WEBVTT 00:01.290 --> 00:01.730 Prof: All right. 00:01.734 --> 00:02.164 Let us begin, please. 00:02.160 --> 00:06.810 We're going to get started to stay on track for this morning. 00:06.810 --> 00:09.170 Don't forget, of course, that we have this 00:09.168 --> 00:12.388 exciting event next Tuesday, which is our second test. 00:12.390 --> 00:16.290 There will be--I know. 00:16.290 --> 00:18.220 Curb your enthusiasm. 00:18.220 --> 00:22.130 There will be a review section for that, indeed three of them, 00:22.127 --> 00:24.687 next Monday night as we did last time. 00:24.690 --> 00:28.470 They'll be in room 207 of WLH again this Monday: 00:28.470 --> 00:31.210 seven, eight and nine respectively, 00:31.205 --> 00:33.935 and yours truly will be there. 00:33.940 --> 00:36.790 We'll also have Monday afternoon. 00:36.790 --> 00:39.420 If you want individual help, you can come to my office and 00:39.416 --> 00:42.086 one of the TAs will be covering a run of about four or five 00:42.088 --> 00:44.668 hours there Monday afternoon probably starting around one 00:44.668 --> 00:47.168 o'clock, and of course I'll be sending 00:47.170 --> 00:51.170 you a prep sheet on this so that you will know how to prepare for 00:51.166 --> 00:54.346 this test just as we prepared for the last test. 00:54.350 --> 00:58.700 The test itself will be very similar to the first test except 00:58.695 --> 01:01.475 we-- when we get to the listening 01:01.475 --> 01:03.925 pieces, then we will not be so much 01:03.926 --> 01:07.506 concentrating on individual isolated aspects of melody, 01:07.510 --> 01:10.350 rhythm and harmony but these broader questions of form. 01:10.349 --> 01:11.339 What is the form? 01:11.340 --> 01:13.100 Where are we in the form? 01:13.099 --> 01:16.749 That's the essence of the assignment there. 01:16.750 --> 01:21.240 We're working here with form and it's very important. 01:21.239 --> 01:24.399 It brings, I think--my guess is in all of the listening that 01:24.396 --> 01:26.576 you've been doing, pop music, classical, 01:26.581 --> 01:28.681 whatever it is, how many when you were 01:28.677 --> 01:30.647 listening ever thought about form? 01:30.650 --> 01:33.290 Did you ever think about it, any of you? 01:33.290 --> 01:33.730 Okay. 01:33.730 --> 01:39.100 One person I see raised their hand, and maybe Roger raises his 01:39.101 --> 01:42.361 hand but not too enthusiastically. 01:42.360 --> 01:45.040 Yeah, it's the kind of thing that you could do a lot of 01:45.041 --> 01:46.681 playing and listening to music. 01:46.680 --> 01:49.640 You could take as my seventeen-year-old, 01:49.640 --> 01:52.790 maybe seventeen-year-old, maybe twelve, 01:52.790 --> 01:54.800 thirteen years of cello and I could ask him, 01:54.800 --> 01:55.990 "What form do we have? 01:55.989 --> 01:56.999 Where are we in the form?" 01:57.000 --> 01:59.450 and he wouldn't really know because he hasn't been exposed 01:59.447 --> 02:00.477 to that sort of thing. 02:00.480 --> 02:02.080 Well, it does help us. 02:02.078 --> 02:05.128 It's a whole dimension of listening that we can plug into, 02:05.125 --> 02:08.055 whether it's pop music and you're dealing with verse and 02:08.063 --> 02:09.243 chorus and bridge. 02:09.240 --> 02:13.260 or even as we'll see today, ostinato--in pop music 02:13.264 --> 02:16.504 or in classical music you plug in the form. 02:16.500 --> 02:22.500 Now what are the six forms that we are going to be plugging in 02:22.501 --> 02:23.191 here? 02:23.188 --> 02:23.438 Hm? 02:23.441 --> 02:26.711 Somebody run us through our checklist. 02:26.710 --> 02:27.920 Roger, get us started, please. 02:27.919 --> 02:29.869 Student: --say one or-- Prof: Yeah, 02:29.871 --> 02:33.361 you can say one and then you might pass the baton. 02:33.360 --> 02:33.680 > 02:33.680 --> 02:34.820 Student: Sonata-allegro. 02:34.818 --> 02:35.498 Prof: Okay. 02:35.498 --> 02:36.778 Sonata-allegro, the most difficult, 02:36.782 --> 02:37.502 the biggest one. 02:37.500 --> 02:38.670 We spent the most time with that. 02:38.669 --> 02:40.089 What else? 02:40.090 --> 02:41.240 Chris. 02:41.240 --> 02:41.760 Student: Fugue. 02:41.758 --> 02:42.358 Prof: Fugue. 02:42.355 --> 02:43.985 We spent a lot of time with that, fairly difficult. 02:43.990 --> 02:44.800 Daniel. 02:44.800 --> 02:45.330 Student: Rondo. 02:45.330 --> 02:47.560 Prof: Rondo, a little bit easier in the 02:47.555 --> 02:50.735 sense that you've got this one theme that kind of bludgeons you 02:50.740 --> 02:52.260 to-- if you get a theme and then you 02:52.256 --> 02:54.186 get something else, and that theme comes back and 02:54.191 --> 02:55.781 then probably something else yet again. 02:55.780 --> 02:58.170 Then that theme comes back and then something else again and 02:58.166 --> 03:00.176 again, and then theme and so on, 03:00.181 --> 03:04.281 so you get the object and then a lot of contrast but the object 03:04.281 --> 03:05.671 keeps coming back. 03:05.669 --> 03:06.609 What else? 03:06.610 --> 03:09.980 Have we mentioned--Chelsea. 03:09.979 --> 03:10.449 Student: Ternary. 03:10.449 --> 03:11.609 Prof: I'm sorry. 03:11.610 --> 03:12.050 Student: Ternary form. 03:12.050 --> 03:13.370 Prof: Ternary form. Yeah. 03:13.370 --> 03:17.440 That may be the easiest, kind of just the A, 03:17.435 --> 03:18.565 B, A idea. 03:18.569 --> 03:20.329 And we're missing one, I think. 03:20.330 --> 03:21.600 Yeah. 03:21.598 --> 03:21.948 Student: > 03:21.949 --> 03:22.919 Prof: Theme and variations. 03:22.919 --> 03:24.159 Your name, please. 03:24.159 --> 03:24.679 Student: Kristin. 03:24.680 --> 03:25.630 Prof: I'm sorry? 03:25.629 --> 03:25.999 Student: Kristin. 03:26.000 --> 03:27.220 Prof: Kristin. Okay. 03:27.220 --> 03:28.440 Thanks very much, Kristin. 03:28.438 --> 03:32.838 So theme and variations is the last one. 03:32.840 --> 03:35.110 When you go to a concert, sometimes you can pick up the 03:35.108 --> 03:37.478 program, and here is a cover of a 03:37.483 --> 03:41.873 program that's going to serve as the make-up for our-- 03:41.870 --> 03:45.130 the make-up concert for our class. 03:45.128 --> 03:50.748 It's next Saturday--yes, yeah, a week from Saturday. 03:50.750 --> 03:54.330 The Jonathan Edwards Orchestra is going to be performing at 03:54.331 --> 03:58.101 Battell and they'll be doing the Beethoven Eighth Symphony and 03:58.098 --> 04:01.738 when you go there you're going to have four movements in the 04:01.742 --> 04:03.722 Beethoven Eighth Symphony. 04:03.718 --> 04:06.068 What's a good guess as to what form the first movement's going 04:06.074 --> 04:06.504 to be in? 04:06.500 --> 04:07.920 Student: > 04:07.919 --> 04:09.099 Prof: Sonata-allegro. 04:09.101 --> 04:09.311 Okay. 04:09.312 --> 04:10.032 Sonata-allegro. 04:10.030 --> 04:12.480 The second movement-- Well, it could be in a number of 04:12.478 --> 04:13.308 different forms. 