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Q: Dad, why do the singers rock left and right while performing on stage?
A: Because, son, it is more difficult to hit a moving target.
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Q: Mom, why do you always stand by the window when I practice for my singing lessons?
A: I don't want the neighbours to think I'm employing corporal punishment, dear.
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This must be heaven
So this trumpet player dies. When he reaches is everlasting reward, the guy in the robe says, "You're going to spend eternity with this combo, okay? There's a bass player named 'Mingus' and a pianist named 'Monk', and any day now we expect this 'Blakey' guy to show up with his drums.
"Wow!" the guy says, "I never imagined heaven would be this good."
The man in the robe says, "This is hell, not heaven. There's a girl singer."
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A Choristers' Guide To Keeping Conductors In Line
The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upmanship. The following rules are intended as guides to the development of habits which will promote the proper type of relationship between singer and conductor.
1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.
2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.
3. Bury your head in the music just before cues.
4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.
5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.
6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.
7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.
8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.
9. Look at your watch frequently. Shake it in disbelief occasionally.
10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.
11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.
12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".
13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"
14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.
Make every effort to take the attention away from the podium and put it on you, where it belongs!
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The amazing conductor
When a young hotshot conductor was making his debut at the Met, he showed the jaded and skeptical orchestra how well he knew the music by singing all parts of the Lucia sextet during rehearsal.
Afterwards, one musician was overheard whispering to the other, impressed, "Well, this kid really knows his stuff!"
The other replied, "I don't think he is so hot. Did you notice how flat his high E was at the end?"
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Arriving at Heaven
A soprano died and went to Heaven. St. Peter stopped her at the gate asking, "Well, how many false notes did you sing in your life?"
The soprano answers, "Three."
"Three times, fellows!" says Pete, and along comes an angel and sticks the soprano three times with a needle.
"Ow! What was that for?" asks the soprano.
Pete explains, "Here in heaven, we stick you once for each false note you've sung down on Earth."
"Oh," says the soprano, and is just about to step through the gates when she suddenly hears a horrible screaming from behind a door. "Oh my goodness, what is that?" asks the soprano, horrified.
"Oh," says Pete, "that's a tenor we got some time back. He's just about to start his third week in the sewing machine."
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Operas that never made it
Britten: A Midsummer Nightmare.
Mozart: The Magic Tuba.
Puccini: La Bamba.
Rossini: The Plumber of Seville.
Verdi: Rigatoni.
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Q: What is the definition of a Soviet String Quartet?
A: A Soviet Symphony Orchestra after a tour of the USA!
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Q: What do you do with percussionists that lose one of their drumsticks?
A: Stick them up front of the group and tell them to wave their arms!
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Q: How many conductors does it take to change a light bulb?
A: Seven. [Indignant nose upturning] Of course, I wouldn't expect you to understand.
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Q: Why are conductors' hearts popular for transplants?
A: They've had little use.
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While at a concert being performed by a very bad orchestra, George Bernard Shaw was asked what he'd like them to play next. "Dominoes," he replied.
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Playing music
Last summer, the local orchestra decided to play Beethoven's 9th symphony.
However, it being quite hot, the players were working up quite a sweat, until a neighbor let them use the ventilators in her house.
However, the wind from these ventilators was causing the notes to blow all over the place, so they had to tie them down to the note holders.
The din from the ventilators was so bad that the bassists decided it didn't matter if they downed a few drinks and got royally drunk.
Two of the bassists got so drunk that they pass out.
One of the violinists, in disgust, decided to go home but slipped and fell.
Thus, it was the bottom of the 9th, the bassists were loaded, the score was tied with two men out, and the fans were roaring wild when one of the players slid home.
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Efficiency
From: Efficiency & Ticket, Ltd., Management Consultants
To: Chairman, The London Symphony Orchestra
Re: Schubert's Symphony No. 8 in B minor.
After attending a rehearsal of this work we make the following observations and recommendations:
1. We note that the twelve first violins were playing identical notes, as were the second violins. Three violins in each section, suitably amplified, would seem to us to be adequate.
2. Much unnecessary labour is involved in the number of demisemiquavers in this work; we suggest that many of these could be rounded up to the nearest semiquaver thus saving practice time for the individual player and rehearsal time for the entire ensemble. The simplification would also permit more use of trainee and less-skilled players with only marginal loss of precision.
3. We could find no productivity value in string passages being repeated by the horns; all tutti repeats could also be eliminated without any reduction of efficiency.
4. In so labour-intensive an undertaking as a symphony, we regard the long oboe tacet passages to be extremely wasteful. What notes this instrument is called upon to play could, subject to a satisfactory demarcation conference with the Musician's Union, be shared out equitably amongst the other instruments.
