1
00:00:00,000 --> 00:00:04,000
That's exactly what I am. Here's the theme.

2
00:00:18,000 --> 00:00:22,000
Hello there, I'm Peter Shickley, and this is Shickley Mix,

3
00:00:22,000 --> 00:00:26,000
a program dedicated to the proposition that all musics are created equal.

4
00:00:26,000 --> 00:00:31,000
Or, as Duke Ellington put it, if it sounds good, it is good.

5
00:00:31,000 --> 00:00:34,000
And the bills for the good stuff we are about to receive

6
00:00:34,000 --> 00:00:39,000
are paid by this very radio station right here on your dial.

7
00:00:39,000 --> 00:00:42,000
It's a well-known fact that the scenes in Shakespeare

8
00:00:42,000 --> 00:00:46,000
in which women disguised themselves by dressing up as men

9
00:00:46,000 --> 00:00:50,000
had an extra frisson in Shakespeare's day

10
00:00:50,000 --> 00:00:54,000
due to the fact that the women's parts were being played by boys.

11
00:00:54,000 --> 00:01:00,000
So what you had was a boy impersonating a girl impersonating a boy.

12
00:01:00,000 --> 00:01:02,000
Not only were women not allowed to act on the stage,

13
00:01:02,000 --> 00:01:05,000
they couldn't sing in church either.

14
00:01:05,000 --> 00:01:07,000
But composers didn't want to limit themselves

15
00:01:07,000 --> 00:01:10,000
to writing nothing but basement music, vocally wise speaking.

16
00:01:10,000 --> 00:01:13,000
They wanted some treble voices in there too.

17
00:01:13,000 --> 00:01:15,000
Well, they had several choices.

18
00:01:15,000 --> 00:01:20,000
One is to go the stage route and use boys whose voices hadn't changed yet.

19
00:01:20,000 --> 00:01:24,000
That tradition has continued in some church choirs to the present day,

20
00:01:24,000 --> 00:01:26,000
especially in England.

21
00:01:26,000 --> 00:01:29,000
Boys' voices, particularly in groups,

22
00:01:29,000 --> 00:01:33,000
have a quality that people tend to describe as pure.

23
00:01:33,000 --> 00:01:37,000
This is partly due to the fact that boys sing with a straight tone

24
00:01:37,000 --> 00:01:40,000
using little or no vibrato.

25
00:01:40,000 --> 00:01:45,000
Anyway, another option is to have grown men sing in their falsettos.

26
00:01:45,000 --> 00:01:48,000
There's still a tradition of that too, especially in England.

27
00:01:48,000 --> 00:01:53,000
Not in larger choirs, but in small vocal ensembles and solo work.

28
00:01:53,000 --> 00:01:56,000
Men who sing in the alto and soprano ranges

29
00:01:56,000 --> 00:01:59,000
are these days usually called countertenors,

30
00:01:59,000 --> 00:02:04,000
although they don't generally sound as pure as boys,

31
00:02:04,000 --> 00:02:06,000
that is, as, quote, pure.

32
00:02:06,000 --> 00:02:08,000
I keep running into this problem in radio

33
00:02:08,000 --> 00:02:11,000
that you can't see me doing the quotation marks with my fingers.

34
00:02:11,000 --> 00:02:14,000
Now, if we could just get Shickley Mix on television,

35
00:02:14,000 --> 00:02:18,000
that wouldn't be a big problem. Oh, all right, all right.

36
00:02:18,000 --> 00:02:21,000
Man, talk about a hair trigger.

37
00:02:21,000 --> 00:02:24,000
That irrelevancy alarm goes off at the slightest.

38
00:02:24,000 --> 00:02:27,000
All right already!

39
00:02:27,000 --> 00:02:32,000
I was saying that countertenors do sound noticeably different from women.

40
00:02:32,000 --> 00:02:37,000
Here are two performances of the beginning of a medieval English song.

41
00:02:37,000 --> 00:02:40,000
Can you tell which performance is which sex?

42
00:02:40,000 --> 00:02:43,000
I should say that they're not exactly comparable.

43
00:02:43,000 --> 00:02:47,000
One has some doubling, that is, two singers on a part, and the other doesn't.

44
00:02:47,000 --> 00:02:50,000
But I think you'll hear the difference.

45
00:02:50,000 --> 00:03:13,000
CHOIR SINGS

46
00:03:20,000 --> 00:03:29,000
CHOIR CONTINUES

47
00:03:50,000 --> 00:04:11,000
CHOIR CONTINUES

48
00:04:11,000 --> 00:04:16,000
The first group was the Anonymous Four, all women,

49
00:04:16,000 --> 00:04:20,000
and the second was the Hilliard Ensemble, all men.

50
00:04:20,000 --> 00:04:25,000
That was Eddie Bay or Eddie Bell Too.

51
00:04:25,000 --> 00:04:28,000
How do you like my old English pronunciation?

52
00:04:28,000 --> 00:04:30,000
Glad I can't hear your answer.

53
00:04:30,000 --> 00:04:33,000
Today's program is called True or Falsetto,

54
00:04:33,000 --> 00:04:36,000
and here's a man who deserves a lot of credit

55
00:04:36,000 --> 00:04:41,000
for the popularity of the male alto voice in the 20th century.

56
00:04:41,000 --> 00:04:52,000
CHOIR SINGS

57
00:05:11,000 --> 00:05:20,000
CHOIR CONTINUES

58
00:05:41,000 --> 00:05:50,000
CHOIR CONTINUES

59
00:06:12,000 --> 00:06:23,000
CHOIR CONTINUES

60
00:06:23,000 --> 00:06:28,000
Alfred Deller, singing I Will Give My Love an Apple.

61
00:06:28,000 --> 00:06:33,000
The sound is exquisite, but it's not strong, it's not robust.

