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And now, Shickly Mix. Ready, Mr. Shickly?

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Yes, uh-huh, that's right, I am. Yep, here's the theme.

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Hello there, I'm Peter Shickly, and this is Shickly Mix,

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a program dedicated to the proposition that all musics are created equal.

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Or as Duke Ellington put it, if it sounds good, it is good.

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And although I've done it many times before, it's always good to express my gratitude

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for the fact that our bills are paid by the Corporation for Public Broadcasting,

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by the National Endowment for the Arts,

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and by this top-notch, I'll say it again, top-notch radio station,

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whose top brass repeatedly, time after time, again and again,

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provide me with the wherewithal to make yet another installment

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of this intellectual tryst that you and I share, this ongoing weekly tete-a-tete,

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which, as intimate as it is, is blabbed all over the place by PRI,

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Public Radio International.

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As an instrumentalist, I've always been known more for my fearlessness

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than my finesse.

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As a teenager, I actually practiced the piano and bassoon every day,

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but I also played saxophone in a dance band occasionally,

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and my grandfather's tuba was in our basement,

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so I fooled around on that enough to get a little one-time gig

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in an ambulatory polka band during a fair celebrating the founding

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of Fargo, North Dakota.

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And my best friend played trumpet.

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I can still do the fingerings for most of the trumpet parts I write,

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but you wouldn't want to hear me.

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My tone sounds like a wet wash rag in a bowl of gumbo.

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And I played the old Albert System clarinet my mother still had

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from her college days.

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And I studied cello for a month, but it was too much trouble to carry around.

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And when my brother started playing square dances on the fiddle,

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I sometimes backed him up on string bass.

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Now, in some ways, that was the easiest gig of all,

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because you don't have to use the bow,

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and most fiddle tunes are in one of about three keys,

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and the main notes of those keys are open strings on the bass,

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so you can go a long way without even using your left hand

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except to hold the thing up.

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And you get to watch people having fun dancing,

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as opposed to playing in combos for frat parties

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where the lights are too low for you to see the necking going on in the corner,

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and what you can see on the dance floor is guys bending girls over backwards

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so far that I don't see how they could walk afterwards.

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Maybe that was the idea.

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And the other good thing about square dances

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was that sometimes the cake and cookies were homemade

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instead of coming from the day-old section of the supermarket shelves.

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But there is a downside to being a part-time square dance bass player.

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Aside from having to carry what is essentially an extremely expensive

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and fragile ranch-style doghouse,

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you have to play for what feels like hours at a time,

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and if you don't do it every day, you lose the calluses on your fingers.

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And when you notice blood trickling down the strings,

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and you look out and see that your best friend is still three partners away

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from the one that he started with,

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you begin to suspect that that young blonde sitting over against the wall

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is Sissy Spacek, and she blames you for the fact that she's not dancing.

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A reel may go on for 20 minutes.

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That's not only a long time for a reckless amateur bass player,

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it's a lot of music, period.

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It's four or five times as long as your typical ballroom dance arrangement,

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your Glenn Miller arrangement.

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Man, it's half as long as Brahms' First Symphony,

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and he took years to write that.

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Whether it's a folk musician or a conservatory-trained composer,

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somebody has to make up the music that gets played at dances,

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and sometimes it feels as if it's being ordered by the yard.

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So one thing that almost all social dance music has in common

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is a highly sophisticated musical technique called repetition.

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In certain situations, the closely related technique,

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endless repetition, is used.

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Western musical notation employs two vertical lines

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to define a metric unit called a measure or bar.

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When you surround a group of measures with double bar lines,

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with a pair of vertically aligned dots next to them in the middle of the staff,

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you have indicated that that section should be repeated.

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Now, I'm no expert in the history of notation,

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but my theory is that the two dots derive from the Cro-Magnon practice

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of holding up fingers to indicate how many times a passage is to be played.

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The next suite today is called The Band on the Stand.

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It has four numbers, and they're all dance music.

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And you'll notice that just about everything that gets played gets played again.

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Okay, everybody, out on the floor.