04:13.310 --> 04:16.230 What's a good guess for what the form of the third movement 04:16.226 --> 04:16.726 will be? 04:16.730 --> 04:19.230 Ternary form. 04:19.230 --> 04:22.960 It's going to be some kind of minuet or perhaps scherzo--I 04:22.964 --> 04:25.654 think in this case scherzo, trio, scherzo, 04:25.651 --> 04:26.571 that idea. 04:26.569 --> 04:28.959 Ternary form usually is the third movement of these 04:28.964 --> 04:31.084 four-movement symphony-- and then the last 04:31.084 --> 04:33.354 movement--well, we'll have to sort of come to 04:33.350 --> 04:36.770 terms with that-- figure that one out on the fly, 04:36.769 --> 04:41.089 and that's what we'll be doing in our test on Tuesday, 04:41.089 --> 04:44.229 although it will be a slow, sort of lento fly there. 04:44.230 --> 04:48.040 We'll be going through it much more slowly than just one pass. 04:48.040 --> 04:51.560 So sometimes when listening you've got to hear the music and 04:51.555 --> 04:54.765 make some kind of educated determination as to what the 04:54.771 --> 04:58.641 form is and then you kind, as I say, drop this template of 04:58.641 --> 05:02.361 that particular form down in your mind and then filter the 05:02.360 --> 05:04.970 music thereafter through that model, 05:04.970 --> 05:08.380 be it the model of sonata-allegro or the model of 05:08.379 --> 05:10.509 fugue or the model of rondo. 05:10.509 --> 05:14.359 You kind of hear the piece in that form thereafter. 05:14.360 --> 05:18.920 Questions about that? 05:18.920 --> 05:19.800 All right. 05:19.800 --> 05:23.940 If not, let's proceed with one final form today, 05:23.935 --> 05:26.395 which is ostinato. 05:26.399 --> 05:27.889 That's our sixth form. 05:27.889 --> 05:29.159 We haven't been introduced to that. 05:29.160 --> 05:30.310 We're going to do ostinato, 05:30.314 --> 05:32.804 but before we get to that, I want to recap one thing 05:32.803 --> 05:36.283 having to do with theme and variation form because it allows 05:36.281 --> 05:40.291 us to bring in some other things that we have been talking about. 05:40.290 --> 05:43.350 So it's a good culminating listening experience, 05:43.346 --> 05:46.526 and that is the finale of Beethoven's "Eroica 05:46.533 --> 05:47.773 Symphony." 05:47.769 --> 05:50.239 Anybody know what--why it's called the "Eroica 05:50.240 --> 05:51.080 Symphony"? 05:51.079 --> 05:54.609 Who is the hero that's referenced there? 05:54.610 --> 05:55.570 Caroline. 05:55.569 --> 05:55.909 Student: Napoleon. 05:55.910 --> 05:57.310 Prof: Napoleon, right. 05:57.310 --> 05:59.270 So Beethoven was working on this symphony. 05:59.269 --> 06:00.719 Napoleon was the hero. 06:00.720 --> 06:04.100 Then he gets word from Paris that Napoleon has had himself 06:04.100 --> 06:05.170 crowned emperor. 06:05.170 --> 06:07.560 He thinks: "Oh, my God, Napoleon's just a tyrant like 06:07.557 --> 06:10.257 all the rest of them," so he's furious and he 06:10.259 --> 06:13.259 scratches out on his score-- and I--when you get to the 06:13.261 --> 06:15.101 Beethoven chapter of your textbook, 06:15.100 --> 06:15.720 look there. 06:15.718 --> 06:18.648 There's a photograph of the cover of the "Eroica 06:18.646 --> 06:21.006 Symphony" and you can see the big hole 06:21.012 --> 06:24.732 where Beethoven with his knife scratched out Napoleon's name. 06:24.730 --> 06:28.000 And then later on he goes on to simply identify that as 06:28.004 --> 06:30.924 "Symphony for a Hero," the "Eroica 06:30.916 --> 06:32.066 Symphony." 06:32.069 --> 06:36.029 So that's what we mean by that particular--the hero originally 06:36.026 --> 06:37.386 was to be Napoleon. 06:37.389 --> 06:39.869 So when we finish this exercise, when you finish this 06:39.867 --> 06:42.577 course, you will have actually been exposed to a number of 06:42.583 --> 06:43.873 Beethoven's symphonies. 06:43.870 --> 06:45.760 We're talking about No. 3 here. 06:45.759 --> 06:46.549 We opened with No. 5. 06:46.550 --> 06:49.320 On the concert a week from Saturday, 06:49.319 --> 06:52.259 you'll have Beethoven 8 and those of you that went to the 06:52.261 --> 06:55.461 preceding concert are not barred from attending the one on the 06:55.464 --> 06:56.624 first of November. 06:56.620 --> 06:58.850 You too can get in the door there, so you might want to go 06:58.848 --> 07:00.728 to that-- 7:30 in Battell Chapel 07:00.725 --> 07:03.795 November^( )1st, and the concert the other night 07:03.795 --> 07:07.495 we had Beethoven's Sixth so you will have been exposed to four 07:07.504 --> 07:10.794 Beethoven symphonies here in this course and that-- 07:10.790 --> 07:12.160 that's pretty good for a beginning course, 07:12.161 --> 07:12.431 great. 07:12.430 --> 07:13.040 All right. 07:13.043 --> 07:16.863 So let's talk about the finale here and it's based on--and it's 07:16.857 --> 07:17.777 kind of fun. 07:17.778 --> 07:20.308 It's actually more complex than we would ever do on a test but 07:20.307 --> 07:21.547 it's fun to work through it. 07:21.550 --> 07:26.280 It's based on two themes, so this is a set of variations 07:26.283 --> 07:27.923 using two themes. 07:27.920 --> 07:29.320 Beethoven liked to do this. 07:29.319 --> 07:32.439 He did this--actually, he did this in a slow movement 07:32.439 --> 07:34.419 of >. 07:34.420 --> 07:35.900 What's that? 07:35.899 --> 07:37.129 What symphony is that? 07:37.129 --> 07:38.209 Anybody remember? 07:38.209 --> 07:38.519 Yeah. 07:38.516 --> 07:42.326 It was the Beethoven Sixth that we had at the concert the other 07:42.326 --> 07:45.576 night with the woodwinds and all > 07:45.583 --> 07:47.553 > 07:47.550 --> 07:48.820 and so on. 07:48.819 --> 07:54.279 > 07:54.279 --> 07:55.379 That was the second theme. 07:55.379 --> 08:00.419 That was kind of the second, the B idea if you will, 08:00.422 --> 08:02.402 of the two themes. 08:02.399 --> 08:05.249 So there in the slow movement of Beethoven's "Sixth 08:05.250 --> 08:07.530 Symphony" we had a double variation, 08:07.528 --> 08:10.398 and what we mean by double variation is simply that there 08:10.399 --> 08:11.679 are two themes in play. 08:11.680 --> 08:14.380 So here we have the two themes. 08:14.379 --> 08:17.289 One, the way he's constructed here, is in the treble. 08:17.290 --> 08:27.230 > 08:27.230 --> 08:29.290 That's theme number one. 08:29.290 --> 08:30.310 Here is theme number two. 08:30.310 --> 08:47.160 > 08:47.159 --> 08:49.389 So those are the two themes. 08:49.389 --> 08:50.469 So let's listen to some of this. 08:50.470 --> 08:53.380 It's going to start out with just a little bit of a curtain 08:53.381 --> 08:55.991 raiser so I have a curtain raiser and then one of the 08:55.994 --> 08:57.204 themes will come in. 08:57.200 --> 08:58.740 Which one does Beethoven start with? 08:58.740 --> 09:01.270 > 09:01.269 --> 09:02.969 Okay. Up goes the curtain. 09:02.970 --> 09:19.550 > 09:19.549 --> 09:19.839 Repeat. 09:19.840 --> 09:26.220 > 09:26.220 --> 09:28.850 Continue. 09:28.850 --> 09:36.480 > 09:36.480 --> 09:44.290 Repeat. 09:44.288 --> 09:44.568 Okay. 09:44.571 --> 09:46.261 We're going to stop it there. 09:46.259 --> 09:48.789 So which theme did he choose to work with here at the outset? 09:48.789 --> 09:51.439 Anybody know? Daniel? 09:51.440 --> 09:52.900 Student: The bass theme. 09:52.899 --> 09:54.009 Prof: Yeah, the bass theme, 09:54.013 --> 09:54.793 > 09:54.789 --> 09:56.119 and how is it being played? 09:56.120 --> 09:57.110 Wasn't it a pizzicato? 09:57.110 --> 09:58.780 > 09:58.779 --> 10:00.719 So that's the bass theme. 