1 00:00:00,000 --> 00:00:03,920 Are you ready, Peter? I'm ready, you're ready. Here's the theme. 2 00:00:18,070 --> 00:00:26,310 Hello there, I'm Peter Shickley, and this is Shickley Mix, a program dedicated to the proposition that all musics are created equal. 3 00:00:26,310 --> 00:00:36,770 Or, as Duke Ellington put it, if it sounds good, it is good. And good, good, good vibrations in the form of paying our bills 4 00:00:36,770 --> 00:00:47,810 are coming from this very radio station to which you are listening even as I speak. What if you wanted to indicate European classical music very succinctly, 5 00:00:47,810 --> 00:00:55,570 very efficiently, say in a Bugs Bunny cartoon or something like that? What would you do? You could have a singer with a big vibrato, 6 00:00:58,010 --> 00:01:08,550 Pagliacci, I love you very much, like Groucho Marx. Or, you could have a symphony orchestra playing chords like these. 7 00:01:37,050 --> 00:01:48,790 Why does that work so well as a label? Partly, of course, it's simply the sound of a symphony orchestra. But partly it's because that passage was made up of only two different chords. 8 00:01:49,270 --> 00:01:58,430 And those two chords define, or at least are a large part of the definition, of European classical music. European harmonic practice for at least a century and a half. 9 00:01:59,230 --> 00:02:11,930 Okay, now we're talking about a seven-note scale here, right? Do, re, mi, fa, sol, la, ti, do. Or, one, two, three, four, five, six, seven, one, one, one. 10 00:02:12,510 --> 00:02:20,590 And you can build a chord called a triad. That's this kind of chord. Do, do, di, di, di. On each degree of the scale. 11 00:02:22,350 --> 00:02:23,310 One, two. 12 00:02:28,330 --> 00:02:39,830 Three, four. In harmonic analysis, these chords are identified two ways. With Roman numerals corresponding to the scale step of the root, 13 00:02:39,990 --> 00:02:50,630 the generating tone of the chord. And with names, only two of which we'll concern ourselves with now. The tonic, or one chord, which is based on the first scale step. 14 00:02:53,250 --> 00:03:05,830 That's the home base chord. Any piece from this period is going to end with some form of that chord. And the dominant, or five chord, which is based on the fifth scale step. Mm-hmm, mm-hmm, mm-hmm. 15 00:03:05,970 --> 00:03:14,530 Do, do, di, di, di. Tonic and dominant. The name of today's show is Dominant Characteristics. 16 00:03:14,670 --> 00:03:25,530 It's almost impossible to overemphasize the importance of the tonic-dominant relationship in music written from about the beginning of the 18th century to sometime later. 17 00:03:25,550 --> 00:03:35,330 In the 19th century, and even later in popular music. Actually, the names are sort of misnomers. Face it, in non-technical English, 18 00:03:35,610 --> 00:03:47,450 dominant means strongest or most prevalent, which describes the tonic chord in music. And you hear so much of that chord that hearing a dominant chord is sort of a refreshing tonic. You know what I mean? 19 00:03:48,250 --> 00:04:00,310 Just trying to make sure that you start out thoroughly confused so we have somewhere to go. Now, let me point out that tonic and dominant, are relative terms, not absolute. If you were to burst into this studio here, 20 00:04:00,430 --> 00:04:12,290 and if you could make it through the piles of LPs and CDs and everything to the authentic instrument, and you played a chord on it, and said, okay, is that a tonic or a dominant? 21 00:04:12,710 --> 00:04:25,530 I couldn't tell you, and neither could anyone else, unless we knew what key you were in. If you said, here's the scale of the piece. I'd say, okay, it's a dominant chord. 