I tried it on the flute once, but nobody seemed to know it, and by the time I'd finished telling them what it was, they'd all gone home. Didn't bother with it after that.
What a great piece. Someone should post its ABCs because someone is bound to ask for it sooner or later.
And why wouldn't they? Johann Gambolputty de von Ausfern- schplenden- schlitter- crasscrenbon- fried- digger- dingle- dangle- dongle- dungle- burstein- von- knacker- thrasher- apple- banger- horowitz- ticolensic- grander- knotty- spelltinkle- grandlich- grumblemeyer- spelterwasser- kurstlich- himbleeisen- bahnwagen- gutenabend- bitte- ein- nürnburger- bratwustle- gerspurten- mitz- weimache- luber- hundsfut- gumberaber- shönedanker- kalbsfleisch- mittler- aucher von Hautkopft of Ulm is vastly underrated in importance as a composer in western art music and as a champion of Irish traditional music. He often vacationed there and took part in a little known festival, the Wilhelm von Klanzig Sommer Schule.
I don't agree E, the Doodlesack variations for triangle and tuba still give me flashbacks even now some twentyfive years after first hearing them. These days I can only relive that initial aquaintance from a much bitten and abused score.
The doctors say I should be better soon.
I use trad tunes all the time in our school orchestra. The clarinets hate it, since they are now in a blizzard of sharps, but the fiddlers love it and it's good for intonation.
But seriously now folks...........
.........flautist in my band, years ago, was in the orchestra at her uni, and couldn't stand Copeland's whatever, ? is it New England ?, Suite, having to play every note the 'classical' way on her flute when she wanted to make it all run together.
On another point - "Er Indoors still sings John Jacob Jingleheimer Schmidt. It's a small world.
This and the John Stump piece remind me of a three-two (and I use the designation somewhat loosely) for violin and guitar called "Ostentatious E", composed - if that is the right word - by D Garner and submitted recently in the Tunes Section by a Member here (who may or may not be a close relative of said D Garner). It was promptly removed, but not before one or two of us had downloaded the ABC with a view to scholarly study and analysis and possible performance in the Carnegie if Joshua Bell and John Williams should ever feel they're up to it.
Greg if clarinet were politically correct in the Trad world, the A clarinet
would be the way to go. It has a better tone than the Bb and the
transposition puts 'D' and 'G' into the best sounding, easy part of its range.
Hup, I wish I had A clarinets to give to the kids, but every year my program is zero-funded. I make guitar picks for the kids by cutting up old credit cards. But, you're right, that's the way to go.
This has got to be something out of Finnegan's Wake, surely? - a work which I have not read, nor even pretended to have done. Not even to dippy girls with eyes like saucers.
This whole thread was a lighthearted slag at all the classically-trained newcomers trying to re-cast traditional instruments and traditional tunes in terms they can understand.
Geez this site is lame if you have to explain a joke like this.
Trad adaptation to orchestral setting
Trad adaptation to orchestral setting
Has anyone tried playing Johann Gambolputty de von Ausfern- splenden- schlitter- crasscrenbon- fried- digger- dingle- dangle- dongle- dungle- burstein- von- knacker- thrasher- apple- banger- horowitz- ticolensic- grander- knotty- spelltinkle- grandlich- grumblemeyer- spelterwasser- kurstlich- himbleeisen- bahnwagen- gutenabend- bitte- ein- nürnburger- bratwustle- gerspurten- mitz- weimache- luber- hundsfut- gumberaber- shönedanker- kalbsfleisch- mittler- aucher von Hautkopft of Ulm's concerto for Violin in a session?
# Posted on September 22nd 2009 by Seosamh Ui Sinan
Re: Trad adaptation to orchestral setting
I tried it on the flute once, but nobody seemed to know it, and by the time I'd finished telling them what it was, they'd all gone home. Didn't bother with it after that.
# Posted on September 22nd 2009 by E
Re: Trad adaptation to orchestral setting
I've played the transcription for flute. Why?
# Posted on September 22nd 2009 by Ailin
Re: Trad adaptation to orchestral setting
I never liked Ulmian music...
# Posted on September 22nd 2009 by Reverend
Re: Trad adaptation to orchestral setting
What a great piece. Someone should post its ABCs because someone is bound to ask for it sooner or later.
And why wouldn't they? Johann Gambolputty de von Ausfern- schplenden- schlitter- crasscrenbon- fried- digger- dingle- dangle- dongle- dungle- burstein- von- knacker- thrasher- apple- banger- horowitz- ticolensic- grander- knotty- spelltinkle- grandlich- grumblemeyer- spelterwasser- kurstlich- himbleeisen- bahnwagen- gutenabend- bitte- ein- nürnburger- bratwustle- gerspurten- mitz- weimache- luber- hundsfut- gumberaber- shönedanker- kalbsfleisch- mittler- aucher von Hautkopft of Ulm is vastly underrated in importance as a composer in western art music and as a champion of Irish traditional music. He often vacationed there and took part in a little known festival, the Wilhelm von Klanzig Sommer Schule.
