 Okay, let me just check the volume. Sounds okay, let's get started. This week we're going to continue our discussion of musical form, and we're going to fold that discussion inside of the preparation for the concert, which is when? Saturday, and it is where? Battelle Chapel should be on the sheet there, and it's at 8 p.m. And we're going to have the Sable Orchestra perform for us. Today we're going to talk about theme and variations, and one of the pieces that's on that concert. And then on Thursday we're going to have the conductor, and several of the soloists come in and talk to us about the difficulties of this particular concert, and sort of get us alerted to the sort of thing that we should be on the lookout for as reviewers. We will be continuing with this, of course, in sections this week. And when you come to lecture next time we will give you what I call a prep sheet, a sort of guide to all three pieces that are going to be performed, and then when you go to section you will get a sheet having to do with how you write a review. It's a whole list of sort of dos and don'ts in writing a review. Those of you that are in the Monday section, we will work this out in advance. We'll talk about that on Thursday, but you may be encouraged to come to an earlier section, and if that doesn't work out we're going to reform those Monday sections in a way that will work for you as well. I know there are a couple of students also that can't be here this weekend. It's inevitable that that's the case. There will be a make-up concert scheduled at a later date. So don't worry about this, but do keep coming, because the principal's involved in writing a review for this particular concert, are identical to whatever concert you attend. Any questions about that before we get started? Okay, if not, let's go ahead with a concert program. It's kind of fun. I started with this way early last August, arranging this. What I wanted to do was get a concert coming in the middle of the term, because I think you're ready now to go at this serious material, a concert in the middle of the term performed by an undergraduate orchestra in which the program would be sort of user-friendly, would be the kinds of things that we had been working with. So I contacted a couple of ensembles, and the Seybrook group, one had the best program, and two seemed to be quite responsive in getting back to me about some of the things that we might do. And indeed, one of the pieces, the Brahms that we're going to talk about, I suggested that they do, because I needed, for teaching purposes in here, I needed a good theme and variation piece. And I've got one in the Beethoven, but it's not quite as clear-cut as this particular one. So as you can see, I have three pieces on this concert. I hope you all have the sheet there. They should be listed. The Overture to the Marriage of Figaro by Mozart. This is an overture, an opening to his opera, The Marriage of Figaro. And good news here that this spring, the opera company, an undergraduate opera company, will be performing The Marriage of Figaro. And it's an absolutely delightful opera. I mean, it's to die for. Not only is it lots of fun and funny, but it happens to be in terms of the craftsmanship involved, arguably the greatest opera ever written. So we're fortunate to have it here, and you'll get a preview of this Saturday with the overture that we will hear. Then we will go on to a piece by Johannes Brahms. Anybody know anything about Brahms? They're interesting characters in the history of music. Wagner, he might have been an SOB, but nonetheless he was interesting. Mozart is endlessly fascinating. Bach is interesting in his own way. Beethoven, sort of the prototypical romantic genius, very interesting. I can't say that Brahms' personal life was all that interesting, so maybe we'll just forget about it. We'll just say that he was born in Hamburg, Germany, and he died in Vienna, and I may have put his dates on your sheet there. But he is, of course, one of the three B's. Who are the other two in the history of music, of course? Bach and Beethoven. I once asked in a quiz in here, who are the three B's of music, and a student answered, Bach, Beethoven, and Haydn. I was very depressed for the rest of the day, but Brahms indeed is the third B here, so we don't want to forget about him. He's a very serious composer. He takes everything very seriously. I think I put on your sheet there, did I or did I not? The kinds of things that he wrote, yes I did. Four symphonies, two piano concertos, violin concerto, many overtures, many songs, much great chamber music. If you're a violinist and you get rather advanced, you can play the beautiful, beautiful Brahms violin sonatas. If you're a cellist and you get reasonably advanced, you can play the beautiful cello sonatas. So he wrote a lot of really great chamber music. Oddly, he wrote no program music, and we'll talk about that a little bit later on, what program music is, and he wrote no opera. Well, so a little bit different, very much sort of heavy-duty instrumental music. Well, let's talk about this composition. It will not open the piece. It will be the second on the concert. It won't open the concert. It will be the second piece. A set of variations on a theme by Joseph Haydn. Well, the theme probably isn't really by Joseph Haydn, but when Brahms got it, everybody thought it was by Joseph Haydn. It's probably just a religious folk song in honor of