1 00:00:00,000 --> 00:00:14,640 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 2 00:00:14,640 --> 00:00:26,600 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 00:00:27,160 --> 00:00:38,380 And I'd like to take the stand here and publicly thank the American Public Radio Program Fund, whose contributors include the Ford Foundation, and the Corporation for Public Broadcasting, 4 00:00:38,380 --> 00:00:45,320 and also this radio station for their valuable, no, make that invaluable financial support. 5 00:00:47,140 --> 00:01:07,020 A long time ago I taught at Juilliard and when people ask me why I quit teaching I usually say something about wanting to be free to tour or that I wanted to spend less time talking about music and more time making it or as a composer wanting to get out of the academic environment and those are all true. 6 00:01:07,020 --> 00:01:12,240 But I think the real reason is something that happened in one of my classes one afternoon. 7 00:01:13,140 --> 00:01:16,400 This is before Lincoln Center. Juilliard was still uptown there. 8 00:01:16,500 --> 00:01:22,380 And there were some classrooms on the ground level which looked right out on the sidewalk. 9 00:01:22,620 --> 00:01:29,580 And sometimes in the spring when the windows were open and you had a class in the middle of the afternoon when school let out, 10 00:01:29,640 --> 00:01:33,940 kids would come by, look in the windows, and start shouting obscenities or whatever. 11 00:01:33,940 --> 00:01:37,900 There really wasn't much you could do about it. Anything you did just encouraged them. 12 00:01:38,600 --> 00:01:48,560 Well, one time, the day before the last regular meeting of the class, I was walking by a drugstore in the neighborhood and noticed a display of water pistols. 13 00:01:49,140 --> 00:01:54,940 And I thought, man, at the risk of starting a rumble, I'm going to be ready if those kids show up tomorrow. 14 00:01:55,560 --> 00:01:59,980 So I walked in and bought one. You know how easy it is to buy a gun in New York. 15 00:01:59,980 --> 00:02:26,320 And the next day, just before class, I filled it up with water, put it in my pocket, went in, taught the class. Well, the kids never showed up. Forgot about the whole thing, forgot I even had it. Just as the class was about over, I said, okay, now I'm gonna give you the exercises for which you'll be responsible at the exam, and this little organist in the front row says, okay, shoot. I said, what did you say? He said, shoot. What could I do, man? I pulled out the pistol and gave it to him. 16 00:02:27,500 --> 00:02:32,900 Actually, he was very agile. He ducked. The guy behind him got it. That was Philip Glass. 17 00:02:33,520 --> 00:02:38,380 But I mean, how could you go on teaching after that? I mean, how could you ever top it? It's 18 00:02:38,380 --> 00:02:43,620 bound to be downhill all the way. You just don't get setups like that very often. 19 00:02:44,360 --> 00:02:50,720 I did get another on the 57th Street Crosstown bus in Manhattan once. 57th Street is the 20 00:02:50,720 --> 00:02:54,900 street that Carnegie Hall is on, but it was a few blocks away, and the bus stopped at 21 00:02:54,900 --> 00:03:24,800 I was at the bus stop and the driver, I was sitting right behind the driver, driver opened the door and this woman stood out there on the sidewalk, I swear to God, and she said to the driver, how do you get to Carnegie Hall? And I said, practice. And nobody laughed. I mean, nobody in that bus laughed. Now what is it? Is it that I just can't tell a joke? Or is it that New York audiences really are that tough? Or is it that that joke is so old that nobody is ever going 22 00:03:24,800 --> 00:03:32,440 to laugh at it. Certain jokes have been around so long that nobody tells them, but people use the punchline in appropriate situations. 