Official Great Works Draft (1 Viewer)

[BobbyLayne]

Mother####er Mother####er Mother####er Mother####er Mother####er Mother####er Mother####er Mother####er

(my 35.07 writeup is in the barrel)

 

[rodg12]

Make-up pick:

34.15 Johann Gauss' Disquisitiones Arithmeticae (Nonfiction)

I'm trying to cover a wide range of fields in my nonfiction picks, so as a math , I have to give a shout-out to the dude that's probably my favorite mathematician ever (due to the stories surrounding him as well as his staggering accomplishments). It combines a comprehensive review of past mathematical developments (beyond the scope of any past work) with entirely new findings of his own and ample proof to support it. One of the greatest pure math books in history (a category bound to be underrepresented).

The cultural historian Theodore Merz called it "that great book with seven seals," the mathematician Leopold Kronecker, "the book of all books" : already one century after their publication, C.F. Gauss's Disquisitiones Arithmeticae (1801) had acquired an almost mythical reputation. It had served throughout the XIX th century and beyond as an ideal of exposition in matters of notation, problems and methods; as a model of organisation and theory building; and of course as a source of mathematical inspiration. Various readings of the Disquisitiones Arithmeticae have left their mark on developments as different as Galois's theory of algebraic equations, Lucas's primality tests, and Dedekind's theory of ideals.

Before the Disquisitiones was published, number theory consisted of a collection of isolated theorems and conjectures. Gauss brought the work of his predecessors together with his own original work into a systematic framework, filled in gaps, corrected unsound proofs, and extended the subject in numerous ways.

The logical structure of the Disquisitiones (theorem statement followed by proof, followed by corollaries) set a standard for later texts. While recognising the primary importance of logical proof, Gauss also illustrates many theorems with numerical examples.

The Disquisitiones was the starting point for the work of other nineteenth century European mathematicians including Kummer, Dirichlet and Dedekind. Many of the annotations given by Gauss are in effect announcements of further research of his own, some of which remained unpublished. They must have appeared particularly cryptic to his contemporaries; we can now read them as containing the germs of the theories of L-functions and complex multiplication, in particular.

Gauss' Disquisitiones continued to exert influence in the 20th century. For example, in section V, article 303, Gauss summarized his calculations of class numbers of imaginary quadratic number fields, and conjectured that he had found all imaginary quadratic number fields of class numbers 1, 2, and 3. Sometimes referred to as the Class number problem, this was eventually confirmed in 1986.[1] In section V, article 358, Gauss proved what can be interpreted as the first non-trivial case of the Riemann Hypothesis for curves over finite fields (the Hasse-Weil theorem).[2]

Sweet, a fellow math . Gauss is legit.

 

[Bonzai]

Yeah, just figured out what I wanted next round. Doubt it gets to me now.

 

[Chiwawa]

I am really excited about this upcoming flurry of picks we are about to receive!! But i bet there is about to be a lot of sniping about to take place.

 

[Yankee23Fan]

 

[anborn]

Yeah, just figured out what I wanted next round. Doubt it gets to me now.

i have my next 4 rounds planned out... i'm not feeling good right now.

 

[Doug B]

annnnnd he left

Who

 

[Uncle Humuna]

annnnnd he left

Who

 

[Fennis]

annnnnd he left

Who

11 User(s) are reading this topic (0 Guests and 3 Anonymous Users)8 Members: Fennis, ScottNorwood, Uncle Humuna, QuasiGuru, proninja, rodg12, Yankee23Fan, Big Rocks

Stop doing that!

 

[Chiwawa]

DougB = F'in Tease

 

[Doug B]

But i bet there is about to be a lot of sniping about to take place.

No way -- these picks will be less well-considered than if I had been up to speed on draft happenings of the past 12 rounds. Maybe I'll luck out here and there.

 

[Postradamus]

I'd better sneak this pick in before hurricane doug rips #### apart like the Judge...

