Oom pah Puns

I'm learning a song for a friend who recently passed. It was his favorite song. I'm playing the song in 4/4 timing using alternating bass. The song has a definite sad feel to it, and even more so because it's in honor of my deceased friend 💔 The traditional alternating bass oom-pah isn't doing the song or the vibe of the song justice and I'm wondering if anyone has any suggestions for toning down that circus-y vibe when playing in 4/4. I am currently countering by holding sustained chords on the keyboard side of the accordion, but it sounds messy, and I'm not an all together proficient player so this is not easy to do while I'm singing as well. For reference, the song is broadripple is burning by Margot and the nuclear so and so's. Link: https://youtu.be/WXTVDUYIZs8

I'm looking for examples of oom-pah accompaniment figures in jazz. I don't necessarily want music that is too similar to polka, although all are welcome. The main example I can think of is stride piano, but any specific recordings that are more modern than that are welcome. Thanks in advance!

I saw this vampire movie as a child. It was airing on TV. It would have been 1980 or before. The movie must have been made in the 1970s or 1960s. It was American/English and I believe was in color. The count's female concubines were chanting "Oom-pah-pah". This scared me so much as a child that I never forgot it.

https://youtu.be/OlKccuS_ayk

Easily the best song from Oliver! (movie 1968, stage production 1960). It's so authentic, you'd swear it was a real 1860 music hall ditty rather than a 1960 stage musical number.

Not only is it akin to the period's musicality, but its winking bawdiness also rings true: in the uptight Victorian era, so many music hall songs were about sex, and "Oom-Pah-Pah", while obvious now, is typical of Victorian sexual metaphors.

Far from being frivolous, though, it's also Nancy's last big, selfless act, making a scene so that Oliver can be spirited away. In that sense, it's both a tense and joyous number.

Hardly anyone ever comments on the fact that the musical's title, "Oliver!", contains an exclamation mark. To me, it's because it represents that wistful, Dickensian combination of tragically forlorn surroundings yet slightly delirious, almost crazed hope... "Oom-Pah-Pah" epitomises that.

Almost every male involved in this movie was nominated for an Academy Award, Golden Globe or BAFTA. Shani Wallis, the most enduring Nancy, was nominated for nothing. Ignored in life, as in art.

So I'm looking for some good German music to listen to. I'd like some primarily vocal music, which isn't necessarily the Bavarian kind of oom-pa-pa music, so I'm looking for something quite different.

Is there any kind of folk music (maybe from the North) which has different roots, and is more maybe acapella and vocal?

I like vocal kind of music from Scandinavia, so I'm not sure if there is something similar in Germany?

Danke Schön!

Although I'm not Polish, it's still sad when a landmark like the Bayway Polish Home closes it's doors.

Why is chopin's nocturne in e flat major op. 9 no. 2 is called a nocturne and not a waltz? sorry if it's a silly question but I started learning music theory recently 😁

Hello,

I've recently started my children on band instruments in the family. I played a "baritone" in America in high school back in the late 90's, and I had a great memory of playing Handel in a brass ensemble. I wanted to get all the kids playing brass instruments because I could help them progress more quickly, and I thought we'd sound good together. My son warmed to baritone quickly and then chose the trombone. My younger daughter liked the trumpet and is doing well. My wife decided to try tuba, and I found one for a steal and she's doing admirably (her background is cello!). I picked up the French Horn because I thought my left-handed daughter might like it. She didn't, so I've learned to play it myself. That daughter chose... flute.

So here's what we've got in the house:

- Tuba

- Trombone

- Trumpet

- French Horn

- Flute

(baritone also available, and playable by three of us)

It looks like traditional brass quartet (or quintet) music expects there to be two trumpets/cornets. Why is this? I wonder if we could transpose the second trumpet to be playable by the flute (though our flutist is the weakest musician in the family).

Any advice on finding music playable for us? The most common arrangement of instruments is: Tuba, Horn, Trombone, and Trumpet. Seems we're missing another trumpet if we want to play common brass arrangements.

Did an orchestration of Chopin's famous Nocturne in e-flat major. Have a listen! :)

Welcome to all!!! Our intent is all for your delight! I'm ready for some more ALIEN FUNK!!!!!!!!