62
00:06:33,000 --> 00:06:37,000
The falsetto is naturally weaker than the chest voice,

63
00:06:37,000 --> 00:06:40,000
particularly in the low range of the falsetto.

64
00:06:40,000 --> 00:06:44,000
Yet 18th century accounts of male sopranos and altos,

65
00:06:44,000 --> 00:06:46,000
most of whom were Italian,

66
00:06:46,000 --> 00:06:48,000
talk about how strong their voices were,

67
00:06:48,000 --> 00:06:52,000
sometimes louder than women's voices, filling large theaters.

68
00:06:52,000 --> 00:06:54,000
How can that be?

69
00:06:54,000 --> 00:06:58,000
Well, folks, it's because those 18th century guys were castrati.

70
00:06:58,000 --> 00:07:00,000
That's right, you heard me correctly.

71
00:07:00,000 --> 00:07:04,000
From the 16th to the 19th century, especially in Italy,

72
00:07:04,000 --> 00:07:06,000
one of the cradles of European Christianity,

73
00:07:06,000 --> 00:07:09,000
it was a clandestine but common practice

74
00:07:09,000 --> 00:07:12,000
to encourage boys with especially beautiful voices

75
00:07:12,000 --> 00:07:16,000
to submit to the surgeon's knife before their voices changed,

76
00:07:16,000 --> 00:07:18,000
thus ensuring that they wouldn't change.

77
00:07:18,000 --> 00:07:22,000
Hey, listen, the best of the castrati became rich and famous opera stars.

78
00:07:22,000 --> 00:07:25,000
And besides, kids are a nuisance, right?

79
00:07:25,000 --> 00:07:28,000
That practice has died out, I'm glad to report.

80
00:07:28,000 --> 00:07:33,000
But there are some singers around now who have real power up high,

81
00:07:33,000 --> 00:07:36,000
even without artificial dissemination.

82
00:07:36,000 --> 00:07:41,000
John Ferranti, who was part of the PDQ Bach concerts for over 20 years,

83
00:07:41,000 --> 00:07:46,000
was a real ham and a good musician with a strong, robust voice.

84
00:07:46,000 --> 00:07:50,000
Like most falsetto singers, he was a baritone,

85
00:07:50,000 --> 00:07:52,000
although quite a high baritone.

86
00:07:52,000 --> 00:07:56,000
But unlike Alfred Deller, who tended to remain in his falsetto,

87
00:07:56,000 --> 00:07:58,000
even at the bottom of the range,

88
00:07:58,000 --> 00:08:01,000
John switched between his regular voice and his falsetto,

89
00:08:01,000 --> 00:08:04,000
and he had worked hard to minimize the break,

90
00:08:04,000 --> 00:08:06,000
to make it show as little as possible.

91
00:08:06,000 --> 00:08:09,000
And there was a window of about a fifth,

92
00:08:09,000 --> 00:08:14,000
that is, from middle C up to G, those 5 scale steps there,

93
00:08:14,000 --> 00:08:16,000
in which he could sing with either voice,

94
00:08:16,000 --> 00:08:20,000
choosing the one that made the most sense in context.

95
00:08:20,000 --> 00:08:25,000
Here's the beginning of PDQ Bach's cantata Iphigenia in Brooklyn.

96
00:08:25,000 --> 00:08:27,000
Notice that he...

97
00:08:27,000 --> 00:08:30,000
By the way, I'm going to sing it a bit lower than he does.

98
00:08:30,000 --> 00:08:32,000
I don't have his range, that's for sure.

99
00:08:32,000 --> 00:08:35,000
Notice that he sings the 1st phrase...

100
00:08:35,000 --> 00:08:43,000
As Hyperion

101
00:08:43,000 --> 00:08:46,000
in his chest voice, as he does the 2nd,

102
00:08:46,000 --> 00:08:49,000
even though it's quite high, he wants the power.

103
00:08:49,000 --> 00:08:51,000
Across

104
00:08:51,000 --> 00:08:55,000
Then he switches into his powerful falsetto for the 3rd phrase.

105
00:08:55,000 --> 00:09:02,000
The flaming sky, his chariot, chariot, chariot, his chariot did ride.

106
00:09:02,000 --> 00:09:06,000
Now that 3rd phrase actually goes lower than the 2nd did.

107
00:09:06,000 --> 00:09:09,000
In the 2nd, you remember, he was still in his chest voice.

108
00:09:09,000 --> 00:09:11,000
But this time he stays in his falsetto,

109
00:09:11,000 --> 00:09:15,000
because the phrase doesn't have to end as loud as it began.

110
00:09:15,000 --> 00:09:18,000
He sings the next 2 phrases in falsetto.

111
00:09:18,000 --> 00:09:24,000
Iphigenia, nia, nia, Iphigenia

112
00:09:24,000 --> 00:09:27,000
And then if you listen carefully, you can hear

113
00:09:27,000 --> 00:09:30,000
that the beginning of the next phrase is in his chest tone.

114
00:09:30,000 --> 00:09:34,000
Iphigenia, his self in Brooklyn found

115
00:09:34,000 --> 00:09:37,000
But unlike with my singing there,

116
00:09:37,000 --> 00:09:42,000
with him you don't notice where he goes back to falsetto at all for the end.

117
00:09:42,000 --> 00:09:44,000
Here he is.

118
00:09:44,000 --> 00:10:01,000
There's Hyperion

119
00:10:01,000 --> 00:10:04,000
Across

120
00:10:04,000 --> 00:10:13,000
The flaming sky, his chariot, chariot, chariot, his chariot did ride.