See the child. He is pale and thin, he wears a thin and ragged linen shirt. He stokes the scullery fire. Outside lie dark turned fields with rags of snow and darker woods beyond that harbor yet a few last wolves. His folk are known for hewers of wood and drawers of water but in truth his father has been a schoolmaster. He lies in drink, he quotes from poets whose names are now lost. The boy crouches by the fire and watches him.

Night of your birth. Thirty-three. The Leonids they were called. God how the stars did fall. I looked for blackness, holes in the heavens. The Dipper stove.

35.03 BLOOD MERIDIAN Or the Evening Redness in the West

Cormac McCarthy, Novel

McCarthy's best novel. It's epic, it's brutal, it's hilarious, it's sooooooooooo well written. His words float off the tongue and bury themselves in your head like a bullet from a shotgun.

And they are dancing, the board floor slamming under the jackboots and the fiddlers grinning hideously over their canted pieces. Towering over them all is the judge and he is naked dancing, his small feet lively and quick and now in doubletime and bowing to the ladies, huge and pale and hairless, like an enormous infant. He never sleeps, he says. He says he'll never die. He bows to the fiddlers and sashays backward and throws back his head and laughs deep in his throat and he is a great favorite, the judge. He wafts his hat and the lunar dome of his skull passes palely under the lamps and he swings about and takes possession of one of the fiddles and he pirouettes and makes a pass, two passes, dancing and fiddling at once. His feet are light and nimble. He never sleeps. He says that he will never die. He dances in light and in shadow and he is a great favorite. He never sleeps, the judge. He is dancing, dancing. He says that he will never die.

 

[BobbyLayne]

Waiting on Abrantes while Doug B loads his high capacity Glock magazine...

 

[rodg12]

Waiting on Abrantes while Doug B loads his high capacity Glock magazine...

He times out at :54. Just in case you wanted to sweat it out some more.......

 

[krista4]

35.03 BLOOD MERIDIAN Or the Evening Redness in the West

I haven't been able to get into Cormac McCarthy books, but Mr. krista4 is a big fan, and this is his favorite.

 

[Doug B]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

 

[Uncle Humuna]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

 

[Postradamus]

its a brutal read. so much violence and darkness, but it reads like a movie script at times and the visuals McCarthy paints are fantastic. One of my favorite scenes is when the commanches attack, Mccarthy sounds like hes rewriting Homer only better.

 

[rodg12]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

Try again on those.

 

[BobbyLayne]

Waiting on Abrantes while Doug B loads his high capacity Glock magazine...

He times out at :54. Just in case you wanted to sweat it out some more.......

Thanks, somehow forgot to consider that.

Oh well, someone/several will get sniped today, no reason I should be exempt. Same thing when thatguy comes back. I'm actually starting to favor sitting it out while I am in Vienna just so I can drop six when I get back.

 

[Doug B]

DougB = F'in Tease

It wasn't like I had 13 picks at the ready ... I had to check some things out about some of the picks.

 

[rodg12]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

Try again on those.

29.5: The Crucible (A. Miller), Play [5]That one too

 

[Chiwawa]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

Try again on those.

missed one

 

[anborn]

i can't watch. the horror.

 

[Postradamus]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

Try again on those.

crucible is gone too

 

[Uncle Humuna]

Without looking, off the top of my head (might not be complete):

Let 'er fly:

3.5: Autobiography of Malcolm X, Non Fiction Book [5] TAKEN

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2] TAKEN

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4] TAKEN

29.5: The Crucible (A. Miller), Play [5] TAKEN

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3] TAKEN

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

 

[Fennis]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

Dibs on drafting this post as non-fiction (dup picks or not)

 

[Chiwawa]

DougB = F'in Tease

It wasn't like I had 13 picks at the ready ... I had to check some things out about some of the picks.

I was just funnin with ya.