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I'll see you in about 9 1⁄2 minutes.

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All right! Great set!

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The Band on the Stand. Four bands, actually,

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playing music in which almost everything is repeated.

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We began with a wonderful old album that first came out in 1961,

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Dance Music of the High Renaissance, Michael Pretorius,

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a Volte from Six Dances from Terpsichore,

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played by the Collegium Terpsichore, conducted by Fritz Neumeier.

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And then the second one, the Cajun one, was Steve Riley and the Mamoo Playboys,

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doing the Paradigm Two-Step.

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Third one, one of the great dance composers of all times, Wolfgang Amadeus Mozart,

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a little contradance in G major called Les Filles Malicieuses, Malicious Ladies.

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That was the Orpheus Chamber Orchestra, playing without its conductor, as usual.

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And then finally, that really wild one was from Bulgaria, naturally.

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It's the Krivohoro, and that was the Bitov Orchestra.

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You remember them, don't you?

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That's the band with Atanas Volchev on gadolka,

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and Ruman Sirakov on tambura, and Gospodin Tanev on kaval,

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and Nikola Altonov on gaida, and Semenon Georgiev on tupan.

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Great tupan player. Okay, that was our first suite there.

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You know, I used to love being on the bandstand playing,

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but I do have one regret, and it's a big one.

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The combination of being a musician and shy about, you know, girls,

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meant that I almost never went to dances as a dancer,

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and I remain, to this day, el dancer lousy.

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I used to dance a bit in the 60s when lights were low and consciousness was high

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and everybody did their own thing, but I really love real couple dancing.

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I'd love to be part of one of those old couples you see at resorts,

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effortlessly gliding around the floor.

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I truly believe that dancing is right up there with singing and meditation.

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It's good for your body and good for your soul.

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It's good for flirting and it's good for affirming,

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and I really wish I weren't so self-conscious about it.

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I love Western dancing, too.

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My wife and I did step out a bit a year ago or so at the Cowboy Bar in Jackson, Wyoming.

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The floor was so crowded that nobody could see that I was Peter Shickley,

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the host of Shickley Mix from PRI, Public Radio International.

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Today's show is called If It's Worth Doing, It's Worth Doing Again.

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Now, in spite of all my ranting and raving back there, trying to exorcise my dance demons,

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repetition is, of course, not confined to dance music,

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nor can its origins be laid exclusively at dance music's door.

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Certainly one of the most basic musical forms in the whole world is the strophic song,

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a song in which the same music is sung to different lyrics, different verses.

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The number of verses may vary from 2 to 99.

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How many bottles of beer there are on the wall depends on how long the hike is.

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Now, the idea of picking one song to illustrate this genre seems ridiculous.

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Using my extensive knowledge of history and musicology,

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as well as my command of statistics, probability, and chaos theory,

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I would estimate that there are approximately 79.53327 million such songs in the world today,

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and each one of you knows at least dozens of them.

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But I am going to play one for you, not because you don't know what a strophic song sounds like,

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but because I want to make amends for something I did on a previous show.

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Way back on Shickley Mix number 106, now this is 114,

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I played the refrain of an Irish song as an example of using a counter melody as an accompaniment,

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but I didn't play the whole thing, and I've always regretted it because it's such a great song.

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And so, ladies and gentlemen, here is a fine, and incidentally quite charming,

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example of the cantus versus, the strophic song.

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Have you seen him on the corner and his lip would reach the pavement?

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He's been hiding from his razor, is he not an awful sight?

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In love he was the purest, now he's frightening our tourists.

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If he'd gone and asked his father, oh, I'm sure he'd said him right,

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saying, take her in your arms and tell her that you love her.

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Take her in your arms and hold that woman tight.

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Won't you take her in your arms and tell her that you love her.

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If you're going to love a woman, then be sure and do it right.

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Now he met her at a disco, in a dive in San Francisco,

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and it all might have been different, had he seen her in daylight.

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She was fainted, she was scented, but she drove your man demented.

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If he'd gone and asked his father, I'm sure he'd said him right,

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saying, take her in your arms and tell her that you love her.