121
00:10:13,000 --> 00:10:19,000
Iphigenia, nia, nia, Iphigenia, Iphigenia

122
00:10:19,000 --> 00:10:26,000
His self in Brooklyn found

123
00:10:26,000 --> 00:10:34,000
John Ferranti singing the beginning of the first aria of Iphigenia in Brooklyn by P.D.Q. Bach.

124
00:10:34,000 --> 00:10:38,000
Sorry for that rowdy audience there, most inappropriate.

125
00:10:38,000 --> 00:10:43,000
Now what if, instead of trying to disguise the break in your voice,

126
00:10:43,000 --> 00:10:45,000
you try to emphasize it.

127
00:10:45,000 --> 00:10:48,000
You try to make it as obvious as possible.

128
00:10:48,000 --> 00:10:51,000
You snap from one voice to the other.

129
00:10:51,000 --> 00:10:53,000
Here's what you get.

130
00:10:53,000 --> 00:11:13,000
Iphigenia

131
00:11:13,000 --> 00:11:25,000
Iphigenia

132
00:11:25,000 --> 00:11:30,000
That was Leonard Emanuel of Sampson County, North Carolina,

133
00:11:30,000 --> 00:11:36,000
doing some hollering on a New World Records LP called I'm On My Journey Home.

134
00:11:36,000 --> 00:11:41,000
Now, you work that voice change up to where you can do it real fast,

135
00:11:41,000 --> 00:11:47,000
and you're ready to become a practitioner of one of our most sophisticated vocal techniques.

136
00:11:47,000 --> 00:11:52,000
You're ready to enter the Valhalla of vocal quick-change artists.

137
00:11:52,000 --> 00:12:21,000
Iphigenia

138
00:12:21,000 --> 00:12:41,000
Iphigenia

139
00:12:41,000 --> 00:13:10,000
Iphigenia

140
00:13:10,000 --> 00:13:30,000
Iphigenia

141
00:13:30,000 --> 00:13:58,000
Iphigenia

142
00:13:58,000 --> 00:14:16,000
Iphigenia

143
00:14:16,000 --> 00:14:28,000
Iphigenia

144
00:14:28,000 --> 00:14:57,000
Iphigenia

145
00:14:57,000 --> 00:14:59,000
I mean, all right.

146
00:14:59,000 --> 00:15:01,000
That was Streit Jodler.

147
00:15:01,000 --> 00:15:03,000
Streit means coral.

148
00:15:03,000 --> 00:15:07,000
And that was the Original Oststeiger Trio,

149
00:15:07,000 --> 00:15:11,000
Rossmann Dirndl und die kleine Manuela,

150
00:15:11,000 --> 00:15:13,000
the little Manuela,

151
00:15:13,000 --> 00:15:17,000
who is obviously the Shirley Temple of yodeling.

152
00:15:17,000 --> 00:15:19,000
I'm Peter Schickele.

153
00:15:19,000 --> 00:15:22,000
The program is Schickele Mix from PRI,

154
00:15:22,000 --> 00:15:25,000
Public Radio International.

155
00:15:25,000 --> 00:15:30,000
The two basic attributes of yodeling, as most of us think of it now,

156
00:15:30,000 --> 00:15:34,000
are the switching back and forth between chest voice and falsetto,

157
00:15:34,000 --> 00:15:38,000
and the use of nonsense syllables that enhance the effect.

158
00:15:38,000 --> 00:15:40,000
Now, I'm not a yodelologist.

159
00:15:40,000 --> 00:15:43,000
I don't know how yodeling actually developed.

160
00:15:43,000 --> 00:15:48,000
But let's listen to the farmers and herdsmen of Appenzell, Switzerland.

161
00:15:48,000 --> 00:15:54,000
It's a big deal there when they take the cows up to the high Alpen pastures each year.

162
00:15:54,000 --> 00:15:57,000
The people wear festival dress,

163
00:15:57,000 --> 00:16:01,000
and three of the cattle wear big ceremonial cowbells.

164
00:16:01,000 --> 00:16:04,000
The men's vocalizing seems to float

165
00:16:04,000 --> 00:16:10,000
in an area between formal music and keeping cows in line sounds.

166
00:16:10,000 --> 00:16:24,000
yodeling

167
00:16:40,000 --> 00:16:50,000
yodeling

168
00:17:10,000 --> 00:17:20,000
yodeling

169
00:17:20,000 --> 00:17:30,000
yodeling

170
00:17:38,000 --> 00:17:40,000
You know, I love that cut.

171
00:17:40,000 --> 00:17:45,000
I can almost imagine them to be 19th century American cowboys,

172
00:17:45,000 --> 00:17:51,000
singing in that wide-open-spaces way just for themselves and their cattle.

173
00:17:51,000 --> 00:17:55,000
Interesting that the two centers of yodeling

174
00:17:55,000 --> 00:17:58,000
should be Switzerland and the American West.

175
00:17:58,000 --> 00:18:00,000
But back to Appenzell.

176
00:18:00,000 --> 00:18:02,000
When they reach the Alpine hut,

177
00:18:02,000 --> 00:18:06,000
the men ring the cowbells in a regular fashion

178
00:18:06,000 --> 00:18:11,000
and sing some songs called Zöhrli in harmony.

179
00:18:11,000 --> 00:18:31,000
yodeling

180
00:18:31,000 --> 00:18:44,000
yodeling

181
00:18:44,000 --> 00:19:08,000
yodeling

182
00:19:08,000 --> 00:19:20,000
yodeling

183
00:19:20,000 --> 00:19:48,000
yodeling

184
00:19:48,000 --> 00:19:53,000
yodeling

185
00:19:53,000 --> 00:19:57,000
Zöhrli can be sung solo as well.

186
00:19:57,000 --> 00:20:01,000
A good time is while you're doing the milking.