23 00:03:33,440 --> 00:03:41,100 There's another musical one like that. A guy goes into a restaurant and he selects a table, sits down, and puts his hat on the chair next to him. 24 00:03:41,400 --> 00:03:47,600 He notices a piano over in the corner, and sure enough, pretty soon, a blind pianist comes in with a seeing-eye dog. 25 00:03:48,140 --> 00:03:51,260 They go over to the piano. The pianist sits down, starts playing. 26 00:03:51,260 --> 00:03:57,300 Dog starts wandering around. He comes over to the chair beside the customer and he starts eating the customer's hat. 27 00:03:58,240 --> 00:04:01,360 Guy's outraged. He goes over to the piano player and he says, 28 00:04:01,520 --> 00:04:04,140 Do you know your dog's eating my hat? 29 00:04:04,820 --> 00:04:06,180 And the piano player says, 30 00:04:06,720 --> 00:04:09,280 No, man, but if you hum a couple of bars, I'll fake it. 31 00:04:11,120 --> 00:04:15,340 I don't think anybody has probably actually told that joke for 50 years. 32 00:04:16,530 --> 00:04:18,230 But what if it weren't a joke? 33 00:04:19,010 --> 00:04:20,370 And the piano player says, 34 00:04:21,070 --> 00:04:24,110 The piano player says, no man, but if you hum a couple of bars, I'll fake it. 35 00:04:24,610 --> 00:04:26,030 And the guy says, okay. 36 00:04:29,610 --> 00:04:31,670 The piano player says, you mean like this? 37 00:04:31,800 --> 00:04:35,900 [music: keyboard demonstration, with humming] 38 00:04:36,070 --> 00:04:39,930 The guy says, no, no, there's something different about this end there, a different chord or 39 00:04:39,930 --> 00:04:40,810 harmony or something like that. 40 00:04:40,910 --> 00:04:42,650 And the piano player says, maybe like this? 41 00:04:42,700 --> 00:04:44,000 [music: keyboard demonstration, with humming] 42 00:04:44,130 --> 00:04:48,540 The guy says, yeah, yeah, that's it, that's it. 43 00:04:48,820 --> 00:04:52,460 Well, right there, the piano player can finish the song, and the guy starts singing. 44 00:04:53,460 --> 00:05:03,000 [sung: "Your Dog Is Eating My Hat"] 45 00:05:03,230 --> 00:05:05,030 And they became lifelong friends. 46 00:05:06,220 --> 00:05:08,040 So why could the pianist do that? 47 00:05:09,100 --> 00:05:12,780 Because certain successions of harmonies are used by so many songs. 48 00:05:13,300 --> 00:05:17,400 And that particular one is based on something called the circle of fifths. 49 00:05:17,780 --> 00:05:20,780 Well, today's program is called Taking the Fifth. 50 00:05:21,140 --> 00:05:25,160 And let's start out by considering the fifth as a melodic interval. 51 00:05:25,740 --> 00:05:32,120 [music: keyboard demonstration, with humming] 52 00:05:32,120 --> 00:05:35,090 A lot of melodies begin with a fifth. 53 00:05:36,160 --> 00:05:39,040 Let's see, off the top of my head I can think of 54 00:05:40,180 --> 00:05:45,800 [sung: the Eroica theme] 55 00:05:45,900 --> 00:05:47,700 Beethoven's Eroica. 56 00:05:47,800 --> 00:05:54,900 [sung: a Lieutenant Kijé theme] 57 00:05:54,960 --> 00:05:59,500 Lieutenant Kijé, Prokofiev. Let's see, oh, 58 00:05:59,560 --> 00:06:09,000 [sung: a Brahms theme] 59 00:06:09,040 --> 00:06:27,180 Brahms' Sextet in G major. There's [sung], also Also sprach Zarathustra, sometimes known as 2001. Well, [sung: "Twinkle, Twinkle, Little Star"], and then, 60 00:06:28,880 --> 00:06:44,500 [sung: "Fugue for Tinhorns," from Guys and Dolls] 61 00:06:44,500 --> 00:06:47,320 Those are all fifths, da da, 62 00:06:47,500 --> 00:06:52,640 dee da, dee da, which actually makes me realize that all the other 63 00:06:52,640 --> 00:06:58,200 some other themes I sang featured the fifth ascending, going up from da to da. 64 00:06:59,300 --> 00:07:02,760 How about some melodies that start with a descending fifth? 