 

[anborn]

Let 'er fly:

23.5: Autobiography of Malcolm X, Non Fiction Book [5]

24.16: Extraordinary Popular Delusions and the Madness of Crowds, Non Fiction Book [5]

25.5: Epic of Gilgamesh, Poem [2]

26.16: Subatomic Particles, Scientific Discovery [3]

27.5: Compact Disc, Invention [5]

28.16: Bladerunner, Movie [4]

29.5: The Crucible (A. Miller), Play [5]

30.16: Pygmalion (G. B. Shaw), Play [5]

31.5: Linda Hunt in The Year of Living Dangerously, Acting Performance [4]

32.16: "Minnie the Moocher" (Cab Calloway), Song [3]

33.5: Innervisions, Stevie Wonder, Album [3]

34.16: Rescue of Apollo 13 Astronauts, Wildcard [3]

35.5: The Last Waltz, Documentary [1]

Try again on those.

missed one

boom goes the dynomite. and the carnage isn't over.

 

[Abrantes]

tim, I'm starting to hate you as much as I hate Abrantes.

Man, I really have to try harder.Also, sorry BL. You caught me right as I left for lunch.

 

[BobbyLayne]

:blowsout:

Abrantes timed out one minute ago.

All you angry drafters need this one. Click link, close eyes, mellow out.

http://www.youtube.com/watch?v=DZHw9uyj81g&NR=1

(how's that for irony, Yankee? me telling people to take this less seriously )

THIS SPACE FOR RENT 212-867-5309

35.07 (687th pick) - Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo - Composition

aka Canon and Gigue in D major for three Violins and Basso Continuo

Johann Pachelbel

Written in or around 1680, during the Baroque period, this piece of chamber music for three violins and basso continuo has since been arranged for a wide variety of ensembles. The Canon was originally paired with a gigue in the same key, although this composition is not regularly performed or recorded today.

The piece, whose score was discovered and first published in the 1920s, and first recorded in 1940 by Arthur Fiedler, is particularly well known for its chord progression, and is played at weddings and included on classical music compilation CDs, along with other famous Baroque pieces such as Air on the G String by J. S. Bach (BWV 1068). It became very popular in the late 1970s through a famous recording by the Jean-François Paillard chamber orchestra. A non-original viola pizzicato part is also commonly added (in a string orchestra or quartet setting) when a harpsichord or organ player is not used to improvise harmonies over the bass line. American film director Robert Redford used the piece as the main theme for his 1980 Academy Award-winning film Ordinary People.

(yeah, I'm leaving the spotlighting in, so just suckit - the worst thing that can happen is folks discover something they didn't know before.)

Structure

The first 9 bars of the Canon in D: the violins play a three-voice canon over the ground bass which provides the harmonic structure. The Canon in D is a strict three-part melodic canon based, both harmonically and structurally, on a two-measure (or -bar) ground bass. The same two-bar bass line and harmonic sequence is repeated over and over, 28 times in total. The chords of this sequence are: D major (tonic), A major (dominant), B minor (tonic relative or submediant—the relative minor tonic), F sharp minor (dominant parallel or mediant—the relative minor dominant), G major (subdominant), D major (tonic), G major (subdominant), and A major (dominant). This sequence, "I V vi iii IV I IV V" (see scale degree), and similar sequences appear elsewhere in the classical body of work. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto No. 11 in G minor, HWV 310. Mozart employed it both for a passage in Die Zauberflöte (1791), at the moment where the three boys first appear and in the last movement of his Piano Concerto No. 23 in A major, K. 488 (1786). He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785. Neither Handel's, nor Haydn's, nor Mozart's passage is an exact harmonic match to Pachelbel's, the latter two both deviating in the last bar, and may in fact have arisen more prosaically from one of the more obvious harmonisations of a descending major scale. This sequence is known as a plagal sequence.