10:00.720 --> 10:01.160 All right. 10:01.163 --> 10:03.653 So that's in a sense--we'll say--call it variation one. 10:03.649 --> 10:05.679 Let's go on to variation two here. 10:05.678 --> 10:07.748 Which theme does he choose to use at this point? 10:07.750 --> 10:15.010 > 10:15.009 --> 10:16.799 Repeat. 10:16.799 --> 10:32.249 > 10:32.250 --> 10:33.640 And repeat. 10:33.639 --> 10:41.629 > 10:41.629 --> 10:42.039 Okay. 10:42.041 --> 10:44.841 So which theme is he using there? 10:44.840 --> 10:46.320 One or two? 10:46.320 --> 10:46.660 Yeah. 10:46.657 --> 10:50.507 Evgeny says two and it was still the bass theme and it was 10:50.505 --> 10:54.355 a little bit harder to hear this time because it was being 10:54.355 --> 10:57.255 covered up above by some counterpoint. 10:57.259 --> 10:58.139 So we've got the theme. 10:58.139 --> 11:00.459 We've got counterpoint against it. 11:00.460 --> 11:03.220 Let's go on into variation number three and we'll see what 11:03.224 --> 11:03.714 happens. 11:03.710 --> 11:05.280 > 11:05.279 --> 11:06.979 Which one here? 11:06.980 --> 11:11.300 > 11:11.298 --> 11:25.498 Repeat, going on, > 11:25.500 --> 11:27.120 and repeat. 11:27.120 --> 11:37.100 > 11:37.100 --> 11:38.470 So which theme this time? 11:38.471 --> 11:39.131 One or two? 11:39.129 --> 11:39.879 Student: Two. 11:39.879 --> 11:41.739 Prof: Still two, but he's moved it up into the 11:41.741 --> 11:43.941 first violins, moved it up higher and he's got 11:43.937 --> 11:46.727 more sort of fast-running counterpoint against it. 11:46.730 --> 11:47.780 Let's go on to the next. 11:47.779 --> 11:49.949 We've got to get number one at some point. 11:49.950 --> 11:53.020 > 11:53.019 --> 11:54.649 Hooray. 11:54.649 --> 12:25.249 > 12:25.250 --> 12:26.080 All right. 12:26.080 --> 12:32.160 12:32.158 --> 12:35.198 What was the solo instrument there, and how did he 12:35.200 --> 12:36.380 orchestrate this? 12:36.379 --> 12:38.399 Well, the first statement of this first theme, 12:38.402 --> 12:40.112 he assigned it to a solo instrument. 12:40.110 --> 12:43.490 Then in the repeat he had the strings take it over. 12:43.490 --> 12:47.280 Then that solo instrument came back and then on the repeat the 12:47.278 --> 12:49.078 strings took it over again. 12:49.080 --> 12:51.880 So it's an interesting use of orchestration here. 12:51.879 --> 12:54.829 Let's listen to this variation again and what is the solo 12:54.827 --> 12:56.037 instrument up on top? 12:56.039 --> 13:17.049 > 13:17.048 --> 13:17.288 Okay. 13:17.292 --> 13:19.232 Let's pause it there just for a second. 13:19.230 --> 13:20.440 So what's the solo instrument? 13:20.440 --> 13:21.200 Student: Oboe. 13:21.200 --> 13:22.340 Prof: Oboe, yeah. 13:22.340 --> 13:24.420 So there's an oboe penetrating up on high. 13:24.419 --> 13:25.819 Question up there, Roger? 13:25.820 --> 13:31.820 Student: Can we think of this kind of like the 13:31.816 --> 13:34.926 > 13:34.928 --> 13:36.118 Prof: Yeah. 13:36.115 --> 13:39.075 I wouldn't want to take that too far though. 13:39.080 --> 13:42.230 This is sort of an isolated event here where you do have a 13:42.232 --> 13:43.452 call and a response. 13:43.450 --> 13:46.780 And it does happen just in this one variation but it's going to 13:46.777 --> 13:48.707 be limited to this one variation, 13:48.710 --> 13:52.730 whereas in a Bessie Smith blues tune you would have that call 13:52.731 --> 13:56.021 and response idea carried on throughout the entire 13:56.017 --> 13:57.087 composition. 13:57.090 --> 13:58.350 It's a good point though. 13:58.350 --> 14:01.160 I hadn't thought of it in those terms, but that's it exactly. 14:01.158 --> 14:05.248 You got a call by the oboe and then a repeat of that idea maybe 14:05.245 --> 14:07.085 elaborated by the strings. 14:07.090 --> 14:09.450 So here we are up here, the solo oboe, 14:09.445 --> 14:13.325 and then we are going to have the response now by the strings, 14:13.326 --> 14:15.106 so let's listen to that. 14:15.110 --> 14:19.000 > 14:19.000 --> 14:20.010 Here we go, strings. 14:20.009 --> 14:28.099 > 14:28.100 --> 14:28.290 Okay. 14:28.288 --> 14:30.108 We're going to pause it here just for a second. 14:30.110 --> 14:32.010 Now something interesting happens. 14:32.009 --> 14:35.259 When we were dealing with sonata-allegro form we said that 14:35.261 --> 14:38.571 there were four functional types and this really isn't just 14:38.572 --> 14:40.572 limited to sonata-allegro form. 14:40.570 --> 14:42.910 There are functional types in all kinds of music. 14:42.908 --> 14:45.888 When you go to a movie, a cinema, a film for example, 14:45.890 --> 14:48.820 oftentimes at the end of the scene, they will have a 14:48.815 --> 14:51.505 fade-out, and listen to the fade-out music. 14:51.509 --> 14:54.229 There's kind of transition music in film music a lot of 14:54.226 --> 14:54.626 times. 14:54.629 --> 14:57.539 Then maybe we get a new scene and it's very prominently 14:57.538 --> 15:00.018 displayed--well, maybe we get thematic music at 15:00.018 --> 15:01.418 that particular point. 15:01.418 --> 15:04.488 So this idea of theme and transition, 15:04.490 --> 15:06.550 even development, can occur in all different 15:06.552 --> 15:09.052 kinds of music in all different kinds of context, 15:09.048 --> 15:12.518 but just to review that idea: we have thematic music, 15:12.519 --> 15:16.949 we have transitional music, we have developmental music, 15:16.950 --> 15:21.620 and again it doesn't have to be limited to sonata-allegro form. 15:21.620 --> 15:25.830 We saw developmental music in a section of a--of the fugue 15:25.833 --> 15:26.873 called what? 15:26.870 --> 15:29.930 Does anybody remember what we called that section of the fugue 15:29.926 --> 15:31.326 that was so developmental? 15:31.330 --> 15:32.110 Thaddeus. 15:32.110 --> 15:32.590 Student: The episode. 15:32.590 --> 15:35.790 Prof: The episode, so there we--in the episode of 15:35.791 --> 15:40.471 the fugue we have developmental activity and we get ending, 15:40.470 --> 15:42.800 cadential, stuff virtually in every kind of music so it's not 15:42.802 --> 15:44.282 limited just to sonata-allegro form. 15:44.279 --> 15:49.269 But the question here is what is Beethoven writing at this 15:49.267 --> 15:50.927 particular point? 15:50.928 --> 15:54.388 Here we are in theme and variations but I think we're 15:54.388 --> 15:58.048 referencing one of the four functional types of music in 15:58.046 --> 15:59.506 this next section. 15:59.509 --> 16:02.069 So what functional type is it? 16:02.070 --> 16:10.150 > 16:10.149 --> 16:10.419 Okay. 16:10.417 --> 16:12.397 So what was that that we just heard? 16:12.399 --> 16:13.409 What would you guess? 16:13.409 --> 16:15.809 Daniel. 16:15.808 --> 16:17.258 A transition. 16:17.264 --> 16:23.984 Yeah, he's just taking us very simply from point A to point B 16:23.975 --> 16:26.655 > 16:26.658 --> 16:28.698 and maybe just a little bit idea of a cadence. 