St. Anthony, but that's neither here nor there. The shape of this song, or theme that Brahms is working with here, is one that we're very familiar with. Now, instead of putting A, B, C, B, I could have done that up here. I'm going to flesh this out a little bit. We're going to call this antecedent, consequent, extension, consequent. But it's the same form that we saw in the Beethoven Ode to Joy. So it's a familiar organization for a musical theme, sort of opening, closing, extension, and then closing again. And in this particular set of variations, Brahms will do this, which of course is our what sign again? Repeat sign. So he's going to repeat each of these two sections. Actually, Beethoven did that to some extent in the Ode of Joy, too. So he's got this very straightforward theme with that particular form. Let's listen to the theme, and we'll try to pick up where the antecedent concludes and where the consequent begins. Oh, and before that we could plug in other information. What's the meter? Ask yourself as you listen. What's the meter of this? What's the mode, major or minor? What is the base doing? What string technique is the base employing here? Okay, that's the consequent. Now he's going to repeat it. Let's go back. We'll just, I'm sorry, we'll just continue wherever you are, Linda, it doesn't really matter. Are we continuing? Okay, let's just continue. Repeat. Here's the antecedent. Here's the consequent. Extension. Rising melodic sequence. Now he's going to bring it back down, descending melodic sequence. The consequent. We're just going to pause it there. At this point, what he does is take that tonic pitch and extend it for a long period of time. It's down in the base. It's being held. This is a device that derives from organ technique, where an organist would just put his foot or her foot on a particular key and just hold it for a long time. So we call it pedal point. So what Brahms is doing here is sort of extending this tonic harmony by means of a pedal point. So let's listen to this. Now we've got to repeat, I believe. Boom. So we're back to the extension. We're going up the sequence, now back down. Here's the pedal point. Okay, so go ahead to the next part. So that's the theme. It's rather straightforward and really quite lovely. The solo instrument there, of course, was an oboe. Solo oboe there. So now we're going to go on. We're not going to go through all these variations on your sheet. What about these timings here? Can you come in with a stop clock and have your watch or its set in a way that in two minutes and 19 seconds we expect the first variation to come in? Is that going to work? Oscar, why won't that work? A conductor might interpret things his or her own way. We're going to have both a male and a female conductor on Saturday night. So yeah, exactly. Because different conductors have different ideas about tempo. Brahms would write Allegro Asse or something like that. It's rather fast, but how fast is rather fast. So they're not precise indications. So these times are approximate here, but I'll give you a sense of when things might happen. So we're going to go on now to variation five, I believe, which is at 8 minutes and 36 seconds, or an approximation thereof. And here we're going to give you maybe the most difficult of all the variations for the orchestra to play. It's very disjunct rhythmically. They're not altogether. It's very contrapuntal. Counterpoint is always harder to play in an orchestra than homophony because you've got all these things that have to be coordinated. So let's listen to this. If things seem muddled and unclear in a performance of this piece, my guess is it may well happen here. But let's listen just to a little bit to show you how difficult and how far away from the theme Brahms can go. So we'll stop it there. So it's hard for me, even to get it in terms of the rhythm there, to be absolutely sure where the beat is because there's so much syncopation. I think that's a very fast one, too, with a triple subdivision underneath. But again, the point there may be G. I didn't remember hearing da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da. Where'd that theme go? That's hard to hear. Well, he was varying it so much that he's pretty much totally disguised the theme at that point. Let's go on now to listen to a little bit of Variation 7 three or thereabouts. This is my favorite variation, but let's listen to a bit of it and see if you like it too. There's the A section. Here comes C, back to A, pause it there. Now, what am I doing up here? What is this? Well, what I'm trying to do is indicate what we call a compound meter. It's one of these where you basically have a two, but you have a triple subdivision. Conductors, if that two is slow enough, might go one, two, three, four, five, six. One, two, three, four, five, six. So it'd be interesting to see. Maybe we should ask the conductor on Thursday how he or she, I forget who's conducting exactly which piece is here, how he or she is going to conduct that. We're going to do a very slow two like that, or we're going to really show the subdivisions. That's probably the suggestion that maybe he or she doesn't have quite as much confidence in the orchestra and wants to really show that beat very clearly, rather than working with a very experienced group where you just kind of give the large patterns and they'll be able to put it all together. Now, as we continue with this, let's move up