The actual canon is played by the violins over the ground bass. In the beginning, the first violin plays the first two bars of the canon's melody. At this point, the second violin enters with the beginning of the melody, whilst the first violin continues with the next two bars of the canon. Then the third violin commences the canon, whilst the second violin plays the third and fourth bars and the first violin continues with the fifth and sixth. The three violin parts then follow one another at two bars' distance until the end of the piece. The canon becomes increasingly dense towards the middle of the piece as the note values become shorter (first in the first violin, then in the second, and finally in the third violin). Afterwards, the piece gradually returns to a less complex structure as the note values lengthen once more. There are 28 repetitions of the ground bass in total. The canon is relatively simple and does not make use of any advanced contrapuntal devices such as inversion, augmentation, diminution, etc.

It is often seen to be a set of variations over a ground bass or chord progression, like various composers' variations on La Folia (many of which also date from the Baroque period), whereas it is actually a true canon at the unison over a ground bass, as can be seen above. In this regard it is similar to the 13th century round Sumer Is Icumen In.

The convention in the Baroque era would have been to play a piece of this type in the moderate to fast tempo. It became fashionable in the 20th and 21st centuries to play the work at a very slow tempo, often as slow as 40 bpm, although faster renditions are occasionally heard.

WHEW! In before The Flood Take II.MisfitBlondes - If you responded to timschochet regarding where Eine kleine Nachtmusik belongs, I missed it. If you prefer I move this to Song or Wild Card, LMK.

TIA.

 

[krista4]

Whew, glad I took Innervisions this morning!

Love the acting performance and wildcard selections.

 

[Doug B]

Let 'er fly:...

 

[Postradamus]

third time someone's taken that.

 

[Fennis]

:blowsout:

THIS SPACE FOR RENT 212-867-5309

Is Jenny home?

 

[krista4]

THIS SPACE FOR RENT 212-867-5309

OK, who's gonna call this number?

 

[Uncle Humuna]

35.5: The Last Waltz, Documentary [1]

Surprised this one lasted so long.Was my backup if someone had sniped koyaanetc

 

[Postradamus]

norwood took cannon, I tried to as well.

 

[Fennis]

THIS SPACE FOR RENT 212-867-5309

OK, who's gonna call this number?

Youre not the music judge are you?

 

[krista4]

C'mon, Round Two! Make. It. Rain.

 

[Yankee23Fan]

:blowsout:

Abrantes timed out one minute ago.

All you angry drafters need this one. Click link, close eyes, mellow out.

http://www.youtube.com/watch?v=DZHw9uyj81g&NR=1

(how's that for irony, Yankee? me telling people to take this less seriously )

THIS SPACE FOR RENT 212-867-5309

35.07 (687th pick) - Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo - Composition

aka Canon and Gigue in D major for three Violins and Basso Continuo

Johann Pachelbel

Written in or around 1680, during the Baroque period, this piece of chamber music for three violins and basso continuo has since been arranged for a wide variety of ensembles. The Canon was originally paired with a gigue in the same key, although this composition is not regularly performed or recorded today.

The piece, whose score was discovered and first published in the 1920s, and first recorded in 1940 by Arthur Fiedler, is particularly well known for its chord progression, and is played at weddings and included on classical music compilation CDs, along with other famous Baroque pieces such as Air on the G String by J. S. Bach (BWV 1068). It became very popular in the late 1970s through a famous recording by the Jean-François Paillard chamber orchestra. A non-original viola pizzicato part is also commonly added (in a string orchestra or quartet setting) when a harpsichord or organ player is not used to improvise harmonies over the bass line. American film director Robert Redford used the piece as the main theme for his 1980 Academy Award-winning film Ordinary People.

(yeah, I'm leaving the spotlighting in, so just suckit - the worst thing that can happen is folks discover something they didn't know before.)