# Posted on September 22nd 2009 by Seosamh Ui Sinan
Re: Trad adaptation to orchestral setting
But the violin concerto's about the only decent thing he did, isn't it? I mean the Cowbell etudes are a load of rubbish.
# Posted on September 22nd 2009 by E
Re: Trad adaptation to orchestral setting
I'm not familiar with this one, my apologies.
I do know John Jacob Jingleheimer Schmidt. His name is my name too. Whenever we go out, the people always shout: "John Jacob Jingleheimer Schmidt!"
# Posted on September 22nd 2009 by SWFL Fiddler
Re: Trad adaptation to orchestral setting
I don't agree E, the Doodlesack variations for triangle and tuba still give me flashbacks even now some twentyfive years after first hearing them. These days I can only relive that initial aquaintance from a much bitten and abused score.
The doctors say I should be better soon.
# Posted on September 22nd 2009 by john knoss
Re: Trad adaptation to orchestral setting
I wonder if this piece has been arranged for the Jaws Harp.
# Posted on September 22nd 2009 by Free Reed
Re: Trad adaptation to orchestral setting
Sounds like he would get along well with Peter Schickele of PDQ Bach fame, who gave us The Cantata Blaues Gras. "Go I now up Cripple Creek..."
# Posted on September 22nd 2009 by Sandy Klein
Re: Trad adaptation to orchestral setting
Isn't this the same guy who wrote "Faerie's Aire and Death Waltz"?
http://classicalconvert.com/2008/01/faeries-aire-and-death-waltz/
... or if you can't read the dots (but you really should take a look at them anyway):
http://www.youtube.com/watch?v=sCgT94A7WgI&feature=related
# Posted on September 22nd 2009 by Tracie
Re: Trad adaptation to orchestral setting
I use trad tunes all the time in our school orchestra. The clarinets hate it, since they are now in a blizzard of sharps, but the fiddlers love it and it's good for intonation.
# Posted on September 22nd 2009 by Greg the Piano Tuner
Re: Trad adaptation to orchestral setting
But seriously now folks...........
.........flautist in my band, years ago, was in the orchestra at her uni, and couldn't stand Copeland's whatever, ? is it New England ?, Suite, having to play every note the 'classical' way on her flute when she wanted to make it all run together.
On another point - "Er Indoors still sings John Jacob Jingleheimer Schmidt. It's a small world.
# Posted on September 22nd 2009 by Guernsey Pete
Re: Trad adaptation to orchestral setting
This and the John Stump piece remind me of a three-two (and I use the designation somewhat loosely) for violin and guitar called "Ostentatious E", composed - if that is the right word - by D Garner and submitted recently in the Tunes Section by a Member here (who may or may not be a close relative of said D Garner). It was promptly removed, but not before one or two of us had downloaded the ABC with a view to scholarly study and analysis and possible performance in the Carnegie if Joshua Bell and John Williams should ever feel they're up to it.
# Posted on September 23rd 2009 by lazyhound
Re: Trad adaptation to orchestral setting
Greg if clarinet were politically correct in the Trad world, the A clarinet
would be the way to go. It has a better tone than the Bb and the
transposition puts 'D' and 'G' into the best sounding, easy part of its range.
# Posted on September 23rd 2009 by Hup
Re: Trad adaptation to orchestral setting
Yup, but can you goose-step to it?
# Posted on September 23rd 2009 by Lint - upon - Tweed
Re: Trad adaptation to orchestral setting
Hup, I wish I had A clarinets to give to the kids, but every year my program is zero-funded. I make guitar picks for the kids by cutting up old credit cards. But, you're right, that's the way to go.
# Posted on September 23rd 2009 by Greg the Piano Tuner
Re: Trad adaptation to orchestral setting
This has got to be something out of Finnegan's Wake, surely? - a work which I have not read, nor even pretended to have done. Not even to dippy girls with eyes like saucers.
# Posted on September 23rd 2009 by nicholas
Re: Trad adaptation to orchestral setting
No.
Try this instead.
http://www.youtube.com/watch?v=UDPqB9i1ScY
This whole thread was a lighthearted slag at all the classically-trained newcomers trying to re-cast traditional instruments and traditional tunes in terms they can understand.
Geez this site is lame if you have to explain a joke like this.
# Posted on September 23rd 2009 by Seosamh Ui Sinan
Re: Trad adaptation to orchestral setting
Of course you can goose-step to it, Japhy!
# Posted on September 23rd 2009 by Seosamh Ui Sinan
Re: Trad adaptation to orchestral setting
Aha, there it is. I knew it sounded familiar.
Seosamh, if there was some way to hear Graham Chapman's voice while reading it, I would have gotten it right away.
# Posted on September 23rd 2009 by SWFL Fiddler