22 00:04:25,530 --> 00:04:37,310 But if you said, this is the scale of the piece. I'd say, okay, that's the tonic. Now, if we take a pure dominant chord, 23 00:04:38,270 --> 00:04:48,690 oh, by the way, could you please close the door quietly when you leave? Thanks. If we take a pure dominant chord, and add another note on top, 24 00:04:50,530 --> 00:05:01,790 we get a dominant seventh chord, because the top note is seven scale, so we get a dominant seventh chord. And that's a four-step chord. That's a four-step chord from the root. Now, that's the salsa. 25 00:05:02,190 --> 00:05:12,210 That's the active ingredient. That chord, the dominant seventh chord, is one of the main differences between Renaissance music and 18th century music. 26 00:05:12,390 --> 00:05:21,690 Because, at least to pre-20th century European ears, that chord was like an unstable chemical. It had to change. 27 00:05:25,530 --> 00:05:38,470 Or resolve, as we say in the music biz. The feeling that this chord has to go here was so strong that if it didn't go there, if it went here, for instance, instead, 28 00:05:40,810 --> 00:05:53,350 it was called a deceptive cadence. They didn't have the nerve to call it a sneaky cadence. Dealing with Renaissance music, in which dominant seventh chords almost never appear as distinct entities, 29 00:05:54,010 --> 00:06:00,630 it is not too much of an exaggeration exaggeration to say that any chord can plausibly go to any other chord in the key. 30 00:06:01,410 --> 00:06:08,050 But when you've got this radioactive dominant seventh chord, it either has to go to the tonic 31 00:06:08,050 --> 00:06:16,650 or create surprise by not going there. Listen to a little bit of this gorgeous psalm by Lassus, 32 00:06:17,270 --> 00:06:25,610 Domine ne infiorare tuo. This is a piece of Renaissance music. Listen especially to how many different chords there are. 33 00:06:59,890 --> 00:07:06,330 Man, does that melt your innards or what? Lassus, under the direction of Hillier. What a combo. 34 00:07:06,590 --> 00:07:13,310 Now, in that 30 seconds of music, we heard chords built on all seven degrees of the scale. 35 00:07:14,550 --> 00:07:27,230 So now, listen to how long 18th century composers can travel on two chords. This isn't a suite, it's a bunch of chords. It's a bunch of snippets, a collage. We'll call it tonic and dominant on parade. 36 00:07:28,030 --> 00:07:32,710 Every single chord you hear in this minute and a half of music is one or the other. 37 00:08:11,470 --> 00:08:13,930 These areIST iz a bIn dO. 38 00:08:26,860 --> 00:08:36,280 Music Music Music Music Music Music 39 00:09:05,180 --> 00:09:11,360 tonic and dominant on parade we had bach brandenburg concertos two and four 40 00:09:11,360 --> 00:09:19,520 mozart eine kleine nachtmusik beethoven symphonies number five seven and eight in extremely 41 00:09:20,880 --> 00:09:32,240 truncated versions a couple of things i should have mentioned by the way chords can appear in different inversions put the bottom note on top or the top note in the middle or whatever take 42 00:09:32,240 --> 00:09:42,900 this chord put the bottom note on the top we have this one only they're all the same notes 43 00:09:42,900 --> 00:09:54,000 but in different orders and you spread them around a beautiful example of how different chords can sound in different inversions is this chord here 44 00:09:55,740 --> 00:10:07,560 it's called a dominant minor ninth now if beethoven's using this chord he'd use it that way now you take exactly those same notes and here's the way Stravinsky uses it 45 00:10:09,980 --> 00:10:19,240 in the symphonies of wind instruments that sounds like a completely different chord it is in a way but only in a different way 46 00:10:19,260 --> 00:10:30,260 the disposition of the notes, not the notes themselves. Okay, now also you often hear implied chords. There's nothing but