16:28.700 --> 16:32.090 Transitions usually end with a couple of final-sounding chords 16:32.087 --> 16:34.887 there at the end, so that's a transition and 16:34.885 --> 16:39.035 we've moved and we've moved from here > 16:39.037 --> 16:40.137 , a major key. 16:40.139 --> 16:41.939 What would you imagine we're going to move to? 16:41.940 --> 16:46.150 A minor key and it's probably, again, 16:46.149 --> 16:48.409 although we don't hear it--I don't hear it-- 16:48.408 --> 16:50.748 we don't hear it, it's probably going to be the 16:50.746 --> 16:53.946 relative minor because it's just simpler structurally to operate 16:53.948 --> 16:54.608 that way. 16:54.610 --> 16:57.440 So let's listen now to the next variation here, 16:57.437 --> 16:59.957 but something very interesting happens. 16:59.960 --> 17:02.530 He's referencing another form. 17:02.528 --> 17:06.498 He's incorporating another form in the composition as a 17:06.503 --> 17:09.673 variation, so what is the other form now? 17:09.670 --> 17:36.320 > 17:36.319 --> 17:38.779 Okay. Let's stop it right there. 17:38.779 --> 17:40.599 So what form is he referencing? 17:40.599 --> 17:43.879 Michael? 17:43.880 --> 17:44.210 Student: Yes. 17:44.210 --> 17:44.750 Prof: Got it right today. 17:44.748 --> 17:44.868 Okay. 17:44.869 --> 17:45.829 Student: A fugue. 17:45.828 --> 17:48.868 Prof: A fugue, yeah, and we--in just one 17:48.865 --> 17:51.325 hearing is-- was a little--it'd be hard to 17:51.327 --> 17:54.457 really know what voices would bring it in but I'll just tell 17:54.458 --> 17:54.828 you. 17:54.828 --> 18:01.278 Generally what he was doing there was starting up on the top 18:01.284 --> 18:04.244 > 18:04.238 --> 18:09.378 , okay, and then <> 18:09.380 --> 18:14.020 and gradually coming down in terms of range. 18:14.019 --> 18:16.539 So it was soprano, alto, tenor and then bass. 18:16.538 --> 18:19.428 And the bass did something interesting which sort of 18:19.430 --> 18:21.810 reinforces a point we had the other day. 18:21.808 --> 18:23.218 The fugue subject that he's working with, 18:23.218 --> 18:24.238 > 18:24.240 --> 18:27.530 which by the way-- > 18:27.528 --> 18:33.218 So he's kind of varying that melody number one, 18:33.221 --> 18:36.811 > 18:36.808 --> 18:40.148 kind of varying that melody, but when it gets to the bass it 18:40.154 --> 18:41.804 does something interesting. 18:41.799 --> 18:46.329 > 18:46.329 --> 18:48.479 Why is that interesting? 18:48.480 --> 18:54.250 > 18:54.250 --> 18:58.820 What process do we have at work there that we talked about last 18:58.817 --> 19:00.877 time with regard to fugue? 19:00.880 --> 19:01.990 Does anybody remember that? 19:01.990 --> 19:03.380 Daniel? 19:03.380 --> 19:04.030 Student: Inversion. 19:04.029 --> 19:06.459 Prof: Inversion, and I don't think I made that 19:06.460 --> 19:08.310 point clearly enough the other day, 19:08.308 --> 19:13.438 but any time you have > 19:13.440 --> 19:16.940 or you could have <> 19:16.940 --> 19:19.690 it's going up a minor third and then down a second. 19:19.690 --> 19:22.690 You could go down a minor third and then up a second. 19:22.690 --> 19:25.190 So you're just turning the intervals and then kind of a 19:25.194 --> 19:26.174 mirror image there. 19:26.170 --> 19:30.530 So here Beethoven uses a little bit of inversion. 19:30.528 --> 19:35.018 So in the middle of this theme and variation movement he 19:35.023 --> 19:38.543 inserts a fugue, and a fugue inserted inside 19:38.538 --> 19:41.478 another form is called a fugato. 19:41.480 --> 19:46.040 So here as the fourth, I think fifth variation of this 19:46.035 --> 19:49.125 last movement he inserts a fugato. 19:49.130 --> 19:54.240 19:54.240 --> 19:57.930 We're going to listen to one final variation here and we--at 19:57.931 --> 20:01.121 this point we want to concentrate on the duration of 20:01.121 --> 20:02.061 the melody. 20:02.058 --> 20:07.578 We were starting out > 20:07.576 --> 20:12.956 , one, two, one, two, in that fashion. 20:12.960 --> 20:15.110 What's Beethoven doing here? 20:15.109 --> 20:21.139 20:21.140 --> 20:25.160 > 20:25.160 --> 20:26.630 Here we go. 20:26.630 --> 20:44.250 20:44.250 --> 20:46.710 Let's pause it there just for a second. 20:46.710 --> 20:49.990 So what's he done here to his melody, to the duration within 20:49.994 --> 20:50.724 his melody? 20:50.720 --> 20:51.150 Hm? 20:51.150 --> 20:55.460 It's now--can you express it? 20:55.460 --> 21:01.090 If we were coming-- > 21:01.088 --> 21:06.138 and now we're going > 21:06.143 --> 21:08.673 , what's he doing? 21:08.670 --> 21:10.150 Student: > 21:10.150 --> 21:11.340 Prof: Well, come on. 21:11.337 --> 21:13.347 I just hear small, little words out there. 21:13.348 --> 21:15.828 I--somebody--let's choose somebody who's pretty confident 21:15.828 --> 21:17.378 and that person will yell it out. 21:17.380 --> 21:18.200 Marcos? 21:18.200 --> 21:19.010 Student: > 21:19.009 --> 21:19.789 Prof: I'm sorry. 21:19.789 --> 21:20.469 I didn't hear that. 21:20.470 --> 21:22.310 Student: > 21:22.308 --> 21:25.078 Prof: That's the psychological effect of 21:25.076 --> 21:26.896 ritardando, slowing it down, 21:26.903 --> 21:28.563 giving you a sense you're getting to the end, 21:28.558 --> 21:30.048 but once again, technically, 21:30.053 --> 21:32.103 that's not exactly what he's doing. 21:32.098 --> 21:34.288 He's giving that effect by doing something. 21:34.289 --> 21:34.969 Thaddeus. 21:34.970 --> 21:36.040 Student: > 21:36.038 --> 21:37.528 Prof: Right. 21:37.525 --> 21:39.945 He's changing the note values. 21:39.950 --> 21:42.730 He's simply doubling the note values, and when we do that in 21:42.734 --> 21:44.344 music we call that augmentation. 21:44.338 --> 21:48.108 Sometime, when we get to Hector Berlioz, we'll see diminution. 21:48.108 --> 21:51.128 To give a sense of urgency to the music, you can chop them all 21:51.134 --> 21:51.634 in half. 21:51.630 --> 21:53.110 Well, here he's getting toward the end. 21:53.108 --> 21:54.738 He wants this grand, broad effect. 21:54.740 --> 21:56.290 He's brought in the brasses. 21:56.288 --> 21:59.148 It's show time so what does he do? 21:59.150 --> 22:02.370 He doubles all of the note values in theme number one so 22:02.374 --> 22:03.844 let's continue, please. 22:03.839 --> 22:36.139 > 22:36.140 --> 22:38.850 Okay, and then he sort of fades out and adds a little coda at 22:38.852 --> 22:39.442 that point. 22:39.440 --> 22:42.340 But that's the way we end the Third Symphony, 22:42.336 --> 22:45.426 the "Eroica Symphony" of Beethoven. 22:45.430 --> 22:47.270 So it's an interesting piece because he's got a fugato in 22:47.272 --> 22:49.142 there, he's got sections that sound 22:49.137 --> 22:51.657 like transition out of sonata-allegro form, 22:51.660 --> 22:54.100 and he's working with two themes. 22:54.098 --> 22:57.198 Questions about that before we move on? 22:57.200 --> 22:57.750 All right. 22:57.747 --> 23:00.697 So let's put that behind us now and go on to talk about 23:00.704 --> 23:02.024 ostinato form. 23:02.019 --> 23:06.179 Once again--we've been through this many times--but what is an 23:06.181 --> 23:07.411 ostinato? 23:07.410 --> 23:11.200 Okay. I know it's embarrassing. 23:11.200 --> 23:14.220 It's something that happens again and again and again, 23:14.220 --> 23:16.790 just sort of obsessive-compulsive disorder 23:16.787 --> 23:19.867 applied to music, okay, obsessive-compulsive 23:19.874 --> 23:21.784 disorder applied to music. 