187
00:20:01,000 --> 00:20:30,000
yodeling

188
00:20:30,000 --> 00:20:45,000
yodeling

189
00:20:45,000 --> 00:20:50,000
In the town of Urnesch on New Year's Eve

190
00:20:50,000 --> 00:20:55,000
and also on January 13th, the old New Year's Eve of the Julian calendar,

191
00:20:55,000 --> 00:21:00,000
groups of masked men wearing costumes and cowbells

192
00:21:00,000 --> 00:21:04,000
go from farmyard to farmyard, starting out early in the morning,

193
00:21:04,000 --> 00:21:07,000
wishing the farmers Happy New Year.

194
00:21:07,000 --> 00:21:36,000
yodeling

195
00:21:36,000 --> 00:22:02,000
yodeling

196
00:22:02,000 --> 00:22:31,000
yodeling

197
00:22:31,000 --> 00:22:41,000
yodeling

198
00:22:41,000 --> 00:23:10,000
yodeling

199
00:23:10,000 --> 00:23:22,000
yodeling

200
00:23:22,000 --> 00:23:25,000
Now we certainly hear the voice breaks in there,

201
00:23:25,000 --> 00:23:29,000
and they seem to be singing just syllables, not words.

202
00:23:29,000 --> 00:23:37,000
But it's so relaxed, so slow, so mournful and sweet at the same time.

203
00:23:37,000 --> 00:23:41,000
It seems a long way from that to this.

204
00:24:07,000 --> 00:24:36,000
yodeling

205
00:24:36,000 --> 00:25:03,000
yodeling

206
00:25:03,000 --> 00:25:32,000
yodeling

207
00:25:32,000 --> 00:25:54,000
yodeling

208
00:25:54,000 --> 00:26:23,000
yodeling

209
00:26:23,000 --> 00:26:25,000
yodeling

210
00:26:25,000 --> 00:26:32,000
The Wolfgang Linder Band doing Meine Jodelwelt, My Yodel World.

211
00:26:32,000 --> 00:26:37,000
My yodel world is better than your yodel world.

212
00:26:37,000 --> 00:26:44,000
Here's a tripartite song cycle called The Bad, the Good and the Unbelievable.

213
00:26:44,000 --> 00:26:47,000
Those adjectives refer only to the yodeling, by the way,

214
00:26:47,000 --> 00:26:51,000
not necessarily to any other aspect of the number.

215
00:26:51,000 --> 00:26:54,000
See you in about seven and a half minutes.

216
00:26:54,000 --> 00:27:20,000
yodeling

217
00:27:20,000 --> 00:27:25,000
yodeling

218
00:27:25,000 --> 00:27:45,000
yodeling

219
00:27:45,000 --> 00:28:14,000
yodeling

220
00:28:14,000 --> 00:28:43,000
yodeling

221
00:28:43,000 --> 00:28:52,000
yodeling

222
00:28:52,000 --> 00:29:13,000
yodeling

223
00:29:13,000 --> 00:29:42,000
yodeling

224
00:29:42,000 --> 00:29:51,000
yodeling

225
00:29:51,000 --> 00:29:52,000
yodeling

226
00:29:52,000 --> 00:30:21,000
yodeling

227
00:30:21,000 --> 00:30:29,000
yodeling

228
00:30:29,000 --> 00:30:50,000
yodeling

229
00:30:50,000 --> 00:30:56,000
yodeling

230
00:30:56,000 --> 00:31:09,000
yodeling

231
00:31:09,000 --> 00:31:38,000
yodeling

232
00:31:38,000 --> 00:32:04,000
yodeling

233
00:32:04,000 --> 00:32:23,000
yodeling

234
00:32:23,000 --> 00:32:52,000
yodeling

235
00:32:52,000 --> 00:33:21,000
yodeling

236
00:33:21,000 --> 00:33:28,000
yodeling

237
00:33:28,000 --> 00:33:56,000
yodeling

238
00:33:56,000 --> 00:34:04,000
yodeling

239
00:34:04,000 --> 00:34:10,000
yodeling

240
00:34:10,000 --> 00:34:13,000
yodeling

241
00:34:13,000 --> 00:34:19,000
That was a little song cycle called The Bad, the Good and the Unbelievable.

242
00:34:19,000 --> 00:34:24,000
We began with the sound of music, with Frederica von Stade as Maria.

243
00:34:24,000 --> 00:34:28,000
And I've got to say, now I want to say, I am a big fan of hers.

244
00:34:28,000 --> 00:34:30,000
I count myself as a fan.

245
00:34:30,000 --> 00:34:34,000
And seeing her do Carabino, for instance, in Marriage of Figaro,

246
00:34:34,000 --> 00:34:36,000
is one of the best things I've ever seen.

247
00:34:36,000 --> 00:34:38,000
But she's not a yodeler.

248
00:34:38,000 --> 00:34:41,000
And I don't want to get into trouble here.

249
00:34:41,000 --> 00:34:45,000
I also work with the producers of this album here.

250
00:34:45,000 --> 00:34:49,000
Or at least, I don't know, I did work with them before this broadcast.

251
00:34:49,000 --> 00:34:54,000
But it's just too bad that a number that's obviously supposed to be about yodeling

252
00:34:54,000 --> 00:34:56,000
doesn't have any yodeling in it.

253
00:34:56,000 --> 00:34:59,000
Now, I've got to say that that's no accident here.

254
00:34:59,000 --> 00:35:03,000
If you get a fine singer, such as Frederica von Stade,

255
00:35:03,000 --> 00:35:06,000
classical singers don't like to yodel.

256
00:35:06,000 --> 00:35:07,000
It's hard on their voices.

257
00:35:07,000 --> 00:35:10,000
Classical singers work to get a smoothness throughout their whole range,

258
00:35:10,000 --> 00:35:12,000
from the top to the bottom.