Structure

The first 9 bars of the Canon in D: the violins play a three-voice canon over the ground bass which provides the harmonic structure. The Canon in D is a strict three-part melodic canon based, both harmonically and structurally, on a two-measure (or -bar) ground bass. The same two-bar bass line and harmonic sequence is repeated over and over, 28 times in total. The chords of this sequence are: D major (tonic), A major (dominant), B minor (tonic relative or submediant—the relative minor tonic), F sharp minor (dominant parallel or mediant—the relative minor dominant), G major (subdominant), D major (tonic), G major (subdominant), and A major (dominant). This sequence, "I V vi iii IV I IV V" (see scale degree), and similar sequences appear elsewhere in the classical body of work. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto No. 11 in G minor, HWV 310. Mozart employed it both for a passage in Die Zauberflöte (1791), at the moment where the three boys first appear and in the last movement of his Piano Concerto No. 23 in A major, K. 488 (1786). He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785. Neither Handel's, nor Haydn's, nor Mozart's passage is an exact harmonic match to Pachelbel's, the latter two both deviating in the last bar, and may in fact have arisen more prosaically from one of the more obvious harmonisations of a descending major scale. This sequence is known as a plagal sequence.

The actual canon is played by the violins over the ground bass. In the beginning, the first violin plays the first two bars of the canon's melody. At this point, the second violin enters with the beginning of the melody, whilst the first violin continues with the next two bars of the canon. Then the third violin commences the canon, whilst the second violin plays the third and fourth bars and the first violin continues with the fifth and sixth. The three violin parts then follow one another at two bars' distance until the end of the piece. The canon becomes increasingly dense towards the middle of the piece as the note values become shorter (first in the first violin, then in the second, and finally in the third violin). Afterwards, the piece gradually returns to a less complex structure as the note values lengthen once more. There are 28 repetitions of the ground bass in total. The canon is relatively simple and does not make use of any advanced contrapuntal devices such as inversion, augmentation, diminution, etc.

It is often seen to be a set of variations over a ground bass or chord progression, like various composers' variations on La Folia (many of which also date from the Baroque period), whereas it is actually a true canon at the unison over a ground bass, as can be seen above. In this regard it is similar to the 13th century round Sumer Is Icumen In.

The convention in the Baroque era would have been to play a piece of this type in the moderate to fast tempo. It became fashionable in the 20th and 21st centuries to play the work at a very slow tempo, often as slow as 40 bpm, although faster renditions are occasionally heard.

WHEW! In before The Flood Take II.MisfitBlondes - If you responded to timschochet regarding where Eine kleine Nachtmusik belongs, I missed it. If you prefer I move this to Song or Wild Card, LMK.

TIA.

Wasn't this taken already?

 

[Postradamus]

yes.

 

[krista4]

THIS SPACE FOR RENT 212-867-5309

OK, who's gonna call this number?

Youre not the music judge are you?

Oh I know Jenny very well, sadly.

 

[BobbyLayne]

third time someone's taken that.

third time I've done that.it gets less funny each time.

 

[krista4]

:blowsout:

Abrantes timed out one minute ago.

All you angry drafters need this one. Click link, close eyes, mellow out.

http://www.youtube.com/watch?v=DZHw9uyj81g&NR=1

(how's that for irony, Yankee? me telling people to take this less seriously )

THIS SPACE FOR RENT 212-867-5309

35.07 (687th pick) - Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo - Composition

aka Canon and Gigue in D major for three Violins and Basso Continuo

Johann Pachelbel

Written in or around 1680, during the Baroque period, this piece of chamber music for three violins and basso continuo has since been arranged for a wide variety of ensembles. The Canon was originally paired with a gigue in the same key, although this composition is not regularly performed or recorded today.

The piece, whose score was discovered and first published in the 1920s, and first recorded in 1940 by Arthur Fiedler, is particularly well known for its chord progression, and is played at weddings and included on classical music compilation CDs, along with other famous Baroque pieces such as Air on the G String by J. S. Bach (BWV 1068). It became very popular in the late 1970s through a famous recording by the Jean-François Paillard chamber orchestra. A non-original viola pizzicato part is also commonly added (in a string orchestra or quartet setting) when a harpsichord or organ player is not used to improvise harmonies over the bass line. American film director Robert Redford used the piece as the main theme for his 1980 Academy Award-winning film Ordinary People.