23:21.778 --> 23:30.128 The most famous example of this is probably the < 23:32.222 piano>> 23:32.220 --> 23:35.700 the Bolero of Maurice Ravel, 23:35.700 --> 23:38.770 so we've put that up on the board here as our first 23:38.772 --> 23:42.232 ostinato piece, 1928, a piece in the twentieth 23:42.232 --> 23:42.812 century. 23:42.808 --> 23:47.538 It's ostinato in every way in the sense that the melody 23:47.537 --> 23:52.107 keeps repeating over and over again for fourteen minutes. 23:52.108 --> 23:55.888 The rhythm <> , 23:55.892 --> 24:00.672 that keeps going for fourteen minutes and change, 24:00.670 --> 24:05.050 depending on the tempo of the conductor. 24:05.048 --> 24:10.518 And when we did this, remember, you guys were 24:10.517 --> 24:16.727 providing the bass harmony > 24:16.730 --> 24:19.060 and that's all you do for fourteen minutes and thirty 24:19.060 --> 24:19.510 seconds. 24:19.509 --> 24:21.729 So every aspect of that--melody, 24:21.731 --> 24:24.601 rhythm and harmony--is controlled by this 24:24.598 --> 24:26.748 ostinato procedure. 24:26.750 --> 24:28.440 And then this example, as mentioned, 24:28.439 --> 24:29.839 from the twentieth century. 24:29.838 --> 24:32.908 But the heyday of ostinato form, 24:32.913 --> 24:36.313 well, really, in two periods in the history 24:36.311 --> 24:39.631 of music: one, in the Baroque period; 24:39.630 --> 24:43.040 and two, right now. 24:43.038 --> 24:45.958 Because when you start listening to your pop music-- 24:45.960 --> 24:48.850 go out there and listen to those basses and start charting 24:48.853 --> 24:51.293 those basses and see how repetitious they are. 24:51.288 --> 24:53.958 When Frederick Evans brought in that piece of 'N Sync or 24:53.958 --> 24:56.868 whatever it was that he brought in and I started listening to 24:56.867 --> 24:58.227 that I thought: "My God, 24:58.227 --> 25:00.407 he's got a descending tetrachord bass, 25:00.410 --> 25:02.260 ostinato, embedded in that." 25:02.259 --> 25:04.149 Now I'm sure Frederick didn't sit there scratching: 25:04.152 --> 25:05.512 "Oh, yes, there is my descending 25:05.513 --> 25:07.483 tetrachord-- chromatic descending tetrachord 25:07.478 --> 25:09.098 bass there," but it's in there. 25:09.098 --> 25:11.768 It's embedded in so much of this popular music and that's 25:11.768 --> 25:14.388 kind of what we're going to track here a little bit, 25:14.390 --> 25:16.870 but we're going to start with the Baroque. 25:16.868 --> 25:19.558 So we can start with--who is the best or the--yeah, 25:19.558 --> 25:22.408 we could even say the best composer of the Baroque. 25:22.410 --> 25:25.230 Well, J.S. Bach, so let's start with an organ 25:25.226 --> 25:27.526 piece of Bach, and we'll listen to an 25:27.530 --> 25:29.260 ostinato bass. 25:29.259 --> 25:32.639 Generally speaking in music, when you get an ostinato 25:32.642 --> 25:34.192 it's applied to the bass. 25:34.190 --> 25:38.110 It sets up a repeating harmony so that's what we've got here so 25:38.105 --> 25:41.005 here is a passacaglia, just a little bit of it, 25:41.010 --> 25:41.770 by Bach. 25:41.769 --> 26:23.179 > 26:23.180 --> 26:26.700 So let's pause it there, and you can see what he's doing 26:26.698 --> 26:30.468 once he gets his bass in there, and it's a typical eight-bar 26:30.471 --> 26:31.241 pattern. 26:31.240 --> 26:35.180 It's odd how many of these ostinato basses are in 26:35.180 --> 26:36.470 eight-bar units. 26:36.470 --> 26:37.890 So it's an eight-bar pattern here with Bach. 26:37.890 --> 26:41.250 Then all he does is keep throwing over top of that 26:41.250 --> 26:45.160 different rhythmic patterns and slightly different melodic 26:45.160 --> 26:49.840 patterns as well, but that bass 26:49.842 --> 26:55.212 > 26:55.210 --> 26:59.170 keeps churning away over and over underneath in that piece 26:59.166 --> 27:01.316 for what instrument, by Bach? 27:01.318 --> 27:04.908 Organ, big, powerful pipe organ, that wonderful, 27:04.905 --> 27:06.275 wonderful sound. 27:06.278 --> 27:06.868 All right. 27:06.865 --> 27:09.435 So that's an introduction to the basso 27:09.443 --> 27:11.853 ostinato, the ostinato bass, 27:11.847 --> 27:12.607 by Bach. 27:12.608 --> 27:15.638 Let's turn to some music now of Henry Purcell. 27:15.640 --> 27:19.350 Henry Purcell was an English composer working in London at 27:19.351 --> 27:21.761 the end of the seventeenth century. 27:21.759 --> 27:24.839 He was employed by--it must have been James the Second, 27:24.840 --> 27:27.520 and then, I think, William and Mary for a little 27:27.522 --> 27:27.982 bit. 27:27.980 --> 27:32.150 So he wrote for the court and he also wrote for the theater. 27:32.150 --> 27:34.580 And in one instance, and it turned out to be his 27:34.576 --> 27:37.756 most famous composition, he wrote an opera for an 27:37.759 --> 27:42.159 all-girls boarding school in the London suburb of Chelsea. 27:42.160 --> 27:44.430 I guess it's now part of downtown London. 27:44.430 --> 27:47.010 There's a famous soccer team, Chelsea something. 27:47.007 --> 27:47.827 I don't know. 27:47.829 --> 27:49.319 You see them on TV. 27:49.318 --> 27:53.338 So there is Henry Purcell out at this all-girl boarding school 27:53.344 --> 27:55.724 and annually they put on a drama, 27:55.720 --> 27:59.760 so it was kind of like the senior class play and all of the 27:59.761 --> 28:04.011 roles were sung by women except in this case one role was sung 28:04.012 --> 28:07.222 by a male and that was the role of Aeneas. 28:07.220 --> 28:11.440 So we've got the famous story of Dido and Aeneas. 28:11.440 --> 28:14.780 You've probably read it in literature classes and you've 28:14.775 --> 28:17.015 probably read parts of it in Latin. 28:17.019 --> 28:21.539 It's from Book IV and it used to be in a really good 28:21.544 --> 28:23.944 secondary-type education. 28:23.940 --> 28:27.780 When you were doing Latin and you've had maybe six or seven 28:27.779 --> 28:31.689 years of Latin you would read the--Virgil's Aeneid in 28:31.686 --> 28:33.206 the original Latin. 28:33.210 --> 28:36.140 Anybody do that in your--wow. 28:36.140 --> 28:37.380 Holy shmoly. 28:37.380 --> 28:40.210 Latin is making a serious comeback here. 28:40.210 --> 28:41.620 Because it's not easy. 28:41.619 --> 28:43.399 It's not easy stuff. 28:43.400 --> 28:47.330 It's traditional classical Latin where the syntax is 28:47.327 --> 28:51.407 radically different than medieval Latin or any kind of 28:51.409 --> 28:52.949 modern language. 28:52.950 --> 28:54.270 Okay. Well, good for you guys. 28:54.269 --> 28:56.279 So you know the story. 28:56.279 --> 28:57.489 Somebody tell me the story then. 28:57.490 --> 28:58.960 Michael, what's the story? 28:58.960 --> 29:08.470 Student: > 29:08.470 --> 29:10.750 and Aeneas has to leave > 29:10.750 --> 29:11.530 Prof: Okay. 29:11.532 --> 29:13.452 So Aeneas has to leave for another country. 29:13.450 --> 29:14.960 It happens to be what country? 29:14.960 --> 29:15.540 Student: Rome. 29:15.538 --> 29:16.538 Prof: Yeah. 29:16.539 --> 29:19.979 He's got to follow his destiny and go off and found the city of 29:19.984 --> 29:23.044 Rome and, in the vernacular, having ditched Dido back in 29:23.041 --> 29:23.821 Carthage. 