259
00:35:12,000 --> 00:35:14,000
And they don't like to break that.

260
00:35:14,000 --> 00:35:16,000
They're afraid, with very good reason, I'm sure,

261
00:35:16,000 --> 00:35:19,000
they're going to in some way damage their voice

262
00:35:19,000 --> 00:35:22,000
or make it raspier than would be if they don't do that.

263
00:35:22,000 --> 00:35:25,000
So I understand very much why she doesn't do it.

264
00:35:25,000 --> 00:35:27,000
Next we have Roy Rogers.

265
00:35:27,000 --> 00:35:32,000
And I think his yodeling is very nice because it's so relaxed and effortless.

266
00:35:32,000 --> 00:35:35,000
It just sounds like the easiest thing in the world,

267
00:35:35,000 --> 00:35:38,000
which, of course, was part of his whole personality.

268
00:35:38,000 --> 00:35:42,000
Now, for instance, one of the numbers we've got coming up in the next suite,

269
00:35:42,000 --> 00:35:44,000
the yodeling has a hard edge to it,

270
00:35:44,000 --> 00:35:48,000
and it's good because it makes you really feel that the guy is suffering.

271
00:35:48,000 --> 00:35:53,000
But with Roy Rogers, it has this wonderful laid-back feel to it.

272
00:35:53,000 --> 00:35:57,000
And then finally, that was the last one,

273
00:35:57,000 --> 00:36:02,000
was Der Formel-Einz-Wanzins-Kesluch-Brutal-Yodler,

274
00:36:02,000 --> 00:36:04,000
which he announces at the beginning.

275
00:36:04,000 --> 00:36:07,000
Now, unfortunately, I don't really speak German,

276
00:36:07,000 --> 00:36:10,000
and some of that German doesn't seem to be in my dictionary.

277
00:36:10,000 --> 00:36:12,000
Formel-Einz is Formula One.

278
00:36:12,000 --> 00:36:14,000
Wanzins has something to do with madness.

279
00:36:14,000 --> 00:36:17,000
Kesluch, Käse is cheese, Luch is hole.

280
00:36:17,000 --> 00:36:19,000
Is that Swiss cheese?

281
00:36:19,000 --> 00:36:20,000
Brutal-Yodler.

282
00:36:20,000 --> 00:36:27,000
I think it means that he is one heck of a yodeler, to put it in real colloquial English.

283
00:36:27,000 --> 00:36:31,000
It is one of the most amazing things that I've ever heard,

284
00:36:31,000 --> 00:36:35,000
and it's on a CD from a series that we played a couple of things from before,

285
00:36:35,000 --> 00:36:37,000
Die Schönsten Yodler der Berge,

286
00:36:37,000 --> 00:36:41,000
The Most Beautiful Yodlers of the Mountains.

287
00:36:41,000 --> 00:36:43,000
I'm Peter Schickele.

288
00:36:43,000 --> 00:36:49,000
The program is Schickele Mix!

289
00:36:49,000 --> 00:36:52,000
Yeah, I've got to try that with echo next time.

290
00:36:52,000 --> 00:36:56,000
From PRI, Public Radio International.

291
00:36:56,000 --> 00:37:02,000
Our second song cycle has five numbers and covers a lot of territory.

292
00:37:02,000 --> 00:37:05,000
Not all of the selections feature yodeling proper,

293
00:37:05,000 --> 00:37:11,000
but they all feature the voice breaking in an obvious and controlled way.

294
00:37:11,000 --> 00:37:17,000
This song cycle is entitled Who You Gonna Call? Voice Busters.

295
00:37:17,000 --> 00:37:19,000
It's about 11 minutes long.

296
00:37:19,000 --> 00:37:38,000
I went down to the river to watch the fish swim by

297
00:37:38,000 --> 00:37:46,000
But I got to the river so lonesome I wanted to die, oh Lord

298
00:37:46,000 --> 00:37:53,000
And then I jumped in the river but the doggone river was dry

299
00:37:53,000 --> 00:38:05,000
She's long gone and now I'm lonesome blue

300
00:38:05,000 --> 00:38:09,000
I had me a woman who couldn't be true

301
00:38:09,000 --> 00:38:13,000
She made me for my money and she made me blue

302
00:38:13,000 --> 00:38:17,000
A man needs a woman that he can lean on

303
00:38:17,000 --> 00:38:24,000
But my leaning post is done, left, and gone

304
00:38:24,000 --> 00:38:47,000
She's long gone and now I'm lonesome blue

305
00:38:47,000 --> 00:38:55,000
I'm gonna find me a river, one that's cold as ice

306
00:38:55,000 --> 00:39:03,000
And when I find me that river, Lord, I'm gonna pay the price, oh Lord

307
00:39:03,000 --> 00:39:11,000
I'm going down in it three times, but Lord, I'm only coming up twice

308
00:39:11,000 --> 00:39:23,000
She's long gone and now I'm lonesome blue

309
00:39:23,000 --> 00:39:27,000
She told me on Sunday she was checking me out

310
00:39:27,000 --> 00:39:31,000
Along about Monday she was nowhere about

311
00:39:31,000 --> 00:39:35,000
And here it is Tuesday, ain't had no news

312
00:39:35,000 --> 00:39:42,000
I got them gone but not forgotten blues

313
00:39:42,000 --> 00:39:57,000
She's long gone and now I'm lonesome blue

314
00:39:57,000 --> 00:40:16,000
I'm gonna find me a river, one that's cold as ice

315
00:40:16,000 --> 00:40:36,000
And when I find me that river, Lord, I'm gonna pay the price, oh Lord

316
00:40:36,000 --> 00:40:51,000
I'm gonna find me a river, one that's cold as ice

317
00:40:51,000 --> 00:41:14,000
And when I find me that river, Lord, I'm only coming up twice