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8/7/2021 - Deer Creek Night 2 Setlist (Show Time: 7:30PM Eastern Time)

SET 1: Crowd Control (5), Poor Heart (3), The Moma Dance (9), Back On The Train (8), Army Of One (5), Bouncing Around The Room (3), Ya Mar (10), Roggae (10) , A Wave Of Hope^(1) (5), Stash (16), Cavern (4).

SET 2: Everything's Right^(23) (22), What's The Use? (8) > Crosseyed And Painless (12) > What's The Use? (1) > Down With Disease^(4) (15) > Wading In The Velvet Sea (6) > Possum (10).

ENCORE: Drift While You're Sleeping (13).

Show Notes:

1 - Phish debut.

2 - New vocal jam arrangement.

3 - Simple tease.

4 - Crosseyed And Painless tease.

-Hearing reports of Antelope Greg being back on the rail. Can anyone confirm? (confirmed).

-Trey says "we'll see you in 15 minutes" after Cavern. HaHa!

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Wow! I am absolutely blown away by what this band is doing on this tour! That Simple last night was absolutely out of this world! I can't not wait to catch this band in person this year at The Gorge and Dicks. I am your host tonight, u/zackattack89 and I hope you join us in discussing Night 2 at Deer Creek! I will be hosting tomorrow night as well. Last night was some of the most creative Phish I've ever heard and I'm super excited to see what the band brings to the stage tonight. Check in and tell me where you're from and I'll do my best to add you to the list. I am checking in from Dango Tango, CO on couch tour with my cat and some Lightshine Radlers from Wibby Brewing! Congrats to everyone that was able to make it to the show tonight. I hope the band melts your face off!

Here's a fun little story about myself at Deer Creek in 2012; During the day, my buddy and I drove into Downtown Indy to escape the 120 degree heatwave and sit in a restaurant and hotel lobby with AC. As were walking out of the hotel, sure enough, Trey comes blasting around the corner. We both immediately say "hi trey" and thank him for the previous nights show an

Have a good Thursday everyone.

Hi! So I've recently just started accordion. For the piano keys, I've marked every C with a piece of masking tape so I can use them as reference points as I get familiar.

For the left hand, I struggle knowing where my fingers are and what keys are what. The middle C is jeweled, but I have difficulties understanding what buttons are what for the "oom pah pah" tutorials. Does anyone have any suggestions that may help? I've seen people use mirrors but I don't like standing and playing yet. It is uncomfortable and exhausting to do.

Pretty much as the text describes, Polka has a more upbeat non-serious sound. I know it has a unique rhythm. And usually the music is written in a major key. At least I am not familiar with any minor polka's. But it is a distinct sound I have heard in many traditional musics in the west, particularly Central Europe, Italy and Mexico. Though. I have also noticed that Polka can be annoying to some people.

Welcome to the first week of the second SCD All-Stars competition. Tonight, we will be re-visiting sixteen great dances from years gone by. However, in a new twist, one couple's journey will end this week in tomorrow's results show.

On this week's judging panel are:

• u/Mad_MeggyMoo
• u/DoctorSansaStrange
• u/yojojoisgod
• u/Necessary_worker8948

Now let's meet our first couple!

Kimberley & Pasha

First up is series 10 runner-up Kimberley Walsh and her partner Pasha Kovalev. This week they are dancing the Cha Cha Cha. You can watch the dance here.

yojojoisgod says: "Kimberley's musicality is on point, the synchronisity was exceptional and all of the steps were executed well."

Scores

• Mad_MeggyMoo: 8
• DoctorSansaStrange: 7
• yojojoisgod: 8
• Necessary_worker8948: 7
• Total: 30

Sophie & Brendan

Next up is series 11 finalist Sophie Ellis-Bextor and her partner Brendan Cole. This week they are dancing the Waltz. You can watch the dance here.

Mad_MeggyMoo says: "The waltz requires you to be graceful and flow across the ballroom , you most certainly achieved that tonight it was so charming and beautiful only a little bit of advice , just relax a bit more because I am confident that you will go a long way."