29:23.819 --> 29:25.609 She's not happy about this. 29:25.609 --> 29:27.349 She dies. 29:27.348 --> 29:31.298 Depending upon the theatrical version or the original, 29:31.298 --> 29:34.558 she either stabs herself, falls on a burning funeral pyre 29:34.560 --> 29:37.750 or dies of a broken heart, but this is opera so you know 29:37.750 --> 29:40.130 that at the end of it the soprano's got to die. 29:40.133 --> 29:40.603 Right? 29:40.599 --> 29:41.559 This is the way operas die. 29:41.559 --> 29:44.039 Operas end--die, dead. 29:44.038 --> 29:45.958 So anyway you could do Violetta, 29:45.957 --> 29:48.377 in Traviata--you could do Tosca. 29:48.380 --> 29:51.720 In Tosca--we've even seen here the Liebestod 29:51.722 --> 29:54.072 at the end of Wagner's Tristan. 29:54.068 --> 29:58.158 Isolde dies after singing the Liebestod--expires 29:58.156 --> 30:01.106 there--so it's a convention of opera. 30:01.108 --> 30:04.418 And in this particular opera we have a famous aria. 30:04.420 --> 30:07.480 It's called "Dido's Lament" where she is 30:07.476 --> 30:11.216 lamenting the fact that she has been abandoned by Aeneas, 30:11.220 --> 30:14.400 and it's interesting because it's built on an ostinato 30:14.403 --> 30:17.593 bass line and it's built on an ostinato bass line that 30:17.586 --> 30:21.746 descends, and this is important because 30:21.746 --> 30:26.456 it became a convention for lamentation. 30:26.460 --> 30:40.920 So this is the bass line for "Dido's Lament" 30:40.920 --> 30:48.560 here > 30:48.558 --> 30:52.088 and it just keeps recycling over and over and over again. 30:52.089 --> 30:53.739 That's the ostinato. 30:53.740 --> 30:56.720 And then up above that we have the lamentation, 30:56.717 --> 31:00.657 "When I am laid in earth, may my wrongs create no trouble 31:00.664 --> 31:01.834 in thy breast. 31:01.828 --> 31:03.288 Remember me, remember me, 31:03.290 --> 31:03.840 but ah! 31:03.839 --> 31:05.269 Forget my fate." 31:05.269 --> 31:08.939 So that's what she's singing, so let's listen to a bit of 31:08.942 --> 31:12.752 this and before we do that we have the term on the board up 31:12.748 --> 31:14.898 there, "ground bass." 31:14.900 --> 31:17.930 All that is is the English term for ostinato bass-- 31:17.930 --> 31:19.570 ground bass, ostinato bass, 31:19.567 --> 31:21.887 the same thing, but it gives us the sense at 31:21.888 --> 31:24.698 least that the bass grounds; it kind of holds together. 31:24.700 --> 31:27.480 It's the foundation for the entire composition. 31:27.480 --> 31:31.960 So let's listen and we'll start with the ground bass and--and 31:31.962 --> 31:34.282 then the singer will come in. 31:34.279 --> 32:15.859 > 32:15.859 --> 32:18.379 Okay. Let's stop it there. 32:18.380 --> 32:21.350 So that's how this plays out and that bass keeps cycling 32:21.351 --> 32:23.891 through the duration of this particular aria. 32:23.890 --> 32:27.330 Listening to this recording gives us the opportunity to 32:27.326 --> 32:29.486 think about approaches to music. 32:29.490 --> 32:32.410 This is a piece written at the end of the seventeenth century 32:32.413 --> 32:35.393 and actually in this particular recording they're playing this 32:35.385 --> 32:38.455 and singing in a way that would be rather similar to the way the 32:38.455 --> 32:40.985 would have done it in the seventeenth century. 32:40.990 --> 32:44.630 They have reproductions of seventeenth-century instruments, 32:44.634 --> 32:48.474 and the singer here is trying to create a particular approach, 32:48.465 --> 32:50.095 vocally, to the music. 32:50.098 --> 32:53.648 So as we listen to this recording one more time we're 32:53.647 --> 32:57.877 going to hear just a little bit more of it and then we're going 32:57.878 --> 33:02.108 to ask you to compare this recording to another recording. 33:02.108 --> 33:05.548 This would be the kind of thing that a reviewer would do, 33:05.546 --> 33:08.426 so let's listen to a bit more of this recording, 33:08.430 --> 33:11.130 A we'll call it, and then we'll move on. 33:11.130 --> 33:43.980 > 33:43.980 --> 33:44.520 All right. 33:44.521 --> 33:47.351 Let's pause it there, and now we're going to go on to 33:47.345 --> 33:48.155 recording B. 33:48.160 --> 33:52.410 So what's the difference here in approach in terms of 33:52.413 --> 33:57.323 orchestra--everything--voice, and how does recording B differ 33:57.321 --> 33:59.041 from recording A? 33:59.039 --> 35:01.199 > 35:01.199 --> 35:03.089 So maybe we'll pause it there. 35:03.090 --> 35:04.850 What's your reaction to that? 35:04.849 --> 35:07.339 How do those two differ? 35:07.340 --> 35:11.350 Hands, please. Caroline. 35:11.349 --> 35:12.569 Student: > 35:12.570 --> 35:13.910 Prof: Okay. 35:13.911 --> 35:18.161 The first singer had a much more youthful approach and you 35:18.164 --> 35:22.794 could see that as an attempt to maybe duplicate the performance 35:22.789 --> 35:27.189 context of the original performance in a high school-- 35:27.190 --> 35:30.650 a girls' school there in late seventeenth-century London. 35:30.650 --> 35:34.390 More specifically, what about the quality of that 35:34.394 --> 35:35.024 voice? 35:35.019 --> 35:36.559 Any thoughts? 35:36.559 --> 35:38.539 Roger. 35:38.539 --> 35:40.449 Student: > 35:40.449 --> 35:41.649 Prof: Okay. 35:41.650 --> 35:44.050 Now, so we have the two recordings. 35:44.050 --> 35:46.420 Which of the two had more vibrato? 35:46.420 --> 35:47.530 One or two? 35:47.530 --> 35:48.320 Student: Two. 35:48.320 --> 35:53.510 Prof: Two had a lot more vibrato so that's really the big 35:53.512 --> 35:56.402 difference here, that one was a very 35:56.400 --> 36:00.500 well-focused voice with very little vibrato and maybe that's 36:00.498 --> 36:03.068 what gave it this youthful appeal. 36:03.070 --> 36:05.990 It's almost like the voice of a choir boy or a choir girl for 36:05.992 --> 36:08.682 heaven's sakes, a pre-adolescent child, 36:08.682 --> 36:13.182 but intending to make it very pure and very clean and very 36:13.177 --> 36:14.437 well-focused. 36:14.440 --> 36:17.400 The second recording--what--that might be a 36:17.396 --> 36:21.826 recording that you would expect to hear--a performance you would 36:21.829 --> 36:23.589 expect to hear where? 36:23.590 --> 36:28.100 Maybe in a modern opera theater or an opera hall, 36:28.103 --> 36:33.753 a hall designed for opera where they've got this huge expanse 36:33.748 --> 36:36.098 that we have to fill. 36:36.099 --> 36:38.669 What about the orchestra? 36:38.670 --> 36:41.100 Frederick. 36:41.099 --> 36:46.019 Student: It seems like the second piece the bass line 36:46.018 --> 36:49.618 was more tenor, slightly higher ostinato 36:49.617 --> 36:52.567 than the other one, and it seemed like the 36:52.568 --> 36:55.138 repetition was a little bit higher-- 36:55.139 --> 36:57.139 Prof: You mean higher in terms of pitch? 36:57.139 --> 36:57.929 Student: Yes. 36:57.929 --> 36:59.889 Prof: Frederick, you have a very good ear. 36:59.889 --> 37:00.979 Actually, that's true. 37:00.980 --> 37:04.190 There's--I don't want to get into this, but the first 37:04.192 --> 37:07.962 recording is pitched in F-sharp, in the old Baroque tuning. 