Conclusion: if the above recommendations are implemented the piece under condsideration could be played through in less than half an hour with concomitant savings in overtime, lighting and heating, wear and tear on the instruments and hall rental fees. Also, had the composer been aware of modern cost-effective procedures he might well have finished this work.
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May I speak to the conductor
A musician calls the orchestra office, asks for the conductor, and is told that he is dead.
The musician calls back 25 times more and gets the same message from receptionist.
She asks why he keeps calling. He replies, "I just like to hear you say it."
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Q: What do you get when you play a new age song backwards?
A: A new age song.
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Q: What happens if you sing country music backwards?
A: You get your job and your wife back.
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Any last requests?
A cowboy and a biker are on death row, and are to be executed on the same day. The day comes, and they are brought to the gas chamber. The warden asks the cowboy if he has a last request, to which the cowboy replies, "Ah shore do, wardn. Ah'd be mighty grateful if'n yoo'd play 'Achy Breaky Heart' fur me bahfore ah hafta go."
"Sure enough, cowboy, we can do that," says the warden. He turns to the biker, "And you, biker, what's your last request?"
"That you kill me first."
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Top Ten Signs The Concert You're Attending is Not The Real Woodstock
From "Late Show with David Letterman" on Tuesday, August 9, 1994
10. It's hosted by Ed McMahon.
9. "Amplifiers" are just enormous dixie cups.
8. Every song contains a plug for Green Giant frozen vegetables.
7. You're asked to put on a hat and sunglasses and the next thing you know, you're being introduced as Bob Dylan.
6. One word: polkas.
5. Guy sitting next to you brought a glove and has caught three foul balls.
4. "Santana" turns out to be a jolly bearded guy with a sackful of presents.
3. They're playing "May we turn the hose on you, please?" [All night Dave sprayed the crowd which gathers outside for each night's show with a hose.]
2. You spot Rush Limbaugh stage-diving.
1. The crowd is chanting, "Tito! Tito! Tito!"
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Glossary of music terms
Accent: An unusual manner of pronunciation, e.g. "Y'all sang that real good!"
Accidentals: Wrong notes
Ad Libitum: A premiere.
Agitato: A string player's state of mind when a peg slips in the middle of a piece.
Agnus dei: A famous female church composer.
Allegro: Leg fertilizer.
Altered Chord: A sonority that has been spayed.
Atonality: Disease that many modern composers suffer from. The most prominent symptom is the patient's lacking ability to make decisions.
Augmented fifth: A 36-ounce bottle.
Bar Line: A gathering of people, usually among which may be found a musician or two.
Beat: What music students to do each other with their musical instruments. The down beat is performed on the top of the head, while the up beat is struck under the chin.
Bravo: Literally, "How bold!" or "What nerve!" This is a spontaneous expression of appreciation on the part of the concertgoer after a particularly trying performance.
Breve: The way a sustained note sounds when a violinist runs out of bow.
Broken consort: When somebody in the ensemble has to leave and go to the restroom.
Cadence: When everybody hopes you're going to stop, but you don't.
Cadenza: The heroine in Monteverdi's opera "Frottola".
Cantus firmus: The part you get when you can only play four notes.
Chansons de geste: Dirty songs.
Chord: Usually spelled with an "s" on the end, means a particular type of pants, e.g. "He wears chords."
Chromatic Scale: An instrument for weighing that indicates half-pounds.
Clausula: Mrs. Santa.
Coloratura Soprano: A singer who has great trouble finding the proper note, but who has a wild time hunting for it.
Compound Meter: A place to park your car that requires two dimes.
Con Brio: Done with scouring pads and washboards.
Conductor: A musician who is adept at following many people at the same time.
Conductus: The process of getting Vire into the cloister.
Counterpoint: A favorite device of many Baroque composers, all of whom are dead, though no direct connection between these two facts has been established. Still taught in many schools, as a form of punishment.
Countertenor: A singing waiter.
Crescendo: A reminder to the performer that he has been playing too loudly.
Crotchet: 1) A tritone with a bent prong. 2) It's like knitting, but it's faster. 3) An unpleasant illness that occurs after the Lai, if prolation is not used.
Cut time: When you're going twice as fast as everybody else in the ensemble.
Da capo al fine: I like your hat!
Detache: An indication that the trombones are to play with the slides removed.
Di lasso: Popular with Italian cowboys.
Discord: Not to be confused with Datcord.
Drone: The sound of a single monk during an attack of Crotchet.
Ductia: 1) A lot of mallards. 2) Vire's organum.
Duration: Can be used to describe how long a music teacher can exercise self-control.
Embouchre: The way you look when you've been playing the Krummhorn.
English horn: A woodwind that got its name because it's neither English nor a horn. Not to be confused with French horn, which is German.
Espressivo: Close eyes and play with a wide vibrato.