318
00:41:21,000 --> 00:41:36,000
Zillertal, du bist mein Freund

319
00:41:36,000 --> 00:41:48,000
Da ham die Buam a sakre schneid

320
00:41:48,000 --> 00:41:52,000
Da gitt skansen som tar jag

321
00:41:52,000 --> 00:41:56,000
Sa du med vem som kom fram

322
00:41:56,000 --> 00:42:00,000
Zillertal, du bist mein Freund

323
00:42:00,000 --> 00:42:20,000
Da gitt skansen som tar jag

324
00:42:20,000 --> 00:42:40,000
Zillertal, du bist mein Freund

325
00:42:40,000 --> 00:42:52,000
Da gitt skansen som tar jag

326
00:42:52,000 --> 00:43:04,000
Sa du med vem som kom fram

327
00:43:04,000 --> 00:43:24,000
Zillertal, du bist mein Freund

328
00:43:24,000 --> 00:43:48,000
Zillertal, du bist mein Freund

329
00:43:55,000 --> 00:44:04,000
You cheated me and made me lonely

330
00:44:04,000 --> 00:44:11,000
I tried to be your very own

331
00:44:11,000 --> 00:44:19,000
There'll be a day you want me only

332
00:44:19,000 --> 00:44:26,000
But when I leave, I'll be a long time gone

333
00:44:26,000 --> 00:44:34,000
Be a long time gone

334
00:44:34,000 --> 00:44:41,000
Yes, when I leave, I'll be a long time gone

335
00:44:41,000 --> 00:44:48,000
You're gonna be sad, you're gonna be weeping

336
00:44:48,000 --> 00:44:56,000
You're gonna be blue and all alone

337
00:44:56,000 --> 00:45:03,000
You'll regret the day you see me leaving

338
00:45:03,000 --> 00:45:10,000
Cause when I leave, I'll be a long time gone

339
00:45:10,000 --> 00:45:17,000
Be a long time gone

340
00:45:17,000 --> 00:45:25,000
Yes, when I leave, I'll be a long time gone

341
00:45:25,000 --> 00:45:32,000
You'll see my face through tears and sorrow

342
00:45:32,000 --> 00:45:40,000
You'll miss the love you called your own

343
00:45:40,000 --> 00:45:47,000
Maybe there'll be no tomorrow

344
00:45:47,000 --> 00:45:54,000
Cause when I leave, I'll be a long time gone

345
00:45:54,000 --> 00:46:02,000
Be a long time gone

346
00:46:02,000 --> 00:46:11,000
Yes, when I leave, I'll be a long time gone

347
00:46:32,000 --> 00:46:43,000
You're gonna be sad, you're gonna be weeping

348
00:46:43,000 --> 00:46:53,000
You're gonna be blue and all alone

349
00:46:53,000 --> 00:47:02,000
You'll regret the day you see me leaving

350
00:47:02,000 --> 00:47:10,000
Cause when I leave, I'll be a long time gone

351
00:47:10,000 --> 00:47:18,000
Be a long time gone

352
00:47:18,000 --> 00:47:28,000
Yes, when I leave, I'll be a long time gone

353
00:47:28,000 --> 00:47:38,000
You're gonna be sad, you're gonna be weeping

354
00:47:38,000 --> 00:47:48,000
You're gonna be blue and all alone

355
00:47:48,000 --> 00:47:58,000
You're gonna be blue and all alone

356
00:47:58,000 --> 00:48:08,000
You're gonna be blue and all alone

357
00:48:08,000 --> 00:48:18,000
You're gonna be blue and all alone

358
00:48:18,000 --> 00:48:20,000
Who you gonna call?

359
00:48:20,000 --> 00:48:22,000
Voice Busters.

360
00:48:22,000 --> 00:48:25,000
We had five numbers there.

361
00:48:25,000 --> 00:48:29,000
The first one was the great Hank Williams,

362
00:48:29,000 --> 00:48:32,000
Long Gone Lonesome Blues.

363
00:48:32,000 --> 00:48:34,000
And as I mentioned before,

364
00:48:34,000 --> 00:48:38,000
that sort of edge that he has in his yodeling,

365
00:48:38,000 --> 00:48:41,000
you just feel a tremendous amount of pain in the voice.

366
00:48:41,000 --> 00:48:44,000
That guy certainly knew how to suffer,

367
00:48:44,000 --> 00:48:47,000
and to sing, and to write, too.

368
00:48:47,000 --> 00:48:52,000
The next one was a fascinating track from Ghana.

369
00:48:52,000 --> 00:48:55,000
The song is called Maralee.

370
00:48:55,000 --> 00:48:57,000
And the notes say,

371
00:48:57,000 --> 00:49:00,000
A young girl sings this song in her hometown of Yeji

372
00:49:00,000 --> 00:49:02,000
in central Ghana,

373
00:49:02,000 --> 00:49:05,000
where she is known for her compelling vocal technique

374
00:49:05,000 --> 00:49:07,000
and sunny disposition.

375
00:49:07,000 --> 00:49:11,000
By a controlled buzzing at the back of the roof of her mouth,

376
00:49:11,000 --> 00:49:16,000
she can produce two and sometimes three pitches simultaneously.

377
00:49:16,000 --> 00:49:22,000
She often sort of cracks her voice into that mode, as it were.

378
00:49:22,000 --> 00:49:26,000
Then, in a change of pace, I think you could say,

379
00:49:26,000 --> 00:49:30,000
we went into Zillertal, Du bist mein Freud.

380
00:49:30,000 --> 00:49:34,000
Although, from listening to Herr Linda sing that,

381
00:49:34,000 --> 00:49:37,000
I obviously don't have the right accent there.