Scores

• Mad_MeggyMoo: 7
• DoctorSansaStrange: 8
• yojojoisgod: 8
• Necessary_worker8948: 7
• Total: 30

Matt & Aliona

Our third couple this week is series 8 runner-up Matt Baker and his partner Aliona Vilani. This week they are dancing the Cha Cha Cha. You can watch the dance here.

DoctorSansaStrange says: "Really enjoyable. Obviously a slip at the start and he does need to control his face but some good movement."

Scores

• Mad_MeggyMoo: 6
• DoctorSansaStrange: 8
• yojojoisgod: 7
• Necessary_worker8948: 7
• Total: 28

Ali & Brian

Next up is series 7 contestant Ali Bastian and her partner Brian Fortuna. This week, they are dancing the Waltz. You can watch the dance here.

yojojoisgod says: "She glided across the floor with most of the right footing, and that leg extension was amazing, though would've like to see some swing and sway."

Scores

• Mad_MeggyMoo: 7
• DoctorSansaStrange: 8
• yojojoisgod: 8
• Necessary_worker8948: 8
• Total: 31

Susanna & Kevin

Our next couple is series 11 runner-up Susann

Im 16 and I had 10 years of experience playing the piano, and have dabbled in some pretty advanced pieces like Debussy's Pour Le Piano Toccata and I'm at a loss of words for the coda on this one. The leaps are huge and fast and its just so hard to grasp the right notes at this speedy tempo, so any tips for the coda?

Hey! I’m writing a musicology essay for my HSC music 2 and was wondering if this specific type of bass ostinato has a name? It’s basically one low note followed by a higher chord, which is then repeated. I’ve added a link to the photo:

Sheet Music

Thanks in advance! :)

This isn’t a style I gravitate towards naturally; I’m probably allergic to solo acoustic guitar singer-songwriters. The following albums do make me pay attention and prevent me from giving up on traditional sounds at least adjacent to Western traditions.

In the order of my likelihood to want to listen…

1. “Šulinys” - Babadag (2019). I’m sure that the Polish labels have a lot of music I’d like, but it’s pretty time-consuming to sort through. I probably sampled this one but didn’t find it a sure thing in 30-second snippits, so I’m eternally grateful to idiotprogrammer for his endorsement. In its full form, this is prog folk at its finest, and I was also happy to learn that they’re bridging the sometimes acrimonious Polish-Lithuanian rift. This has my full, most enthusiastic endorsement and would contend for a spot on my best-of 2019 lists if I could remake them. Several songs go into epic territory at over six minutes, the longest being over nine (the most triumphant “Kankles”), and harder rock elements are a definite plus in my book. Folksters will think the electric guitar and drums on the opening “Sycamore Tree” (one of about half that are sung in English) are a disqualification, but I think it should be effective at hooking the prog rock audience that will appreciate the album more than fans of minimal singer-songwriter w/ acoustic guitar folk. The other songs do have drum sets, but folk elements are more foregrounded, such as vocals somewhere between rounds and call & response. “Žurawie” takes the formula into quite entrancing, worldly, psychedelic sounds with possible gamelan. Other highlights abound, and your favorite song may be totally different from mine.

2. “Hola Astor” - Bandonegro (2019). A lively and fully instrumental revue of Astor Piazzolla’s compositions, but whereas many are most known for bandoneon solos, there’s a whole lot more going on here to stir the soul. The first track sounds almost like a rock band with its drum kit, with dramatic shifts in tempo and other instruments like violin taking lead. The full band allows songs to be taken in unexpected rock and jazz directions, usually with a loud or harder edge. For anyone who might consider those kinds of outbursts or re-interpretations sacrilegious, there’s still more subtle and subdued numbers like “Soledad.” These songs cannot be anything but impassioned, but the variety of spins on what must be standards will impress those who think they’ve heard the best renditions or who a

I enjoy setting myself little mini-syllabi based on what is available at my local library -- small groupings of books around a particular theme. In this instance, I read four books that a) examined a single piece of music by a Western classical composer as a way "in" to that composer's life and work, and b) wrestled in some way with the question of how best to interpret or analyze classical music as a whole. I have never had formal musical education, so I try to make up for it by knowing something about music history. I also love me some ekphrasis, and the conceit of each book taking a single piece of music as its center appealed. These were my impressions.