melody, no chords at all, but the melody 47 00:10:30,260 --> 00:10:40,340 outlines a chord. Then there's the technique of having a melody note that 48 00:10:40,340 --> 00:10:48,800 isn't in the chord but then changes to one that is. So there are all sorts of 49 00:10:48,800 --> 00:10:59,200 ways to spice the stew, but in what we're listening to it's still a tonic dominant stew. Now I don't mean to imply that Mozart and Beethoven and those guys 50 00:10:59,200 --> 00:11:08,000 never used more than a couple of chords. They employed a larger palette as a matter of fact than Lossus did when they wanted to, but I think you would be hard 51 00:11:08,000 --> 00:11:18,620 pressed to find a Renaissance piece that goes on as long on two chords as do these excerpts we're hearing. Probably the most common tonic dominant 52 00:11:18,620 --> 00:11:28,640 configuration, I can't tell you how common it is, is the one where the first phrase starts on the tonic and ends on the dominant, and the second phrase 53 00:11:28,640 --> 00:11:40,660 starts on the dominant and ends on the tonic. That is the Smith and Jones of harmonic practice. Here just off the top of my head, here we'll call this is the tonic, that's the dominant. 54 00:11:41,780 --> 00:11:54,160 Down in the valley, the valley's so low, Hang your head over, hear the wind blow 55 00:11:56,940 --> 00:12:01,940 Do do, Ligst probe Graham and Her nauseam and, 56 00:12:02,040 --> 00:12:11,380 I don't know the other words. Santa Lucia lalala 57 00:12:12,920 --> 00:12:23,560 de la de de de de de de de de, Good night, Irene. 58 00:12:26,140 --> 00:12:34,300 Good night, Irene. It's the old 1-5-5-1 formula, if you want to call it that. 59 00:12:34,820 --> 00:12:44,720 This next collage is called What Goes Up a Fifth Must Come Down a Fifth. That just refers to the roots of the chords, not what any given part or melody does. 60 00:12:44,720 --> 00:12:57,700 Harmonically, each one of these snippets starts out 1-5-5-1 and uses no other chords. Keeping that in mind, dig the length of some of these puppies. 61 00:13:51,390 --> 00:14:38,560 What Goes Up a Fifth 62 00:14:38,580 --> 00:17:03,630 What Goes Up a Fifth 63 00:17:03,650 --> 00:17:38,940 What Goes Up a Fifth 64 00:17:51,600 --> 00:17:52,280 What Goes Up a Fifth 65 00:17:52,280 --> 00:18:55,060 What Goes Up a Fifth 66 00:18:55,060 --> 00:19:05,000 What Goes Up a Fifth Must Come Down a Fifth We hear little bits of Mozart, Piano Concerto No. 21, Symphony No. 39, Marriage of Figaro, 67 00:19:05,780 --> 00:19:12,320 Beethoven's Symphonies No. 5, 7, and 8, Schubert Unfinished Symphony, Strauss' Blue Danube Waltz, 68 00:19:12,750 --> 00:19:23,820 and we ended up with the second half of Janis Joplin's rendition of Me and Bobby McGee. We all know who Bobby McGee is. Me? I'm Peter Shickley. 69 00:19:24,250 --> 00:19:35,680 The program is Shickley Mix from PRI, Public Radio International. Okay, now we're ready for a real sweet. It's not so common. 70 00:19:35,700 --> 00:19:46,620 It's not so common to find whole pieces that only use these two chords, but they happen. The All You Need is Tonic and Dominant Suite has three numbers in it. I'll see you in seven minutes. 71 00:19:52,220 --> 00:20:32,610 The All You Need is Tonic and Dominant Suite has three numbers in it. 72 00:20:53,260 --> 00:21:02,560 The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. 73 00:21:03,520 --> 00:21:12,680 The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. 74 00:21:12,860 --> 00:21:18,040 The All You Need is Tonic and Dominant Suite has three numbers in it. 75 00:21:35,090 --> 00:21:44,010 The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. 