65 00:07:04,120 --> 00:07:07,660 It seems actually to be harder to come up with them. 66 00:07:09,000 --> 00:07:16,880 There's [sung: "Feelings"], um, oh, 67 00:07:18,480 --> 00:07:27,400 [sung: the theme of Schubert's Unfinished Symphony] 68 00:07:27,460 --> 00:07:52,080 Unfinished Symphony of Schubert. You know, I wonder, I can't prove this, but I actually have a feeling that there may really be more melodies in our culture that start with an ascending fifth than with a descending fifth. But that's a guess. You know, I should apply for a grant to study that. Anyway, here's the beginning of a quartet in which the fifth is so prominent that the piece's nickname refers to the interval. 69 00:07:52,080 --> 00:08:08,660 The opening melody begins with a descending fifth followed by another and in this excerpt there are very few spots where some instrument isn't playing melodic fifths. 70 00:08:08,700 --> 00:08:56,960 [music excerpt: Haydn, String Quartet in D minor, Opus 76, No. 2, 1st Mvt.; Takacs Quartet] 71 00:08:56,960 --> 00:09:05,980 Haydn's Quinten Quartet, or if you prefer, Quinten Quartet, Op. 76, No. 2, played by the Takács Quartet. 72 00:09:05,980 --> 00:09:12,300 Now, if you play both notes of a perfect fifth simultaneously, it sounds like this. 73 00:09:12,560 --> 00:09:20,740 [music: keyboard demonstration, with humming] 74 00:09:20,780 --> 00:09:29,820 You hear fifths a lot in hoedown-type pieces, because the strings of violins, violas, and cellos are tuned a fifth apart. 75 00:09:29,820 --> 00:10:03,110 [music excerpt: Hayman, "Pops Hoedown"; Cincinnati Pops Orchestra/Kunzel] 76 00:10:03,110 --> 00:10:19,290 Kunzel and the Cincinnati Pops playing the opening of Richard Hayman's Pops Hoedown. Fifths are often used for mysterious things, ghost music or caverns, because we're so used to hearing three note chords that 77 00:10:21,310 --> 00:10:28,500 taking the middle note away produces a sound that feels empty to our ears. 78 00:10:31,380 --> 00:10:36,780 Here's an enchanted garden. The strings are playing chords 79 00:10:36,780 --> 00:10:38,640 based on fifths, 80 00:10:39,500 --> 00:11:36,060 [music excerpt: Ravel, "L’Enfant et les Sortileges"; London Symphony Orchestra/ Previn] 81 00:11:36,270 --> 00:11:53,930 Ravel's The Child and the Sorcerers, Previn and the London Symphony Orchestra. Here's one of the most famous examples of parallel fifths. I'm talking about the accompaniment, not the melody. Even after the melody comes in, keep listening to the bass lines. They're all parallel fifths. 82 00:11:54,700 --> 00:12:38,860 [music excerpt: Mancini, the Theme from “The Pink Panther”; Cincinnati Pops Orchestra/Kunzel] 83 00:12:38,860 --> 00:12:49,540 Kunzel and the Cincinnati Pops again with Mancini's Pink Panther theme. Okay, let's get back to Your Dog is Eating My Hat. In traditional Western European harmony, the most 84 00:12:49,540 --> 00:12:55,760 closely related chords are based on the notes a fifth away from the tonic or home base note. 85 00:12:56,040 --> 00:12:57,080 Here's C major. 86 00:12:57,100 --> 00:12:59,200 [music: keyboard demonstration, with humming] 87 00:12:59,210 --> 00:13:05,050 The most commonly used other chord in C is based on the note a fifth higher, G. 88 00:13:05,100 --> 00:13:07,500 [music: keyboard demonstration, with humming] 89 00:13:07,590 --> 00:13:12,770 And the second most commonly used chord is based on the note a fifth lower, which 90 00:13:12,800 --> 00:13:15,200 [music: keyboard demonstration, with humming] 91 00:13:15,240 --> 00:13:15,700 is F. 92 00:13:16,390 --> 00:13:19,650 Those are the three primary chords in C major. 