Counterpoint: A Memoir of Bach and Mourning, by Philip Kennicott

This is a memoir by a noted architecture critic, of all things, about how Bach's Goldberg Variations have followed him through his middle age. It uses the native qualities of the memoir genre alongside historical information about Bach to examine the possibility of knowing the artist from their art -- a very clever combination. I have mixed feelings! I admire the structure, which echoes that of the Variations themselves. The author… here is where it becomes difficult to judge the book, rather than the person, as is so often the risk with memoirs. The portrait he paints of himself is one of a man of melancholy restraint. It is a book explicitly about grief, but the air of melancholy goes beyond the immediate subject. Kennicott's queerness felt subtly ever-present -- for me, a queer person; I'm sure a devout heterosexual might miss it entirely. That felt intentional, but of course, that's pure psychoanalysis of a guy from a book that he wrote to present a particular image of himself, that was then edited by multiple people, etc etc. It's just more interesting when it's secretly about being queer, you know? On the other hand, the primary argumentative theme of the book was whether or not it is possible to discern biography from art. Kennicott wrestles with this question through Bach and the Variations, and the inherent nature of the memoir invites us readers to do the same with him. His conclusion was that art is purposeful and the personality that creates it is ever-unknowable, but ever-present. Presumably he'd want us readers to think the same! Here ends the tinhatting about an architecture critic who wrote one vaguely snobby book about Bach.

In any case, I don't think I'll be rereading this, but it's kept me thinking a

I don't want to step on anybody's toes here, but the amount of non-dad jokes here in this subreddit really annoys me. First of all, dad jokes CAN be NSFW, it clearly says so in the sub rules. Secondly, it doesn't automatically make it a dad joke if it's from a conversation between you and your child. Most importantly, the jokes that your CHILDREN tell YOU are not dad jokes. The point of a dad joke is that it's so cheesy only a dad who's trying to be funny would make such a joke. That's it. They are stupid plays on words, lame puns and so on. There has to be a clever pun or wordplay for it to be considered a dad joke.

Again, to all the fellow dads, I apologise if I'm sounding too harsh. But I just needed to get it off my chest.

First of all, this post is serious. Second of all, I am not counting Layton's Mystery Journey. Though I have a certain fondness for that game, the other seven are leaps and bounds ahead of it in almost every way (the only way I can think of that Layton's Mystery Journey meets the standards of the others is with the Daily Puzzles and minigames, both of which are just as high quality and fun as the ones in Miracle Mask and Azran Legacy). It should go without saying that this post will contain unmarked spoilers for Professor Layton and the Unwound Future, but I'll do my best to mark spoilers from any other games.

First, let's take a look at why this game is typically hailed as the best in the series.

1. It's the first game to really show flaws in Layton's character.
2. It's the first game where we see Layton lose himself to his emotions.
3. It's the first game that gives us any degree of backstory on Layton.

Those are the usual suspects brought out when one is discussing the game's status as best in series. And let me be very clear, all of these points are true and valid reasons for loving the game. I'm not a monster; I love this game just as much as all of you. The game has an excellent plot overall. It contains the proper amount of foreshadowing for all of its twists (doing an even better job of this than the previous two) and it relies on character-driven motivations for most of its major gut-punches. These are all great things.

However, there's something that tends to get lost in this discussion, and that is felt most clearly when playing the game for a second or third time. I'm the type of person who's really meticulous and obsessive, and have played all of the Layton games multiple times. I've played every single puzzle in the games, completed all the sidequest minigames, and even failed every puzzle on purpose just to get every last bit of dialogue. And on replaying the series in this way, Unwound Future is the one that falls flat every time.

This is strange, because for a long time I felt very differently. I had this game on day one, in September 2010 (in the U.S. at least), and flew through the story and cried and loved it and played it again almost instantly. It was absolutely my favorite. So why, on multiple playthroughs, does it not hold up as well? Here are a few theories I have:

1. The atmosphere sucks.

Okay, maybe "sucks" is a bit of a harsh word, but I'm going for effect here. The truth is, almost all of the charm in the Layton

Do your worst!