76 00:22:35,550 --> 00:22:44,180 The All You Need is Tonic and Dominant Suite has three numbers in it. The All You Need is Tonic and Dominant Suite has three numbers in it. Si, si, yo quiero mango, mango 77 00:22:44,180 --> 00:22:50,180 Si, si, si, yo quiero mango 78 00:22:50,180 --> 00:22:54,280 Go! Go! 79 00:23:24,260 --> 00:23:35,120 Go! Kentucky 80 00:23:36,560 --> 00:23:39,680 Kentucky 81 00:23:44,220 --> 00:23:46,600 Go! 82 00:23:50,780 --> 00:23:59,080 You are the dearest land outside of heaven to me 83 00:24:04,860 --> 00:24:16,640 Kentucky I miss you, Laurel I miss you, Laurel 84 00:24:16,660 --> 00:24:19,260 And your redwood trees 85 00:24:22,740 --> 00:24:27,480 When I die 86 00:24:32,100 --> 00:24:44,220 I want to rest upon a graceful mountain so high And your redwood trees 87 00:24:46,640 --> 00:24:59,000 For that is where God will look for me 88 00:25:00,140 --> 00:25:01,700 Kentucky 89 00:25:06,460 --> 00:25:21,080 I miss the old folks singin' in the Selgrim line 90 00:25:27,080 --> 00:25:29,000 Kentucky 91 00:25:36,460 --> 00:25:40,400 I miss the hound dogs chasin' coo 92 00:25:45,580 --> 00:26:02,700 I know that and sweetheart are waiting for me 93 00:26:09,850 --> 00:26:21,130 Kentucky I will be comin' soon 94 00:26:28,280 --> 00:26:29,040 Kentucky 95 00:26:39,120 --> 00:26:51,800 The All You Need is Tonic and Dominant Suite We began with a weird little piece The different kind of music Convertimento in C, KV 188-240B 96 00:26:52,320 --> 00:27:03,980 Take your pick by Mozart For two flutes, five trumpets, and timpani That was the fifth movement, a minuet Performed by members of the Mitgleider der 97 00:27:03,980 --> 00:27:16,780 Membre de la Academie of St. Martin in the Fields Michael Laird was conducting And by the way, if any of you out there Listening to this program Has just saw this 98 00:27:16,800 --> 00:27:29,660 Sold a supertanker or something And wants to give me a birthday present July 17th The complete Mozart edition of Philip's CDs Would be just a wonderful present And I have a room in the house Available to store it there 99 00:27:29,660 --> 00:27:41,560 The second cut was Perez Prado Mambo No. 8 From a rounder album called A Carnival of Cuban Music Roots of Rhythm, Volume 1 And finally, the Everly Brothers 100 00:27:41,560 --> 00:27:54,060 That old soft spot in my record collection Songs Our Daddy Taught Us One of my favorite albums The song was called As you might have guessed Kentucky 101 00:27:56,260 --> 00:28:07,440 Proof of how the dominant chord Is virtually a sine qua non As we say in the music biz Of traditional music Is how hard it is to find a piece That doesn't have one 102 00:28:07,440 --> 00:28:20,280 I defy anyone to find a piece By Haydn or Mozart or Beethoven or Schubert No matter how short That doesn't have a dominant chord More recently, however Like in the 20th century 103 00:28:20,280 --> 00:28:31,820 There's been a lot of interest In modal harmony Which is the kind Lossus was using Back there at the beginning of the program Remember, in modal music All the chords of a scale 104 00:28:31,820 --> 00:28:38,940 Are more nearly equal in importance Which means that you can pretty much Go from any chord to any other chord 105 00:28:56,550 --> 00:29:08,790 Now, using modal harmony Doesn't preclude having dominant chords It just means they're less important So there's a greater chance Of finding a piece or two That doesn't have any If you're the kind of guy 106 00:29:08,790 --> 00:29:20,830 Who has to do things like that To prove his manhood The non-dominant gene song cycle Is about six minutes long It contains two numbers With narrators and chords To carry a five-chord in sight 107 00:30:10,520 --> 00:30:18,880 Expectations To pass Through here Again 108 00:30:25,860 --> 00:30:34,720 Once I was a rich man Now I am so poor 109 00:30:36,040 --> 00:30:48,040 But never in my Sweet- consumption Charles Life Have I felt like this before? 