93 00:13:20,600 --> 00:13:23,900 [music: keyboard demonstration, with humming] 94 00:13:23,960 --> 00:13:30,060 And there must be about 47,000 country and folk songs that use only those three chords. 95 00:13:30,100 --> 00:13:35,300 [music: keyboard demonstration, with humming] 96 00:13:35,400 --> 00:13:49,250 [sung: a three-chord country song, after "Walking the Floor Over You"] 97 00:13:50,170 --> 00:13:54,080 Well, I think maybe that's one for the circular file. 98 00:13:54,080 --> 00:14:23,580 Speaking of circles, if you arrange the notes of a scale around a circle so that each note is a fifth away from its neighbors, you've got the circle of fifths. And one of the most basic progressions in Western music is what Sigvald Thomson, my composition teacher way back in Fargo, used to call the forward progression. It's not a commonly used term, but it's a good one. The root or generating note of each chord is a fifth lower than the previous one. You're just going around that circle of fifths. 99 00:14:23,580 --> 00:14:53,460 And you don't even have to worry about only being able to go around once. Vivaldi is happy going around the circle of fifths till the cows come home. What our little ad hoc song at the top of the show does, and thousands of other pop songs do, is to start at home base, called the tonic, then jump abruptly away to a distant chord, and then go around the circle of fifths till they get home again. Here's a fine example of a song that jumps abruptly to a very distant chord, five notches away, 100 00:14:53,460 --> 00:15:02,240 and then circles back home. I'll count it out the first time around so that you can see that the root of each chord is five steps below the previous one 101 00:15:02,600 --> 00:17:25,520 [music: Ballard, "Mr. Sandman" (The Best of the Chordettes); The Chordettes, with Schickele counting along] 102 00:17:25,800 --> 00:17:32,040 The Chordettes with guest star Peter Schickele, host of Schickele Mix on APR. 103 00:17:35,900 --> 00:17:40,380 I once had an occasion to spend a fair amount of time in the hospital and there were four 104 00:17:40,380 --> 00:17:47,120 of us in the room, all of us fairly young, I think I was 18, 19, and we all had radios 105 00:17:47,120 --> 00:17:52,800 which we'd usually keep very low, but we had a tradition that anytime that song came 106 00:17:52,800 --> 00:17:56,120 on. That was the summer that it was popular. Fall, I guess it was. 107 00:17:56,520 --> 00:18:08,100 Any time that song came on, we would all turn to that station, and we'd hold the volume down, and then when it got to the line, and lots of wavy hair like Liberace, we'd all turn the volume up all the way. 108 00:18:09,650 --> 00:18:23,470 Very mature, sophisticated humor, but I gotta tell you, it was nice if you're gonna be in the hospital for a long time to be with a bunch of guys that did things that made the doctors come in and remind you all that we are in a hospital. Can you please keep it down? 109 00:18:25,030 --> 00:18:27,790 We're taking the fifth here and going around the circle. 110 00:18:28,350 --> 00:18:37,770 Your Dog Is Eating My Hat is one of a large number of songs, or at least it would be if it existed, that abruptly jump four notches away and then circle home. 111 00:18:37,770 --> 00:18:51,370 Here are four more examples of that. Two excerpts followed by two complete pieces, the first of which is a tune in which not only the main part of the song, but also the bridge or middle part goes around the circle. 