37:07.960 --> 37:10.150 They're trying really to be so authentic. 37:10.150 --> 37:15.240 Pitch in the Baroque era was actually lower than it is today. 37:15.239 --> 37:17.459 We know that because there are tuning forks that survived from 37:17.460 --> 37:17.970 that period. 37:17.969 --> 37:21.119 They got labeled on it A--you play that A and it turns out to 37:21.123 --> 37:23.203 be our G-sharp, so aficionados of this 37:23.202 --> 37:26.192 particular repertoire when they go to perform Baroque music 37:26.192 --> 37:28.562 they're going to use reproductions of authentic 37:28.561 --> 37:30.301 instruments, they're going to use 37:30.298 --> 37:32.298 non-vibrato singing, and they're going to use the 37:32.295 --> 37:32.805 lower pitch. 37:32.809 --> 37:36.099 I didn't plan on getting into that but since you picked up on 37:36.097 --> 37:37.137 it, good for you. 37:37.139 --> 37:38.539 No, we don't have to get into that, 37:38.539 --> 37:40.959 and to be honest with you, the only reason I remembered 37:40.956 --> 37:43.696 that was I went to duplicate-- before coming in here today, 37:43.704 --> 37:46.294 I went to duplicate those pitches on the piano so I'd be 37:46.289 --> 37:48.449 up to speed with this and I realized geez, 37:48.449 --> 37:51.409 that I'd have to do this in F-sharp and that's going to 37:51.405 --> 37:54.625 require some quick transposition up here because I can do it 37:54.632 --> 37:57.372 quickly in G with only two flats but F-sharp, 37:57.369 --> 37:59.129 how many sharps that I've got there, 37:59.130 --> 38:00.670 and I had to figure all of this out, 38:00.670 --> 38:02.250 so--but that is going on there. 38:02.250 --> 38:03.780 That's an interesting development, yeah. 38:03.780 --> 38:04.560 Anything else? 38:04.556 --> 38:06.386 What about the tempo of the two? 38:06.389 --> 38:12.109 Size of the orchestra always determines to some degree the 38:12.106 --> 38:12.906 tempo. 38:12.909 --> 38:14.159 Oscar. 38:14.159 --> 38:15.179 Student: Slower. 38:15.179 --> 38:16.499 Prof: Yeah. 38:16.501 --> 38:19.291 The second recording was much slower. 38:19.289 --> 38:22.509 You--I was intentionally trying to beat it up here to--and it 38:22.512 --> 38:24.342 was a very labored beat pattern. 38:24.340 --> 38:29.650 It was much slower because they had many more instruments, 38:29.650 --> 38:31.360 a lot more people playing, axiomatic-- 38:31.360 --> 38:34.270 the more people you have, the longer it takes for sound 38:34.271 --> 38:36.581 to clear, the slower your tempo will go 38:36.581 --> 38:39.851 unless you have a maniacally dictatorial type of conductor 38:39.847 --> 38:41.507 that will really push you. 38:41.510 --> 38:45.130 So it leads to--the more people, the slower the tempo is 38:45.128 --> 38:46.048 going to go. 38:46.050 --> 38:48.600 So what we have here is a reproduction-- 38:48.599 --> 38:51.389 an attempt to reproduce an authentic seventeenth-century 38:51.385 --> 38:53.915 performance as opposed to a modern performance, 38:53.920 --> 38:55.980 big sound, metropolitan opera type of sound. 38:55.980 --> 39:00.400 All right. Let's move on here. 39:00.400 --> 39:02.300 One of the interesting aspect of this-- 39:02.300 --> 39:05.110 I discovered this driving down Whitney Avenue-- 39:05.110 --> 39:07.320 this is true--driving down Whitney Avenue one day, 39:07.320 --> 39:10.450 I must have been fishing for ninety-one point five on my FM 39:10.445 --> 39:13.785 dial and suddenly had a seizure or something and I didn't quite 39:13.789 --> 39:16.159 make it, and I was listening to Elton 39:16.161 --> 39:16.521 John. 39:16.518 --> 39:22.018 Okay, listening to Elton John, and what did I hear but the 39:22.018 --> 39:23.658 craziest thing. 39:23.659 --> 39:29.529 What I heard was this text: It's sad, it's sad, 39:29.534 --> 39:34.904 it's a sad, sad situation, and then I heard 39:34.898 --> 39:38.218 >. 39:38.219 --> 39:39.129 I said, "Whoa. 39:39.132 --> 39:40.142 Wait a minute there. 39:40.139 --> 39:44.249 That's the Purcell bass line. 39:44.250 --> 39:47.780 Elton John has stolen the Purcell bass line. 39:47.780 --> 39:48.780 Arrest that man!" 39:48.780 --> 39:48.990 No. 39:48.987 --> 39:52.877 We don't do this because, as we say, these bass lines are 39:52.880 --> 39:54.550 in the common domain. 39:54.550 --> 39:57.330 As we have said before, we can't sue anybody for the 39:57.333 --> 40:00.773 theft of a bass line and indeed it was all over the place in the 40:00.773 --> 40:01.433 Baroque. 40:01.429 --> 40:05.819 This is a type of--it became a kind of musical icon. 40:05.820 --> 40:15.320 Any time an audience would hear > 40:15.320 --> 40:19.890 they would think death or bad news, and actually, 40:19.893 --> 40:21.803 we still do today. 40:21.800 --> 40:25.030 Isn't "Hit the Road, Jack" based on that same 40:25.032 --> 40:26.892 kind of ostinato bass? 40:26.889 --> 40:29.549 But in the Baroque you could go back to Monteverdi's 40:29.554 --> 40:31.334 "Lamento della Ninfa." 40:31.329 --> 40:33.439 You could go to Bach's cantata, "Weinen, 40:33.436 --> 40:34.726 Klagen, Sorgen, Zagen," 40:34.728 --> 40:37.018 to whine, kvetch, and you could go to the 40:37.018 --> 40:39.578 "Crucifixus" in the Bach B Minor Mass. 40:39.579 --> 40:43.809 What could be more painful or dispiriting than a crucifixion? 40:43.809 --> 40:45.889 So this was a moniker. 40:45.889 --> 40:49.479 It was a kind of emblem of lamentation, whether it's in 40:49.478 --> 40:53.598 Purcell, whether it's in Bach or whether it's in Elton John. 40:53.599 --> 40:56.899 So then Elton John was to take this and he used it not at the 40:56.896 --> 40:59.096 beginning of this piece, "Sorry is the 40:59.099 --> 41:01.109 Saddest"-- or "Sorry is the Hardest 41:01.105 --> 41:01.995 Word to Say." 41:02.000 --> 41:03.470 He didn't use it at the beginning. 41:03.469 --> 41:05.029 He used it in the chorus. 41:05.030 --> 41:08.090 So here we are in the chorus of Elton John's--I think it's 41:08.092 --> 41:11.432 "Sorry is the Saddest Thing to Say" or something like 41:11.425 --> 41:11.905 that. 41:11.909 --> 41:33.389 > 41:33.391 --> 41:49.691 > 41:49.690 --> 41:52.060 And then he goes on with the next verse. 41:52.059 --> 41:52.429 Okay. 41:52.429 --> 41:56.489 So that's just one example of the use of that particular 41:56.494 --> 41:58.274 ostinato bass. 41:58.268 --> 42:01.008 We actually call that a lament bass and many--and Mozart even 42:01.009 --> 42:01.419 did it. 42:01.420 --> 42:04.570 He wrote a violin sonata on the occasion of his mother's death 42:04.574 --> 42:07.994 in E minor and he has that thing just going down and descending. 42:07.989 --> 42:11.109 Basically, it's this descending tetrachord chord here that gets 42:11.110 --> 42:12.420 filled in chromatically. 42:12.420 --> 42:12.970 All right. 42:12.972 --> 42:15.522 So we've got that as an ostinato bass. 42:15.518 --> 42:18.818 What's the most famous ostinato bass of all 42:18.824 --> 42:20.584 time, Baroque or modern? 42:20.579 --> 42:22.749 The Pachelbel bass. 42:22.750 --> 42:22.980 Okay? 42:22.976 --> 42:25.926 And we've got this thing called the "Pachelbel Canon." 