(yeah, I'm leaving the spotlighting in, so just suckit - the worst thing that can happen is folks discover something they didn't know before.)

Structure

The first 9 bars of the Canon in D: the violins play a three-voice canon over the ground bass which provides the harmonic structure. The Canon in D is a strict three-part melodic canon based, both harmonically and structurally, on a two-measure (or -bar) ground bass. The same two-bar bass line and harmonic sequence is repeated over and over, 28 times in total. The chords of this sequence are: D major (tonic), A major (dominant), B minor (tonic relative or submediant—the relative minor tonic), F sharp minor (dominant parallel or mediant—the relative minor dominant), G major (subdominant), D major (tonic), G major (subdominant), and A major (dominant). This sequence, "I V vi iii IV I IV V" (see scale degree), and similar sequences appear elsewhere in the classical body of work. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto No. 11 in G minor, HWV 310. Mozart employed it both for a passage in Die Zauberflöte (1791), at the moment where the three boys first appear and in the last movement of his Piano Concerto No. 23 in A major, K. 488 (1786). He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785. Neither Handel's, nor Haydn's, nor Mozart's passage is an exact harmonic match to Pachelbel's, the latter two both deviating in the last bar, and may in fact have arisen more prosaically from one of the more obvious harmonisations of a descending major scale. This sequence is known as a plagal sequence.

The actual canon is played by the violins over the ground bass. In the beginning, the first violin plays the first two bars of the canon's melody. At this point, the second violin enters with the beginning of the melody, whilst the first violin continues with the next two bars of the canon. Then the third violin commences the canon, whilst the second violin plays the third and fourth bars and the first violin continues with the fifth and sixth. The three violin parts then follow one another at two bars' distance until the end of the piece. The canon becomes increasingly dense towards the middle of the piece as the note values become shorter (first in the first violin, then in the second, and finally in the third violin). Afterwards, the piece gradually returns to a less complex structure as the note values lengthen once more. There are 28 repetitions of the ground bass in total. The canon is relatively simple and does not make use of any advanced contrapuntal devices such as inversion, augmentation, diminution, etc.

It is often seen to be a set of variations over a ground bass or chord progression, like various composers' variations on La Folia (many of which also date from the Baroque period), whereas it is actually a true canon at the unison over a ground bass, as can be seen above. In this regard it is similar to the 13th century round Sumer Is Icumen In.

The convention in the Baroque era would have been to play a piece of this type in the moderate to fast tempo. It became fashionable in the 20th and 21st centuries to play the work at a very slow tempo, often as slow as 40 bpm, although faster renditions are occasionally heard.

WHEW! In before The Flood Take II.MisfitBlondes - If you responded to timschochet regarding where Eine kleine Nachtmusik belongs, I missed it. If you prefer I move this to Song or Wild Card, LMK.

TIA.

Wasn't this taken already?

 

[Uncle Humuna]

:blowsout:

Abrantes timed out one minute ago.

All you angry drafters need this one. Click link, close eyes, mellow out.

http://www.youtube.com/watch?v=DZHw9uyj81g&NR=1

(how's that for irony, Yankee? me telling people to take this less seriously )

THIS SPACE FOR RENT 212-867-5309

35.07 (687th pick) - Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo - Composition

aka Canon and Gigue in D major for three Violins and Basso Continuo

Johann Pachelbel

Written in or around 1680, during the Baroque period, this piece of chamber music for three violins and basso continuo has since been arranged for a wide variety of ensembles. The Canon was originally paired with a gigue in the same key, although this composition is not regularly performed or recorded today.

The piece, whose score was discovered and first published in the 1920s, and first recorded in 1940 by Arthur Fiedler, is particularly well known for its chord progression, and is played at weddings and included on classical music compilation CDs, along with other famous Baroque pieces such as Air on the G String by J. S. Bach (BWV 1068). It became very popular in the late 1970s through a famous recording by the Jean-François Paillard chamber orchestra. A non-original viola pizzicato part is also commonly added (in a string orchestra or quartet setting) when a harpsichord or organ player is not used to improvise harmonies over the bass line. American film director Robert Redford used the piece as the main theme for his 1980 Academy Award-winning film Ordinary People.