382
00:49:37,000 --> 00:49:39,000
Zillertal would be the Ziller Valley,

383
00:49:39,000 --> 00:49:41,000
You are my joy.

384
00:49:41,000 --> 00:49:45,000
And that's the first time I've heard Dixieland yodeling

385
00:49:45,000 --> 00:49:47,000
and rock and roll yodeling.

386
00:49:47,000 --> 00:49:52,000
It certainly shows that they're trying to keep yodeling up to date.

387
00:49:52,000 --> 00:49:55,000
Next thing you know, we'll have grunge yodeling.

388
00:49:55,000 --> 00:49:59,000
Then the Everly Brothers, Long Time Gone,

389
00:49:59,000 --> 00:50:02,000
from their album Songs Our Daddy Taught Us.

390
00:50:02,000 --> 00:50:05,000
And there, there's just one break.

391
00:50:05,000 --> 00:50:09,000
It's not really yodeling, but it's very evocative.

392
00:50:09,000 --> 00:50:11,000
Love that song.

393
00:50:11,000 --> 00:50:15,000
And finally, from one of the great albums of all time,

394
00:50:15,000 --> 00:50:19,000
the Georgian Voices, the Rustavi Choir.

395
00:50:19,000 --> 00:50:23,000
And I guess that's the name of the album, Georgian Voices.

396
00:50:23,000 --> 00:50:28,000
We heard a tune called Ali Pasha, a historical song,

397
00:50:28,000 --> 00:50:31,000
or an historical song, if you prefer.

398
00:50:31,000 --> 00:50:36,000
And that featured a particular kind of yodeling called Krimantuli.

399
00:50:36,000 --> 00:50:41,000
This is from the area of Guria and Ajaria, it says here.

400
00:50:41,000 --> 00:50:43,000
Couldn't prove it by me.

401
00:50:43,000 --> 00:50:48,000
But it says that the Krimantuli part requires special vocal mastery,

402
00:50:48,000 --> 00:50:54,000
and the relatively few Krimantuli singers command great respect.

403
00:50:54,000 --> 00:50:56,000
Here's a surprise.

404
00:50:56,000 --> 00:51:00,000
Stravinsky liked this music.

405
00:51:00,000 --> 00:51:03,000
Okay, now, you know, one of the things that occurred to me

406
00:51:03,000 --> 00:51:07,000
when I went to that Swiss stuff from the Appenzell,

407
00:51:07,000 --> 00:51:11,000
the thing where we heard the herders and the farmers singing,

408
00:51:11,000 --> 00:51:16,000
is that already, although they sing with a rather funky intonation,

409
00:51:16,000 --> 00:51:20,000
all the tunes alternate between the tonic and dominant.

410
00:51:20,000 --> 00:51:24,000
And those are sort of in traditional mainstream classical music,

411
00:51:24,000 --> 00:51:27,000
those are the two most often used chords.

412
00:51:27,000 --> 00:51:29,000
The tonic is the home bass chord.

413
00:51:29,000 --> 00:51:31,000
Let's call this the tonic.

414
00:51:31,000 --> 00:51:35,000
And the chord built on the 5th scale step,

415
00:51:35,000 --> 00:51:38,000
la-dee-dee, is called the dominant.

416
00:51:38,000 --> 00:51:42,000
And you get the dum-dum-bum, bum-bum-bum-bum,

417
00:51:42,000 --> 00:51:45,000
dum-dum-dum-dum-dum-dum-dum, bum-bum-bum-bum-bum-bum-bum.

418
00:51:45,000 --> 00:51:48,000
All those things are just tonic and dominant.

419
00:51:48,000 --> 00:51:52,000
And those things we heard the people of Appenzell singing

420
00:51:52,000 --> 00:51:57,000
went back and forth between the tonic and the dominant.

421
00:51:57,000 --> 00:52:01,000
Although it was, as I say, their intonation gave it a piquance

422
00:52:01,000 --> 00:52:06,000
that you don't necessarily have in Mozart or Haydn.

423
00:52:06,000 --> 00:52:09,000
What I noticed when I was listening through,

424
00:52:09,000 --> 00:52:13,000
preparing for this program, when I was listening through the album

425
00:52:13,000 --> 00:52:16,000
The Most Beautiful Yodlers of the Mountains,

426
00:52:16,000 --> 00:52:21,000
was that out of, what is it, 22 cuts on this album,

427
00:52:21,000 --> 00:52:25,000
only 2 of them don't start tonic-dominant

428
00:52:25,000 --> 00:52:27,000
and then go back to the tonic.

429
00:52:27,000 --> 00:52:30,000
Only 2 songs out of 22.

430
00:52:30,000 --> 00:52:34,000
So that means that this is a tradition that has continued.

431
00:52:34,000 --> 00:52:38,000
And it's sort of a hidebound tradition, if you ask me.

432
00:52:38,000 --> 00:52:42,000
Just for the fun of it, because we have the time to do this,

433
00:52:42,000 --> 00:52:46,000
I'd like to just go through all the tracks on this album.

434
00:52:46,000 --> 00:52:48,000
And I'll just take my word for it

435
00:52:48,000 --> 00:52:51,000
that we're talking tonic and dominant here,

436
00:52:51,000 --> 00:52:53,000
except for 2 instances.

437
00:52:53,000 --> 00:52:56,000
I'm not going to bother to identify these,

438
00:52:56,000 --> 00:52:58,000
but we'll just start with track 1.

439
00:52:58,000 --> 00:53:00,000
Here we go.

440
00:53:00,000 --> 00:53:02,000
That's the tonic.

441
00:53:02,000 --> 00:53:04,000
Dominant.

442
00:53:07,000 --> 00:53:09,000
Tonic.

443
00:53:09,000 --> 00:53:12,000
Okay, let's move on to track 2 here.