110 00:30:55,080 --> 00:30:58,840 Your heart is like a diamond 111 00:31:00,300 --> 00:31:10,160 You throw your pearls at swine And as I watch you leaving me 112 00:31:10,160 --> 00:31:17,400 You pack my peace of mind 113 00:31:50,980 --> 00:32:01,860 Our love was like the water That flashes on a storm 114 00:32:03,240 --> 00:32:15,300 Our love was like our music It's here and then it's gone 115 00:32:20,640 --> 00:32:31,340 So take me to the airport And put me on a plane 116 00:32:31,340 --> 00:32:36,260 I've got no expectations 117 00:32:37,060 --> 00:32:44,420 To miss through here again 118 00:33:21,460 --> 00:33:29,160 Whenever I Want you around, yeah 119 00:33:30,780 --> 00:33:32,780 All I gotta do 120 00:33:35,600 --> 00:33:37,960 Is call you on the phone 121 00:33:37,960 --> 00:33:39,920 And you come running home 122 00:33:39,920 --> 00:33:43,520 Yeah, that's all I gotta do 123 00:33:45,200 --> 00:33:55,040 And when I I wanna kiss you, yeah All I gotta do 124 00:33:57,620 --> 00:34:08,980 Is whisper in your ear The words you long to hear And I'll be kissing you And the same goes for me 125 00:34:08,980 --> 00:34:19,580 Whenever you want me at all I'll be here, yes I will Whenever you call You just gotta call on me, yeah 126 00:34:19,580 --> 00:34:31,880 You just gotta call on me And I'll be here, yes I will And when I I wanna kiss you, yeah 127 00:34:33,460 --> 00:34:45,860 All I gotta do Is call you on the phone And you come running home Yeah, that's all I gotta do 128 00:34:46,719 --> 00:34:59,640 And the same goes for me Whenever you want me at all I'll be here, yes I will Whenever you go, you just gotta call on me, yeah 129 00:34:59,640 --> 00:35:06,660 You just gotta call on me Oh, you just gotta call on me 130 00:35:17,500 --> 00:35:27,740 The non-dominant Gene song cycle consisted of the Rolling Stones' No Expectations, one of my very favorite songs, 131 00:35:27,940 --> 00:35:37,520 which has chords based on the 1st, 7th, and 4th degrees of the scale, and the Beatles' All I've Gotta Do, which has a bunch of different chords, but none of them dominant. 132 00:35:38,320 --> 00:35:48,740 Let's talk about one of those chords, the subdominant. Why is it called subdominant? Well, the root of the dominant chord is five steps above that of the tonic. 133 00:35:48,980 --> 00:35:59,700 So the root of the subdominant is five steps... Well, sub... Sub is Latin for hero sandwich, so if you go down from the tonic, about the width of a hero sandwich, 134 00:36:00,020 --> 00:36:10,400 you find yourself on a note that is the 4th degree of the scale. Now these three chords, 1, 4, and 5, or tonic, subdominant, and dominant, 135 00:36:10,600 --> 00:36:23,120 use all seven notes of the scale, so they really define the key. Here's a little collage called Three Points Define a Plane, three snippets that use only 1, 4, and 5 chords. 136 00:36:32,780 --> 00:36:41,320 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 137 00:37:02,230 --> 00:37:12,770 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 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Here's a little collage called Three Points Define a Plane. 164 00:42:08,760 --> 00:42:20,820 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 165 00:42:20,820 --> 00:42:26,880 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 166 00:42:32,560 --> 00:42:55,800 Here's a little collage called Three Points Define a Plane. 167 00:42:55,800 --> 00:42:56,840 Here's a little collage called Three Points Define a Plane. 168 00:43:01,200 --> 00:43:11,200 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 169 00:43:11,320 --> 00:43:15,820 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 170 00:43:15,820 --> 00:43:16,120 Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. Here's a little collage called Three Points Define a Plane. 