The organ

[AdamSmith]

So pretty evident I am not more than summation of all 1960s TV shows!

 

QED!!!

[+ WilliamM]

 

 

 

Noel Coward "Deep in the Heart of Texas" (1955). Noel sang to Mary Martin in a 90-minute TV special "Together with Music."

[AdamSmith]

LMAO!

 

Has often seemed the wisest recourse!

 

Come to think, a female former member (that didn't come out quite right ) published a tell-all book a few years back. Can't find it right now but will keep looking.

 

Never read it, just the reviews. Seemed quite interesting!

There is a phrase among businessfolk who shared Bones membership about new work projects, and the leadership (therefore liabilty) thereof:

 

"Whose cock is on the anvil on this one?"

 

:eek:

[gallahadesquire]

Some of the funniest comedy ever written! I first learned to write (and speak! ) from these genius screenwriters.

 

Along with of course those of the B. Hillbillies!

 

They were brilliant technicians, who taught me everything.

 

Alongside of course the Irwin Allen universe.

 

Ah yes. I remember the Mad Magazine send up of Irwin Allen:

Voyage to See What's On the Bottom.

[gallahadesquire]

Easy enough to do! There no longer is any.

 

Except for Jim Lehrer (and certainly a small handful of others). But once the sly, impish MacNeil left, the show could become a bit leaden & somnolent.

 

 

Of Huntley and Brinkley:

There is a duo, Huntley Brinkley;

One is solemn, the other, twinkly.

[TruHart1]

Here's an episode of Family Feud, a bit of fluff with the Gilligan's Island cast (sans Bob Denver) vs. the Batman cast (RIP Adam West) back when Burt Ward still looked pretty cute:

 

TruHart1

[AdamSmith]

Yes, the Beverly Hillbillies! Real mountain folk...

 

THE lesson of Life.

 

Once we finally (often expensively!) get it.

 

 

[see also, only a bit morbidly, the Phibes cross-tie above! ]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

[AdamSmith]

https://en.wikipedia.org/wiki/Symphony_No._10_(Beethoven/Cooper)

[AdamSmith]

Minimalist least.

 

One shall persevere!

[TruHart1]

 

TruHart1

[whipped guy]

 

TruHart1

http://www.musicnotes.com/blog/wp-content/uploads/Joke-1.jpg

 

[whipped guy]

Okay... One... well actually Two more:

 

A pain in the ass:

 

http://www.essential-music-theory.com/images/c-sharp-major-key-signature.png

 

An even worse pain in the ass:

 

http://www.essential-music-theory.com/images/c-flat-major-key-signature.png

 

Why that when this is already bad enough! (Well I know why, but still!)

 

http://www.circleoffifths.com/KeySigs/B%20Major%20Key%20Signature.png

[AdamSmith]

https://en.wikipedia.org/wiki/Symphony_No._10_(Beethoven/Cooper)

Aha! Again. Most illuminating thing found thus far:

 

http://www.lucare.com/immortal/cooper.html

 

Quite detailed but refreshingly free of the usual musicological overreach.

[whipped guy]

It has been said that the closest thing to a Beethoven Tenth is Brahms' First Symphony. For all his skill Mendelssohn never reached the heights of Beethoven's work. Also, while such a statement might be unfair to Schumann whose symphonic work has been at bit maligned by the orchestral touch ups (not necessary in my opinion) by conductors over the years, it is only with Brahms that we once again feel the power of a Beethoven in a symphonic work.

 

Of course there are the two symphonies composed by Schubert in roughly the time frame that Beethoven was working on his Ninth and contemplating his Tenth... the Unfinished and the Great C Major symphonies respectively. The Unfinished is probably the first "Romantic" Symphony and the Great C Major is a conflationary apotheosis of the Italian and German styles of the day as Italian opera was the rage in Vienna in the 1820's. Regarding the Italian influences not only are the trombones used in an almost Rossinian manner, but the theme of the second movement is a tipsy variation on the popular aria "Di tanti palpiti" from Tancredi. Still the overall impression of the Great Symphony is one of Teutonic grandeur (even if the piece's concluding measures are written in an Italianate manner) and as such along with the Unfinished are the closest contemporary achievements worthy of comparison with what Beethoven had accomplished.

 

However, the absolute first prize for being the ultimate successor to Beethoven goes to Gustav Mahler as he most of all had the greatest success in combining vocal and choral components into the basic symphonic fabric. Furthermore, as did Beethoven he was able to leave a legacy of symphonic work that traversed the entire spectrum from the seemingly frivolous to total angst... actually beyond angst! Plus, like Beethoven he completed nine symphonies. Unlike Beethoven, he left enough of a Tenth Symphony such that Deryck Cooke and others were able to make viable completions.

[TruHart1]

Okay... One... well actually Two more:

 

A pain in the ass:

 

http://www.essential-music-theory.com/images/c-sharp-major-key-signature.png

 

An even worse pain in the ass:

 

http://www.essential-music-theory.com/images/c-flat-major-key-signature.png

 

Why that when this is already bad enough! (Well I know why, but still!)

 

http://www.circleoffifths.com/KeySigs/B%20Major%20Key%20Signature.png

LOL!

Forgive me @whipped guy but why are you complaining? I'd think you might just let your BDSM preferences carry over to the key signatures you use. After all, one man's pain in the ass is another man's ecstasy, right? :D;)

 

TruHart1

[whipped guy]

LOL!

Forgive me @whipped guy but why are you complaining? I'd think you might just let your BDSM preferences carry over to the key signatures you use. After all, one man's pain in the ass is another man's ecstasy, right? :D;)

 

TruHart1

BIG LOL! I guess I'm not a true masochist (at least musically speaking) after all is said and done! Still, I am often overly nice guy compassionate when playing the Dom, and that is a good trait as it makes the sub have the trust and confidence necessary for a successful relationship. Along those lines I always feel the greatest compassion for the orchestra every time I hear the cabaletta "Di quella pira" performed transposed down into the tricky key of B major (or is that really C-flat major? :confused: ) opposed to the original much easier C major.

 

Of course there was one tenor who transposed it down even further to B-flat major... He was known as "The King of the Be Flat"!