444
00:53:14,000 --> 00:53:16,000
Tonic.

445
00:53:16,000 --> 00:53:18,000
Dominant.

446
00:53:18,000 --> 00:53:20,000
Tonic.

447
00:53:22,000 --> 00:53:24,000
Tonic.

448
00:53:24,000 --> 00:53:27,000
Okay, track number 3.

449
00:53:27,000 --> 00:53:31,000
That's tonic and dominant and back to tonic.

450
00:53:31,000 --> 00:53:33,000
Here's the tune.

451
00:53:33,000 --> 00:53:35,000
Tonic.

452
00:53:35,000 --> 00:53:37,000
Dominant.

453
00:53:37,000 --> 00:53:39,000
Dominant.

454
00:53:39,000 --> 00:53:41,000
Tonic.

455
00:53:41,000 --> 00:53:44,000
Okay, number 4 here, let's see what it has.

456
00:53:44,000 --> 00:53:48,000
♪

457
00:53:48,000 --> 00:53:50,000
Tonic.

458
00:53:55,000 --> 00:53:57,000
Dominant.

459
00:53:58,000 --> 00:54:00,000
Tonic.

460
00:54:00,000 --> 00:54:02,000
I think you're beginning to get the idea here.

461
00:54:02,000 --> 00:54:04,000
Let's go on to 5.

462
00:54:04,000 --> 00:54:06,000
Okay.

463
00:54:06,000 --> 00:54:11,000
Oh, this one starts with a dominant and goes to the tonic.

464
00:54:11,000 --> 00:54:13,000
Dominant.

465
00:54:13,000 --> 00:54:15,000
Tonic.

466
00:54:15,000 --> 00:54:17,000
We're talking variety here.

467
00:54:17,000 --> 00:54:19,000
Okay, number 6.

468
00:54:21,000 --> 00:54:23,000
That's the tonic.

469
00:54:23,000 --> 00:54:24,000
Dominant.

470
00:54:24,000 --> 00:54:25,000
Tonic.

471
00:54:25,000 --> 00:54:27,000
That was an intro, here's the tune.

472
00:54:27,000 --> 00:54:29,000
Tonic.

473
00:54:31,000 --> 00:54:33,000
Dominant.

474
00:54:35,000 --> 00:54:38,000
This is the dominant, guess what comes next.

475
00:54:38,000 --> 00:54:40,000
Tonic.

476
00:54:40,000 --> 00:54:42,000
Okay, on to number 7 here.

477
00:54:42,000 --> 00:54:44,000
Tonic.

478
00:54:45,000 --> 00:54:47,000
Dominant.

479
00:54:49,000 --> 00:54:50,000
Tonic.

480
00:54:50,000 --> 00:54:52,000
Number 8 here.

481
00:54:52,000 --> 00:54:54,000
Tonic.

482
00:54:55,000 --> 00:54:57,000
Dominant.

483
00:54:57,000 --> 00:54:58,000
Tonic.

484
00:54:58,000 --> 00:55:00,000
Number 9.

485
00:55:02,000 --> 00:55:05,000
Ooh, production here.

486
00:55:05,000 --> 00:55:08,000
We've heard the tonic and the dominant so far.

487
00:55:08,000 --> 00:55:10,000
Tonic.

488
00:55:15,000 --> 00:55:17,000
That's the dominant.

489
00:55:18,000 --> 00:55:21,000
I wonder what's going to come next.

490
00:55:23,000 --> 00:55:25,000
It's the tonic.

491
00:55:25,000 --> 00:55:27,000
Okay, number 10.

492
00:55:27,000 --> 00:55:29,000
This is an intro.

493
00:55:29,000 --> 00:55:31,000
Tonic.

494
00:55:31,000 --> 00:55:33,000
Dominant.

495
00:55:33,000 --> 00:55:37,000
I tell you what, let's not go through all 22 of these, okay?

496
00:55:37,000 --> 00:55:39,000
Just take my word for it.

497
00:55:39,000 --> 00:55:44,000
Yes, we're talking about a real time-honored form here.

498
00:55:44,000 --> 00:55:46,000
And that's about it.

499
00:55:46,000 --> 00:55:53,000
Now, I have been fooling with the echo here on this state-of-the-art board here.

500
00:55:53,000 --> 00:55:57,000
And I want to close with a little production number of my own.

501
00:55:57,000 --> 00:56:03,000
What I want to do is I'm going to climb up on one of these mountains overlooking the Tsilhirtal

502
00:56:03,000 --> 00:56:08,000
and call out to my alter ego, Professor Peter Shickley,

503
00:56:08,000 --> 00:56:12,000
who's standing on the opposite side of the valley.

504
00:56:12,000 --> 00:56:27,000
Yodel-a-ee-oo! Yodel-a-ee-oo!

505
00:56:27,000 --> 00:56:30,000
That's Shickley Mix for this week.

506
00:56:30,000 --> 00:56:36,000
Our program is made possible with funds provided by this radio station and its members.

507
00:56:36,000 --> 00:56:41,000
We'll tell you in a moment how you can get an official playlist of all the music on today's program

508
00:56:41,000 --> 00:56:43,000
with record numbers and everything.

509
00:56:43,000 --> 00:56:45,000
Just refer to the link below.

510
00:56:45,000 --> 00:56:58,000
This is Peter Shickley saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi.

511
00:56:58,000 --> 00:57:16,000
You're looking good. See you next week.

512
00:57:28,000 --> 00:57:35,000
If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to Shickley Mix.

513
00:57:35,000 --> 00:57:40,000
That's S-C-H-I-C-K-E-L-E, Shickley Mix.

514
00:57:40,000 --> 00:58:00,000
Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403.

515
00:58:10,000 --> 00:58:13,000
Public Radio International.