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Take her in your arms and hold that woman tight.

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Won't you take her in your arms and tell her that you love her.

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If you're going to love a woman, then be sure and do it right.

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Here's a pub with fun and laughter, the landlord's buying bevy.

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There's a session in the corner and the crack is grand tonight.

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But your man who lost his woman, he's still at home lamenting.

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If he'd gone and asked his father, oh, I'm sure he'd said him right,

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saying, take her in your arms and tell her that you love her.

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Take her in your arms and hold that woman tight.

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Won't you take her in your arms and tell her that you love her.

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If you're going to love a woman, then be sure and do it right.

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Now depression's not a million laughs, but suicide's too dangerous.

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Don't go leaping out of buildings in the middle of the night.

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It's not the fall but landing that'll alter social standing.

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So go first and ask your father and I'm sure he'll said you right,

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saying, take her in your arms and tell her that you love her.

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Take her in your arms and hold that woman tight.

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Won't you take her in your arms and tell her that you love her.

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If you're going to love a woman, then be sure and do it right.

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And here's a health to all true lovers, their sisters and their brothers

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and their uncles and their grannies, for this thing is black and white.

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If you're keen to start romancing with this lapping and this dancing,

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then go first and ask your father and I'm sure he'll said you right,

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saying, take her in your arms and tell her that you love her.

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Take her in your arms and hold that woman tight.

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Won't you take her in your arms and tell her that you love her.

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If you're going to love a woman, then be sure and do it right.

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And take her in your arms and tell her that you love her.

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Take her in your arms and hold that woman tight.

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Won't you take her in your arms and tell her that you love her.

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If you're going to love a woman, then be sure and do it right.

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Our tidbit today was Andy M. Stewart and Manis Lunny

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doing Stewart's song, Take Her In Your Arms.

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Of course, when you come right down to it, repetition is a basic part

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of almost all music and probably almost all art,

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especially non-narrative art. Patterns in rugs,

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rhyme schemes in poetry, recurring dance steps.

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Sometimes it's so subtle that it's not even experienced consciously,

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as in the repetition of a 12-tone row in serial music.

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Western classical music has a great deal of repetition,

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and here's an interesting question. Do you think that has anything to do

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with sound? There's certainly much more repetition in a Mozart symphony

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than in a Duke Ellington chart, which is mostly given over to improvisation.

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The whole idea of improvisation goes against the idea of repetition.

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Well, I'd have to think about that some more, and you can too.

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Obviously, I loaded the dice a bit when I picked a Mozart symphony.

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There's much less repetition in Schoenberg's Piero Lunner than in a Mozart symphony.

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In fact, it's amazing. When you take a piece

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like Mozart's Eine kleine Nachtmusik, you know,

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baum, baum, baum, baum, baum, baum, baum, baum, baum,

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how much of it is repeated? I have a facsimile

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of his original manuscript for that piece, and I sat down

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and counted the number of measures that are written in the piece.

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One movement of the work, by the way, has been lost, but that's beside the point.

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And then I counted the number of measures that are played in a performance.

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The great majority of measures in the piece are surrounded by repeat signs,

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and some sections, because of da capos,

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which means go back to the beginning and play part of the movement yet again,

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some sections are played three or four times.

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Some identical sections that are written out in modern editions

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were not written out by Mozart. He uses a da capo indication.

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Anyway, I counted 365 bars in the score,

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and 784 bars in a performance of the score.

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That means that Mozart actually wrote out about

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46 percent, less than half, of what is played.

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And to get back to our opening topic, when Mozart

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was writing music for actual dancing, for use in the ballroom,

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he had a system of repeats that reduced that percentage even more.

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Let's face it, not only does the dance hall require a wagonload

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of music, but the audience is not going to be listening with the same

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concentration as they would at a concert, even in those days,

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when concerts were much more socially active. Our second suite is called

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the write-it-once, play-it-twice suite.

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Four pieces that are not dance music, but nevertheless consist almost

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entirely of sections that are heard more than once.

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And often, by the way, the repeated sections themselves contain

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almost identical phrases. I shall return

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in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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I shall return in about nine minutes.