112 00:18:52,060 --> 00:19:35,300 [music excerpt: Trad., "Basin Street Blues"; Olympia Brass Band] 113 00:19:37,800 --> 00:20:43,600 [music excerpt: Beethoven, String Quartet in F, Opus 135, 3rd Mvt.; Amadeus Quartet] 114 00:20:46,400 --> 00:23:40,700 [music: Henderson/Lewis/Young, "Five Foot Two, Eyes of Blue" (What Ever Happened to those Good Old Days at Club 47 in Cambridge, Mass. with Jim Kweskin and His Friends); Jim Kweskin] 115 00:23:43,000 --> 00:27:35,100 [music: Liszt, "Liebestraum," No. 3; Misha Dichter] 116 00:27:40,260 --> 00:27:53,580 We began with the Olympia Brass Band with Basin Street Blues, and Beethoven's 16th String Quartet played by the Amadeus, Jim Kweskin and Five Foot Two, and Misha Dichter playing Liszt's Liebestraum No. 3. 117 00:27:54,220 --> 00:27:59,400 Let me point out, by the way, for those of you who are especially keen of ear, that the 118 00:27:59,400 --> 00:28:07,440 The main notes I'm counting between are the roots, the generating notes of the chords, which may or may not be the same as the notes the bass instrument happens to be playing. 119 00:28:07,920 --> 00:28:27,080 Now, if you jump three notches away on the circle of fifths here, three notches would be one, two, three, and then cruise on home, you've got a harmonic pattern that is used in not just thousands, but millions and billions and trillions of songs. 120 00:28:27,080 --> 00:28:38,800 Now, if you take those same notes and put them into one octave, that is, within the same limited range, you get 121 00:28:38,880 --> 00:28:57,000 [music: demonstration, the same chord roots within one octave, played with sung accompaniment] 122 00:28:57,220 --> 00:28:59,510 Hey, I gotta go. I'm supposed to be in study hall now. 123 00:29:00,100 --> 00:29:27,100 [music excerpt: "Sh-boom" (Dangerous Doo-Wop); The Chords] 124 00:29:30,400 --> 00:29:44,000 [music excerpt: Beethoven, String Quartet in C, Opus 59, No. 3, 4th Mvt.; Amadeus Quartet] 125 00:29:46,900 --> 00:30:26,840 [music excerpt: George Gershwin/Ira Gershwin, "I've Got Rhythm" (Amazing Grace); The Toyota Pipes & Drums] 126 00:30:27,000 --> 00:30:50,500 Sh-boom by the Chords, and then the Amadeus playing Beethoven again. I wonder if Beethoven knew he was using the Sh-boom changes when he wrote his Opus 59, No. 3. And finally, I Got Rhythm, played by the Toyota Pipes and Drums. Yeah, you're right, that is an unusual cut, isn't it? Ordinarily, the piano solo wouldn't come in until after the whole tune had been stated. 127 00:30:50,600 --> 00:30:53,630 And it's Tidbit Time on the Circle Five Ranch. 128 00:30:54,110 --> 00:30:59,310 Today's tidbit is one of the most popular of all the songs using the Sh-boom chord pattern. 129 00:30:59,550 --> 00:31:03,830 And your mission, should you accept it, is to figure out who's singing. 130 00:31:04,310 --> 00:31:07,430 Now, no fair raising your hand if you've heard it before. 131 00:31:07,430 --> 00:31:10,090 Let the people who are guessing have a chance. 132 00:31:11,000 --> 00:33:37,900 [music: Rodgers/Hart, "Blue Moon" (Self Portrait); Bob Dylan] 133 00:33:38,000 --> 00:33:48,700 Blue Moon, as rendered by Bob Dylan, from the Self Portrait album. Me, I'm Peter Schickele and the show is Schickele Mix on APR. 134 00:33:52,000 --> 00:33:59,420 Taking the Fifth is what we are shamelessly doing here. Now we're going to hear some tunes in which instead of jumping 135 00:33:59,420 --> 00:34:07,480 abruptly away and circling back towards the tonic, the composer starts on the tonic and circles away, often ending up in another key. 136 00:34:08,100 --> 00:34:19,340 Let me mention that because the regular scale has seven different notes in it, it works out that going down five steps involves the same notes functionally as going four steps up. 137 00:34:19,340 --> 00:34:31,900 In other words, [sung, counting] 138 00:34:31,960 --> 00:34:39,200 So instead of the bass instrument trying to go [sung] 139 00:34:39,300 --> 00:34:49,200 and running out of its range, as I was doing back there when I was singing, you can cover the same notes by going either down a fifth or up a fourth. 