --> 00:31:53,730 Next, we heard King Pleasure singing Parker's Mood, based on a Charlie Parker tune. If you listen to those words carefully, they became all the more poignant in the light of Charlie Parker's early death. A beautiful piano solo there by John Lewis. 109 00:31:53,730 --> 00:32:05,850 And finally, from the album At the Drop of Another Hat, Michael Flanders and Donald Swann. The number is called Ill Wind, and it is indeed based on the last movement of Mozart's Fourth Horn Concerto. 110 00:32:07,320 --> 00:32:15,880 Now, there's a long tradition in jazz of setting words to instrumental music. Lambert, Hendricks & Ross were probably the best-known practitioners of this art. 111 00:32:16,300 --> 00:32:25,900 And the words aren't always funny, and they don't always involve just the tune parts, but whole, originally improvised solos, the entire texture of a piece. 112 00:32:25,980 --> 00:32:38,500 Why isn't this done more in classical music? I know I've reflected on this before, but most of the examples I can think of in classical music are humorous. How about some just nice words to symphonies or quartets or violin sonatas? 113 00:32:39,080 --> 00:32:49,920 I guess part of the problem is the wide range of a lot of classical instrumental music. It's hard to sing, but that can be worked around. After all, it goes the other way: Schubert based instrumental pieces on songs. 114 00:32:50,660 --> 00:32:57,140 Actually, I think the main problem is one of affect, if I may use a small but nevertheless expensive word. 115 00:32:57,240 --> 00:33:11,400 There is a conversational quality about much mainstream jazz that seems to welcome narrative words and to accommodate casual and witty or even wry words without sacrificing the basic seriousness of the music. 116 00:33:11,620 --> 00:33:18,080 Why is that? I feel a doctoral thesis coming on here, but we don't have time for theses now. 117 00:33:24,460 --> 00:33:29,140 Our last suite on today's program is the Up a Third, Down a Fifth Sequence Suite. 118 00:33:29,560 --> 00:33:30,160 Got that? 119 00:33:30,720 --> 00:33:31,600 What did I say? 120 00:33:32,180 --> 00:33:33,460 You forgot it, didn't you? 121 00:33:33,830 --> 00:33:36,590 It's the Up a Third, Down a Fifth Sequence Suite. 122 00:33:36,820 --> 00:33:38,540 Now, don't get intimidated there. 123 00:33:38,580 --> 00:33:39,580 All that means is this. 124 00:33:39,580 --> 00:33:40,120 Up a third. 125 00:33:40,260 --> 00:33:42,340 Dee, dee, dee, dee, dee, that's a third. 126 00:33:42,560 --> 00:33:44,820 Now, if you do the same thing over and over again, 127 00:33:44,980 --> 00:33:47,200 Dee, dee, dee, dee, dee, dee. 128 00:33:47,300 --> 00:33:50,300 The technical term for that in music is repetition. 129 00:33:50,300 --> 00:33:54,700 But if you repeat it starting on different notes of the scale, that's 130 00:33:54,800 --> 00:33:59,500 [sung: demonstration, the figure repeated on different notes] 131 00:33:59,550 --> 00:34:02,920 called sequence, and that's musical sequencing. 132 00:34:03,340 --> 00:34:09,800 And there's a sequence that composers have been particularly fond of, all sorts of different composers, and that's this. 133 00:34:09,900 --> 00:34:13,300 [music: demonstration, the up-a-third, down-a-fifth sequence] 134 00:34:13,360 --> 00:34:18,180 It usually goes about that far. And it's made all the more effective, most composers feel. 135 00:34:18,180 --> 00:34:27,300 If you combine this melody, which is constantly skipping, with a bass that is not skipping at all, that is going right down the scale. 136 00:34:27,350 --> 00:34:31,780 [music: demonstration, a descending scale] 137 00:34:31,820 --> 00:34:34,720 If you put those two together, here's what you get. 138 00:34:34,860 --> 00:34:40,700 But before we do this suite, which has five numbers and lasts about 13 minutes, let me just say something. 