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Notice how often, when we're hearing stuff based on the first theme, one measure is followed by a repetition of that measure in all or some of the instruments.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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The first movement of Bach's Brandenburg Concerto No. 2, with Gunther Kerr conducting the Mainz Chamber Orchestra.

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Now here's another example of written-out repetition.

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At the beginning of this symphony movement, every little idea we hear is repeated.

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Then there's a very brief transition to a new key, and the second section features much more variety and lack of repetition.

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In fact, one of the ways we know that the transition section is transitioning is that it breaks the pattern of simple-minded repetition that holds sway up until then.

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By the way, I hope you know that in my book, simple-minded does not necessarily mean bad.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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The first movement of Mozart's 11th Symphony, a delightful piece written when the little twerp was 13 or 14 years old.

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I can see it now, Macaulay Culkin in Home Alone 3, the story of Mozart's 11th Symphony.

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Sir Charles Macarius and the Prague Chamber Orchestra.

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Okay, now here's a much fancier kind of repetition.

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Many people think that this kind of music sounds completely formless, but if I play you just the first four phrases of this piece, I think that,

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even if your idea of modern music is the waltzes that Johann Strauss Jr. wrote after the Blue Danube,

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even you will be able to hear that the second pair of phrases is a mirror image of the first.

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It goes backwards, right to the beginning.

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That's repetition, but it's retrograde repetition.

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Rather arcane and usually hard to hear, but in this case very clear, if I may be permitted a bit of 12-tone poetry.

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Let's hear all of this piece.

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It's less than two minutes long, mostly quite lyrical and even tender,

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and though it doesn't have obvious repetition like the Bach and the Mozart,

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you can feel the similarity of the shapes and the return to certain notes and the sense of déjà-vu.

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It's rigorous yet warm.

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That was the first movement of Anton Webern's Variations for Piano.

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We heard the second scherzo-like movement earlier.

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That was, by the way, Maurizio Pollini playing. I think I forgot to say that earlier.

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Webern was smart in that his pieces tend to be very short,

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and at least in that piece it doesn't strain my patience for the abstract quality of it.

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We're coming to a close here.

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We're going to go out with the first movement of Beethoven's Sixth Symphony.

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You won't hear all of it, but I want you to listen to this piece because there's a lot of repetition in it.

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But what Beethoven does is, in the first place, you're not sure when he's going to repeat and when he isn't.

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It isn't as predictable as it was in the Mozart and the Bach.

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And secondly, although Beethoven is a composer who broke conventions a great deal

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and often wrote things out because he wanted to make some little change in it,

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nevertheless he uses a lot of repetition for a dramatic effect.

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He'll repeat something over and over and over and over again for this sort of building up of tension.

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So it's a very different use of repetition.

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And in this piece, of course, the subtitle of the symphony is the Pastoral Symphony.

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It also, I think, has a sort of a dance connection

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because dance music, as we've seen, tends to have so much repetition.

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This is Roger Norrington conducting the London Classical Players,

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and we'll hear as much as we can of the first movement of Beethoven's Symphony No. 6 in F major.

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♫ ♫ ♫

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♫ ♫ ♫

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♫ ♫ ♫

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♫ ♫ ♫

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♫ ♫ ♫

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♫ ♫ ♫

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00:56:33,500 --> 00:56:36,000
♫ ♫ ♫

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And that's Sickly Mix for this week.

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Our program is made possible with funds provided by the Corporation for Public Broadcasting,

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by the National Endowment for the Arts, and by this radio station and its members.

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Thank you, members.

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And not only that, our program is distributed by PRI, Public Radio International.

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We'll tell you in a moment how you can get an official playlist of all the music on today's program

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with album numbers and everything.

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Just refer to the program number. This is program number 114.

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And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing

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if it ain't got that certain je ne sais quoi.

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You're looking good. See you next week.

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If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to Sickly Mix.

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That's S-C-H-I-C-K-E-L-E, Sickly Mix.

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Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, MN 55403.

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PRI, Public Radio International.