42:25.929 --> 42:28.639 Do you have the Xerox for today? 42:28.639 --> 42:31.609 What's the "Pachelbel Canon"? 42:31.610 --> 42:34.100 Well, we've worked a little bit with this. 42:34.099 --> 42:37.189 I think it was Listening Exercise eight, 42:37.190 --> 42:41.540 I believe, early on in the course where we were trying to 42:41.541 --> 42:44.651 have you focus on changing harmonies, 42:44.650 --> 42:49.230 and these harmonies are just generated by this repeating bass 42:49.226 --> 42:49.756 line. 42:49.760 --> 42:53.500 There's an irony with the "Pachelbel Canon" 42:53.503 --> 42:58.043 and that is that you never hear the canon in the "Pachelbel 42:58.038 --> 42:59.188 Canon." 42:59.190 --> 43:01.140 Why is that the case? 43:01.139 --> 43:06.129 It's because if you look he's got these three canonic lines-- 43:06.130 --> 43:10.590 the three staves up above--all in the same register, 43:10.590 --> 43:14.260 and when people record this they always do it with the same 43:14.262 --> 43:16.472 instrument, usually just with a violin, 43:16.469 --> 43:18.129 so we have the violins up above, 43:18.130 --> 43:21.220 three violins all playing in the same register. 43:21.219 --> 43:23.099 You can't pick out the canon. 43:23.099 --> 43:25.319 It just sounds like this unfolding jumble. 43:25.320 --> 43:29.450 It's a very beautiful jumble but it's indistinctive in that 43:29.449 --> 43:30.019 sense. 43:30.018 --> 43:32.398 Maybe if they orchestrated oboe, flute and clarinet, 43:32.400 --> 43:34.220 maybe we could hear the canon better. 43:34.219 --> 43:37.569 What we hear, of course, grinding away 43:37.572 --> 43:41.742 underneath is the ostinato bass so let's 43:41.739 --> 43:44.729 listen to just a bit of this. 43:44.730 --> 43:47.830 And I was struck the other day when I went back and listened to 43:47.829 --> 43:49.279 this recording on your CDs. 43:49.280 --> 43:53.640 They have put in this something that's actually Pachelbel didn't 43:53.644 --> 43:54.204 write. 43:54.199 --> 43:59.819 When this starts out they just start with a < 44:01.432 piano>>. 44:01.429 --> 44:03.489 What's that? 44:03.489 --> 44:09.389 > 44:09.389 --> 44:12.759 It's a descending major scale so they've just said, 44:12.764 --> 44:13.984 "All right. 44:13.980 --> 44:15.150 Here's your basic tonality. 44:15.150 --> 44:16.900 Here's your tonal grid or whatever." 44:16.900 --> 44:18.420 So let's listen to the bass start out. 44:18.420 --> 44:21.240 Then we'll have this descending scale that Pachelbel didn't 44:21.237 --> 44:24.147 write and then his canon will start, and you can see how this 44:24.150 --> 44:24.880 works here. 44:24.880 --> 44:26.080 I've indicated A. 44:26.079 --> 44:28.739 A gets repeated as B comes in and so on. 44:28.739 --> 44:31.289 It's pretty straightforward how the canon operates. 44:31.289 --> 44:41.189 > 44:41.190 --> 44:43.600 Okay. Here comes the scale now. 44:43.599 --> 44:53.279 > 44:53.280 --> 44:59.880 And now the canon starts: A one, < 45:02.366 playing>> 45:02.369 --> 45:06.069 the second voice comes in, > 45:06.070 --> 45:08.880 the first voice goes on to present something new, 45:08.876 --> 45:09.106 B. 45:09.110 --> 45:54.910 > 45:54.909 --> 45:56.139 So we'll pause it here now. 45:56.143 --> 45:58.983 We're going to pause it here, and it goes about four minutes. 45:58.980 --> 45:59.570 It is very beautiful. 45:59.570 --> 46:00.730 It's lovely--lovely, lovely, lovely, 46:00.731 --> 46:01.031 lovely. 46:01.030 --> 46:04.870 But you know this bass line. 46:04.869 --> 46:05.829 Right? 46:05.829 --> 46:07.139 > 46:07.139 --> 46:08.889 Okay. So there's our D. 46:08.889 --> 46:10.219 Let's all sing it together. 46:10.219 --> 46:12.189 Ready, sing. 46:12.190 --> 46:32.240 > 46:32.239 --> 46:32.559 Okay. 46:32.556 --> 46:35.716 So once you get that in your ear, you have a sense, 46:35.722 --> 46:39.272 oh, it's really in there and that you may have heard that 46:39.268 --> 46:41.358 many different times before. 46:41.360 --> 46:45.020 Now lots of people made use of the "Pachelbel Canon" 46:45.018 --> 46:48.558 and I know of at least three and maybe four that I've put up 46:48.559 --> 46:51.619 on the board up there and you may know of more. 46:51.619 --> 46:57.199 Marcos sent me a YouTube clip of a comedian. 46:57.199 --> 46:58.889 Maybe you guys have seen this. 46:58.889 --> 47:01.569 What was the comedian's name who was made sort of so sick of 47:01.572 --> 47:04.392 the "Pachelbel Canon" because every piece he picks up 47:04.391 --> 47:06.891 has got the bass line of the "Pachelbel Canon" 47:06.893 --> 47:07.443 in it? 47:07.440 --> 47:09.200 Who--what comedian was that? 47:09.199 --> 47:10.619 It doesn't matter. 47:10.619 --> 47:12.769 Okay. So those are my four. 47:12.768 --> 47:15.438 Anybody else know where else they show up? 47:15.440 --> 47:16.350 All right. 47:16.347 --> 47:19.887 Well, let's review, but keep in the--oh, 47:19.885 --> 47:21.515 Thaddeus, good. 47:21.519 --> 47:22.849 Student: Britney Spears. 47:22.849 --> 47:25.369 Prof: Britney Spears has the "Pachelbel Canon"? 47:25.369 --> 47:28.239 What a time to be alive. Wow. 47:28.239 --> 47:29.949 > 47:29.949 --> 47:30.539 All right. 47:30.536 --> 47:32.296 Thaddeus, go get that for me. 47:32.300 --> 47:33.360 I need this one. 47:33.360 --> 47:34.970 This is gold. 47:34.969 --> 47:37.169 Thank you very much, but so--but check it. 47:37.170 --> 47:39.820 For example, one of the students, 47:39.822 --> 47:43.302 Daniel in here, sent me--or gave me--and we 47:43.304 --> 47:47.124 talked about it, and let's go to that one. 47:47.119 --> 47:54.299 The--it's--He said this may be a knockoff of the 47:54.304 --> 47:58.894 "Pachelbel Canon." 47:58.889 --> 48:01.379 It's called the "Taco Bell Canon." 48:01.380 --> 48:04.860 So let's see if the "Pachelbel Canon" 48:04.855 --> 48:08.855 is in fact embedded in the "Taco Bell Canon" 48:08.860 --> 48:09.540 here. 48:09.539 --> 48:44.479 > 48:44.480 --> 48:44.940 Okay. 48:44.938 --> 48:47.788 So is that the Pachelbel bass? 48:47.789 --> 49:01.559 > 49:01.559 --> 49:02.729 Is that the pattern you were singing? 49:02.730 --> 49:03.630 Yes or no? 49:03.630 --> 49:04.700 How many think yes? 49:04.699 --> 49:05.839 Raise your right hand. 49:05.840 --> 49:06.860 How many think no? 49:06.860 --> 49:08.830 Raise your left hand. 49:08.829 --> 49:11.419 No, it ain't the "Pachelbel Canon." 49:11.420 --> 49:13.050 Is it an ostinato bass? 49:13.050 --> 49:15.890 Yes, it's an ostinato bass. 49:15.889 --> 49:19.309 So we could keep playing with that. 49:19.309 --> 49:21.989 I could play you Coolio, Blues Traveler, 49:21.985 --> 49:22.805 Vitamin C. 49:22.809 --> 49:27.449 Just for laughs let's do Vitamin C. 49:27.449 --> 49:31.849 You've--and I'm sorry about this but it's too good to pass 49:31.853 --> 49:32.243 up. 49:32.239 --> 49:33.769 Okay. So out you go. 49:33.769 --> 49:34.889 Thanks for your attention. 49:34.889 --> 49:39.129 > 49:39.130 --> 49:42.050 Appropriately enough, it's in the key of C, 49:42.054 --> 49:43.244 Vitamin C, see. 49:43.239 --> 49:44.899 > 49:44.900 --> 50:02.940 > 50:02.940 --> 50:09.000