139 00:34:41,300 --> 00:34:44,820 Some people I know have a little trouble with the way I mix things on this program. 140 00:34:45,120 --> 00:34:48,840 Even if they agree that all musics are created equal, sometimes they say, 141 00:34:48,840 --> 00:35:08,360 These things just shouldn't be so cheek to jowl. And I have to say that in this suite, some of the most profound, beautiful, deep, if we want to use that cliched word, music ever written in the Western tradition is combined with some pretty cream puff type stuff. 142 00:35:08,360 --> 00:35:14,760 But my feeling about it is this. You give five kids identical sets of building blocks. 143 00:35:15,440 --> 00:35:20,340 Isn't it amazing how completely different what each one of them makes is? 144 00:35:21,900 --> 00:38:01,100 [music: James Taylor, "Your Smiling Face" (JT)] 145 00:38:04,040 --> 00:40:58,000 [music: Beethoven, Piano Sonata No. 30 in E major, Op. 109, 1st mvt.; Wilhelm Backhaus] 146 00:41:01,500 --> 00:43:47,600 [music: Dionne Warwick, "I'll Never Fall in Love Again" (Dionne)] 147 00:43:49,740 --> 00:44:50,100 [music: Chopin, Étude in G-flat major, Op. 25, No. 9; Vlado Perlemuter] 148 00:44:53,000 --> 00:47:48,800 [music: Gerry Mulligan, "Sextet"; Gerry Mulligan, Chet Baker, Lee Konitz, Joe Mondragon, Larry Bunker] 149 00:47:50,000 --> 00:47:54,160 The Up a Third, Down a Fifth Sequence Suite. 150 00:47:54,300 --> 00:48:02,780 The first number was Your Smiling Face, of course, from James Taylor's monogrammatically 151 00:48:02,780 --> 00:48:16,960 titled album JT. Then we have Beethoven's Sonata No. 30 in E Major, Op. 109, that beautiful first movement that's so restless, doesn't seem to want to stay in the same tempo, performed by Wilhelm Backhaus. 152 00:48:18,140 --> 00:48:29,600 Then Dionne Warwick, I'll Never Fall in Love Again, from Promises, Promises. It's interesting, one of the hooks, you might say, one of the characteristic things of that tune in the original show 153 00:48:29,600 --> 00:48:59,180 was that in the middle of a 4/4 tune is this one 3/4 bar. In other words, they drop a beat out of one place, but in this arrangement, that beat gets put back in, the whole thing's in 4/4. And then we had Chopin, the set of Etudes Opus 25. This was number nine, the ninth one in G-flat, played by Vlado Perlemuter on Nimbus. And the last number in the suite was Gerry Mulligan, a tune called Sextet. And that was Mulligan on baritone sax, Lee Konitz 154 00:48:59,180 --> 00:49:06,540 on alto, Chet Baker on trumpet, Joe Mondragon on bass, and the drummer was Larry Bunker. 155 00:49:07,990 --> 00:49:11,030 You know, I think I just have time to put in one little thing here. 156 00:49:11,250 --> 00:49:17,870 That suite featured, in most cases, the bass line going down in the scale while the melody skipped. 157 00:49:18,330 --> 00:49:23,470 And it's interesting that one of the most famous pieces in classical music starts out at least with the opposite. 158 00:49:23,600 --> 00:49:24,600 The melody goes 159 00:49:24,700 --> 00:49:28,200 [music: demonstration, the melody by step] 160 00:49:28,300 --> 00:49:31,200 by scale, whereas the bass does the skipping. 161 00:49:31,250 --> 00:49:34,300 [music: demonstration, the skipping bass] 162 00:49:34,340 --> 00:49:36,560 And you put them together and you get... 163 00:49:36,600 --> 00:49:39,900 [music: demonstration, melody by step over skipping bass] 164 00:49:39,980 --> 00:49:42,800 That's right, folks. It's the Pachelbel Canon. 165 00:49:42,900 --> 00:50:03,520 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 166 00:50:03,520 --> 00:50:15,340 And there you have it, Schickele Mix, for this week. Our program is made possible with funds provided by the American Public Radio Program Fund, whose contributors include the Ford Foundation, and also by this radio station.