140 00:34:49,320 --> 00:35:02,080 [sung] In Mr. Sandman, the bottom Chordette was doing the same thing when she sang [sung] 141 00:35:05,260 --> 00:35:16,760 as I was doing when I sang [sung]. She was in effect counting out the steps between the roots of the chords, which is probably why they were called the Chordettes. 142 00:35:16,760 --> 00:35:21,310 Here's Bach circling away from home, from 143 00:35:21,310 --> 00:35:44,400 [music excerpt: J. S. Bach, Brandenburg Concerto No. 3, 3rd Mvt.; The Chamber Orchestra of Europe] 144 00:35:44,830 --> 00:35:52,470 Bach's Third Brandenburg Concerto with the Chamber Orchestra of Europe, who fortunately play better in tune than I sing. 145 00:35:52,650 --> 00:36:00,650 Here's a place in the first movement of that piece where the bass line counts out the steps exactly as I was doing earlier when I was singing. 146 00:36:01,170 --> 00:36:05,410 And this is a particularly sexy example of the forward progression. 147 00:36:06,190 --> 00:36:19,920 [music excerpt: J. S. Bach, Brandenburg Concerto No. 3, 1st Mvt.; The Chamber Orchestra of Europe] 148 00:36:19,920 --> 00:36:32,240 In classical music, the forward progression is usually used for development or modulation to another key, but in pop music there are songs that are principally based on that progression all through the main part of the song. 149 00:36:32,960 --> 00:36:43,820 Here's a suite of three numbers that use the circling away from home technique, arriving in the first and last selections at quite distant keys and then abruptly jumping back to the tonic. 150 00:36:43,820 --> 00:36:57,160 I should say that in those two selections, the basic harmonic progression is rather obscured by a lot of harmonic elaboration, but the essential floor plan is there. See you in about nine minutes. 151 00:36:57,260 --> 00:40:11,360 [music: Burke/Hampton/Mercer, "Midnight Sun" (Something Cool); June Christy] 152 00:40:14,420 --> 00:42:29,400 [music: Vivaldi, "L'Estro Armonico," Concerto No. 11 in D minor (RV 565), 3rd Mvt.; The English Concert/Pinnock] 153 00:42:32,000 --> 00:45:06,200 [music: Hamilton/Lewis, "How High the Moon" (Best of the Jazz Vocalists); Sarah Vaughan] 154 00:45:07,020 --> 00:45:22,900 June Christy with The Midnight Sun, the Vivaldi Concerto for two violins in D minor with Trevor Pinnock leading the English Concert, the soloists were Simon Standage and Elizabeth Wilcock, and Sarah Vaughan singing How High the Moon. 155 00:45:23,960 --> 00:45:36,740 I'm calling our last group of songs, Where Are We Anyway? These are songs that don't start on the tonic, and in some cases don't reach the tonic or even let you know what the tonic is for quite a while. 156 00:45:36,740 --> 00:45:40,360 But they do go around the circle of fifths. 157 00:45:42,340 --> 00:46:23,100 [music: Kosma/Prevert/Mercer, "Autumn Leaves" ('Jealousy' & Other Great Standards); Yehudi Menuhin/Stephane Grappelli] 158 00:46:23,260 --> 00:46:27,640 Autumn Leaves with Menuhin and Grappelli. We'll hear more from them later. 159 00:46:28,330 --> 00:46:36,450 In terms of knowing what key you're in, where home base is, this next song is one of the most enigmatic ever written. 