(yeah, I'm leaving the spotlighting in, so just suckit - the worst thing that can happen is folks discover something they didn't know before.)

Structure

The first 9 bars of the Canon in D: the violins play a three-voice canon over the ground bass which provides the harmonic structure. The Canon in D is a strict three-part melodic canon based, both harmonically and structurally, on a two-measure (or -bar) ground bass. The same two-bar bass line and harmonic sequence is repeated over and over, 28 times in total. The chords of this sequence are: D major (tonic), A major (dominant), B minor (tonic relative or submediant—the relative minor tonic), F sharp minor (dominant parallel or mediant—the relative minor dominant), G major (subdominant), D major (tonic), G major (subdominant), and A major (dominant). This sequence, "I V vi iii IV I IV V" (see scale degree), and similar sequences appear elsewhere in the classical body of work. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto No. 11 in G minor, HWV 310. Mozart employed it both for a passage in Die Zauberflöte (1791), at the moment where the three boys first appear and in the last movement of his Piano Concerto No. 23 in A major, K. 488 (1786). He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785. Neither Handel's, nor Haydn's, nor Mozart's passage is an exact harmonic match to Pachelbel's, the latter two both deviating in the last bar, and may in fact have arisen more prosaically from one of the more obvious harmonisations of a descending major scale. This sequence is known as a plagal sequence.

The actual canon is played by the violins over the ground bass. In the beginning, the first violin plays the first two bars of the canon's melody. At this point, the second violin enters with the beginning of the melody, whilst the first violin continues with the next two bars of the canon. Then the third violin commences the canon, whilst the second violin plays the third and fourth bars and the first violin continues with the fifth and sixth. The three violin parts then follow one another at two bars' distance until the end of the piece. The canon becomes increasingly dense towards the middle of the piece as the note values become shorter (first in the first violin, then in the second, and finally in the third violin). Afterwards, the piece gradually returns to a less complex structure as the note values lengthen once more. There are 28 repetitions of the ground bass in total. The canon is relatively simple and does not make use of any advanced contrapuntal devices such as inversion, augmentation, diminution, etc.

It is often seen to be a set of variations over a ground bass or chord progression, like various composers' variations on La Folia (many of which also date from the Baroque period), whereas it is actually a true canon at the unison over a ground bass, as can be seen above. In this regard it is similar to the 13th century round Sumer Is Icumen In.

The convention in the Baroque era would have been to play a piece of this type in the moderate to fast tempo. It became fashionable in the 20th and 21st centuries to play the work at a very slow tempo, often as slow as 40 bpm, although faster renditions are occasionally heard.

WHEW! In before The Flood Take II.MisfitBlondes - If you responded to timschochet regarding where Eine kleine Nachtmusik belongs, I missed it. If you prefer I move this to Song or Wild Card, LMK.

TIA.

Wasn't this taken along time ago?

 

[Chiwawa]

THIS SPACE FOR RENT 212-867-5309

OK, who's gonna call this number?

Youre not the music judge are you?

 

[anborn]

:blowsout:

Abrantes timed out one minute ago.

All you angry drafters need this one. Click link, close eyes, mellow out.

http://www.youtube.com/watch?v=DZHw9uyj81g&NR=1

35.07 (687th pick) - Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo - Composition

aka Canon and Gigue in D major for three Violins and Basso Continuo

Johann Pachelbel

Wasn't this taken already?

I took it.

 

[Abrantes]

I actually meant to ask about concert films like The Last Waltz earlier, actually. Are they eligible as documentaries?

 

[krista4]

I actually meant to ask about concert films like The Last Waltz earlier, actually. Are they eligible as documentaries?

Yes.