Estampie: What they put on letters in Quebec
Fermata: A brand of girdle made especially for opera singers.
Fermented fifth: What the percussion players keep behind the tympani, which resolves to a 'distilled fifth', which is what the conductor uses backstage.
Fine: That was great!
Flute: A sophisticated pea shooter with a range of up to 500 yards, blown transversely to confuse the enemy.
Garglefinklein: A tiny recorder played by neums.
Glissando: The musical equivalent of slipping on a banana peel. Also, a technique adopted by string players for difficult runs.
Gregorian chant: A way of singing in unison, invented by monks to hide snoring.
Half Step: The pace used by a cellist when carrying his instrument.
Harmonic Minor: A good music student.
Harmony: A corn-like food eaten by people with accents (see above for definition of accent).
Hemiola: A hereditary blood disease caused by chromatics.
Heroic Tenor: A singer who gets by on sheer nerve and tight clothing.
Hocket: The thing that fits into a crochet to produce a rackett.
Hurdy-gurdy: A truss for medieval percussionists who get Organistrum.
Interval: How long it takes you to find the right note. There are three kinds: Major Interval: a long time; Minor Interval: a few bars; Inverted Interval: when you have to back one bar and try again.
Intonation: Singing through one's nose. Considered highly desirable in the Middle Ages
Isorhythm: The individual process of relief when Vire is out of town.
Isorhythmic motet: When half of the ensemble got a different photocopy than the other half
Lai: What monks give up when they take their vows.
Lamentoso: With handkerchiefs.
Lasso: The 6th and 5th steps of a descending scale.
Lauda: The difference between shawms and krummhorns
Longa: The time between visits with Vire.
Major Triad: The name of the head of the Music Department. (Minor Triad: the name of the wife of the head of the Music Department.)
Mean-Tone Temperament: One's state of mind when everybody's trying to tune at the same time.
Messiah: An oratorio by Handel performed every Christmas by choirs that believe they are good enough, in cooperation with musicians who need the money.
etronome: A dwarf who lives in the city.
Minim: The time you spend with Vire when there is a long line. Breve: The time you spend when the line is short.
Minnesinger: A boy soprano or Mickey's girlfriend in the opera.
Modulation: "Nothing is bad in modulation."
Motet: Where you meet Vire if the cloister is guraded.
Musica ficta: When you lose your place and have to bluff till you find it again. Also known as 'faking'.
Neums: Renaissance midgets
Opus: A penguin in Kansas.
Orchestral suites: Naughty women who follow touring orchestras.
Ordo: The hero in Tolkien's "Lord of the Rings".
Organistrum: A job-related hazard for careless medieval percussionists, caused by getting one's tapper caught in the clapper.
Organum: You may not participate in the Lai without one.
Paralell organum: Everybody standing in a double line, waiting for Vire.
Pause: A short period in an individual voice in which there should be relative quiet. Useful when turning to the next page in the score, breathing, emptying the horn of salvia, coughing, etc. Is rarely heard in baroque music. Today, the minimum requirements for pauses in individual pieces are those of the Musicians' Union (usually one per bar, or 15 minutes per hour).
Pneumatic melisma: A bronchial disorder caused by hockets.
Prolation: Precautions taken before the Lai.
Quaver: Beginning viol class.
Rackett: Capped reeds class.
Recitative: A disease that Monteverdi had.
Rhythmic drone: The sound of many monks suffering with Crotchet.
Ritornello: An opera by Verdi.
Rota: An early Italian method of teaching music without score or parts.
Rubato: Expression used to describe irregular behaviour in a performer with sensations of angst in the mating period. Especially common amongst tenors.
Sancta: Clausula's husband.
Score: A pile of all the individual orchestral voices, transposed to C so that nobody else can understand anything. This is what conductors follow when they conduct, and it's assumed that they have studied it carefully. Very few conductors can read a score.
Sine proprietate: Cussing in church.
Solesme: The state of mind after a rough case of Crotchet.
Stops: Something Bach did not have on his organ.
Supertonic: Schweppes.
Tempo: This is where a headache begins.
Tempus imperfectum: Vire had to leave early.
Tempus perfectum: A good time was had by all.
Tone Cluster: A chordal orgy first discovered by a well-endowed woman pianist leaning forward for a page turn.
Transposition: An advanced recorder technique where you change from alto to soprano fingering (or vice-versa) in the middle of a piece.
Trill: The musical equivalent of an epileptic seizure.
Trope: A malevolent Neum.
Trotto: An early Italian form of Montezuma's Revenge.
Tutti: A lot of sackbuts.
Vibrato: The singer's equivalent of an epileptic seizure.
Vibrato: Used by singers to hide the fact that they are on the wrong pitch.
Virelai: A local woman known for her expertise in the Lai.
Virtuoso: A musician with very high morals.
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