160 00:46:37,180 --> 00:48:19,950 [music: Raskin, "Laura" (The United States Air Force Symphony Orchestra Invites You to an Evening of Beautiful Music); The United States Air Force Symphony Orchestra] 161 00:48:20,000 --> 00:48:34,080 Now it is true that the arranger thickens the plot there by switching keys in the middle of the song, but even in the original, you don't hear the tonic chord, the home base chord, until the 27th measure, quite far out. 162 00:48:34,990 --> 00:48:38,870 Laura, as interpreted by the U.S. Air Force Symphony Orchestra, 163 00:48:39,520 --> 00:48:43,070 from the album The United States Air Force Symphony Orchestra 164 00:48:43,070 --> 00:48:45,290 invites you to an evening of beautiful music. 165 00:48:45,480 --> 00:49:01,260 This album is not for sale, by the way, folks. You have to be specially invited, which I guess I was, because I have it. We're going to end with two classic songs that take their time in letting you know where home is, but what nice trips they are. 166 00:49:01,540 --> 00:51:36,980 [music: Pinkard/Bernie/Casey, "Sweet Georgia Brown" ('Jealousy' & Other Great Standards); Yehudi Menuhin/Stephane Grappelli] 167 00:51:40,000 --> 00:54:31,340 [music: Kern/Hammerstein, "All the Things You Are" (Sentimental Me); Elly Ameling] 168 00:54:31,700 --> 00:54:40,210 Yehudi Menuhin and Stéphane Grappelli first, doing Sweet Georgia Brown, and then Elly Ameling, All the Things You Are. 169 00:54:43,180 --> 00:55:11,960 You know, I've been thinking about that little song that I sort of improvised at the top of the show, Your Dog is Eating My Hat, and well, during the suites I've been sort of working on it a little bit, and you know what, I think I may have a hit on my hands here. And I'm going to let you be the first to hear it. Now, the authentic instrument here that I've been playing, this is an original, early 1990s Casio Tone Bank, it does have a rhythm thing on it. 170 00:55:11,960 --> 00:55:32,590 So I think I can give you a pretty good rendition, and I'm gonna select a rhythm here. Let's try Swing 1. All right! Solid, Jackson. Let's see, and I know I like warm brass, that's 01. Okay, 171 00:55:35,500 --> 00:55:42,740 and now let me give myself a little echo here, and do myself a favor. We're ready to roll. 172 00:55:45,000 --> 00:56:40,100 [music: Schickele, "Your Dog Is Eating My Hat," sung by Schickele with the Casio's rhythm section] 173 00:56:40,730 --> 00:57:08,570 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 174 00:57:08,570 --> 00:57:34,940 And that's 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, by the Corporation for Public Broadcasting, and also by this radio station and its members. That means you and we thank you greatly. We'll tell you in a moment how you can get an official playlist of all the music on today's program with record numbers and 175 00:57:34,940 --> 00:57:49,400 everything. Just refer to the program number. This is program 64. And this is Peter Schickele saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. You're looking good. See you next week. 176 00:57:49,400 --> 00:58:11,860 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf] 177 00:58:13,740 --> 00:58:29,620 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to Schickele Mix. That's Schickele, Schickele Mix. Care of American Public Radio, 100 North 6th Street, Suite 900A. 178 00:58:29,620 --> 00:58:32,120 Minneapolis, Minnesota, 55403. 179 00:58:33,960 --> 00:58:40,290 [announcer:] PRI, Public Radio International. 180 00:58:40,290 --> 00:58:43,500 [music: theme; Mozart, Symphony No. 24 (K 182), 2nd Mvt.; Philharmonic Symphony Orchestra of London/Leinsdorf]