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Here's a little collage called Three Points Define a Plane. 198 00:48:18,390 --> 00:48:33,380 Here's a little collage called Three Points Define a Plane. 199 00:48:33,380 --> 00:48:37,780 Here's a little collage called Three Points Define a Plane. 200 00:48:58,360 --> 00:49:05,700 Here's a little collage called Three Points Define a Plane. 201 00:49:07,580 --> 00:49:13,560 Then you ask me just to leave you 202 00:49:13,560 --> 00:49:21,740 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 203 00:49:24,060 --> 00:49:34,680 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 204 00:49:34,680 --> 00:49:43,740 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 205 00:49:45,680 --> 00:49:53,600 Then you ask me just to leave you Then you ask me just to leave you 206 00:49:56,340 --> 00:50:08,960 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 207 00:50:08,960 --> 00:50:11,100 Then you ask me just to leave you 208 00:50:13,410 --> 00:50:17,260 Then you ask me just to leave you Then you ask me just to leave you 209 00:50:20,760 --> 00:50:52,030 Then you ask me just to leave you 210 00:50:52,030 --> 00:51:04,650 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 211 00:51:04,650 --> 00:51:13,490 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 212 00:51:24,720 --> 00:52:04,340 Then you ask me just to leave you 213 00:52:04,340 --> 00:52:16,720 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 214 00:52:17,500 --> 00:52:23,920 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 215 00:52:31,940 --> 00:52:40,990 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 216 00:52:42,410 --> 00:52:53,650 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 217 00:52:53,650 --> 00:52:56,030 Then you ask me just to leave you 218 00:53:11,010 --> 00:53:22,330 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 219 00:53:24,230 --> 00:53:36,690 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 220 00:53:37,730 --> 00:53:48,890 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 221 00:53:48,890 --> 00:53:57,570 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 222 00:53:57,570 --> 00:54:10,890 Then you ask me just to leave you 223 00:54:10,890 --> 00:54:22,450 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 224 00:54:23,810 --> 00:54:36,650 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 225 00:54:36,650 --> 00:54:37,150 Then you ask me just to leave you 226 00:54:37,150 --> 00:54:47,690 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you 227 00:54:50,470 --> 00:55:01,770 Then you ask me just to leave you Then you ask me just to leave you Then you ask me just to leave you station. We'll tell you in a moment how you can get an official playlist of all the music on 228 00:55:01,770 --> 00:55:13,230 today's program with record numbers and everything. Just refer to the program number and this is program number 42. This is Peter Shickley saying goodbye and reminding you that it don't mean a 229 00:55:13,230 --> 00:55:18,670 thing if it ain't got that certain je ne sais quoi. Hey, you are looking good. See you next week. 230 00:55:26,390 --> 00:55:29,030 Bye. 231 00:55:57,770 --> 00:56:00,100 Bye. 232 00:56:30,420 --> 00:56:43,240 Bye. 233 00:57:07,340 --> 00:57:10,560 Bye. 234 00:57:55,820 --> 00:58:06,140 If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Shickley 235 00:58:06,140 --> 00:58:15,640 Mix. That's S-C-H-I-C-K-E-L-E, Shickley Mix. Care of Public Radio International, 100 North 6th Street, 236 00:58:15,760 --> 00:58:21,200 Suite 900A, Minneapolis, Minnesota, 55403. 237 00:58:22,400 --> 00:58:24,820 P-R-I, Public Radio International. 238 00:58:24,840 --> 00:58:25,880 P-R-I, Public Radio International.