to two-eighteen, or twelve-eighteen, please. Linda, we are now at this spot. We're going to have the extension. And it's kind of fun to watch what Brahms is doing here. Brahms is obsessed with rhythm. And it drives you nuts when you're a performer of this stuff. One, he's obsessed with variation, and two, he's obsessed with rhythm. He will change things even when he doesn't need to change things. And I remember accompanying my last child in the Brahms cello sonata, and I would have to continually change hand positions for no good reason, which is kind of arbitrary, that he wanted maybe just a slightly different sound whereas the sound before, the Beethoven would have been satisfied with and Mozart would have been satisfied with, wouldn't suffice for him. So he's obsessed with variation, he's obsessed with rhythm. And as we listen to this passage, we will see the basic one, two, three, four, five, six, one, two, three, four, five, six, and then suddenly he will change it. One, two, three, four, five, six, one, two, three, four, five, six, one, two, three, four, five, six, emphasizing this way. That in music is called hemiola. There's probably some kind of Greek root there having to do with twos and threes, I'm not really sure. But as you can see, we've got what we had was, in effect, two units of three. Now we've got three units of two. I remember Leonard Bernstein, I don't know whether it's West Side Story or not. What is that from? Is it from West Side Story? Okay. So that's a good example of hemiola, too. I think it's called America or something like that. So that's what hemiola is. When you're rolling in one of these and you suddenly shift to the other, back and forth. So let's listen to this lovely six become three groups of two. Five, six, one, two, three, four, five, six, one. Let's do that again. Let's do that again. It took me a while to find the six beat there. So go back a little before. So here's E. Okay. Well, that's just a little rhythmic Philip there with Brahms, but it's the kind of thing that keeps interest in his music. Now we're going to go on to the last variation. And it's an interesting one because it's got two things going on here. One is the theme, and then he's got what we call an ostinato in music. Anybody remember? I think we've bumped into this term before. What an ostinato is? What does an ostinato do, Roger? Good. That's it exactly. From the Italian ostinare, obstinate, and it just repeats the same phrase over and over and over again. So what he's got here repeating oddly is in the bass. There's his tonic. He keeps repeating over and over and over. Above which we have a very distant variation of the theme. Doesn't sound like the theme very much. So let's listen to the ostinato in this highly varied theme up above. Can you hear the bass? Notice also, iatitiitiiti. What's he throwing in against his basic beat? Iatatatatatatatatatatatatatatattattatatatatat. What's that? We've talked about it before. We're coming on here. One, two, one and two, and one and two, and yaddi-dee-dee-dee-dee-dee-dee-dee. What's that? Triplets, okay? So we talked about that before. So here he's making this more complicated rhythmically by not only using hemiol and syncopation, but also three is against two simultaneously. He's throwing in some triplets in the melody up above. Okay, let's continue just a bit more. Right there is fine, yeah. So at this point you say, what the heck happened to my theme? I'm da-da-da-dum-bum-bum-bum. I don't remember that at all. We've sort of lost track of that as this ostinato bass keeps grinding way underneath. But gradually what he does is take that ostinato and move it up into the upper part of the register of the orchestra, and then gradually make this transform back into the theme, sort of magically transform itself back into the theme. So let's go on now to 1755, and then we'll pick it up there, if that's okay. Sounds very confused, but if you listen to the upper register, you can hear this coming back, and the upper wood wins. Okay, so now you think the piece is over. Slowing the tempo way down. Sound diminishes. Could end it right here. That last little bit at the end, of course, is called the coda. Right, okay? So he, once again, in theme of variations, if you don't give the audience a coda, they're expecting the next variation to begin. So you got to throw on that coda so that everybody knows, hey, that really was the end, no fooling. Questions about that? So that's Brahms' variations on the theme of Haydn. It's, I can't say, it's a very, it's a beautiful piece, but it's a very serious piece. But it's a good piece for you. This is a very serious group this year. I'm impressed with the seriousness of which you show up here, and as you take this, I gather, sometimes I see that you're actually much more interested in the classical stuff that we're doing than in the pop stuff, which is not always the case over the years working with you undergraduates. Okay, a question. Yes, Daniel? Yes, however disguised it is, the question is, is the framework of the theme always this A-C-E-C business, no matter how far he goes melodically from the original pattern, and how complex in terms of counterpoint and rhythmic permutations he becomes, it still is dropped within this same framework of the A-C-E-C, although admittedly it's pretty difficult to hear sometimes. Yeah, David? Michael, sorry. That's a Brahms' with that piece. That is just with this piece here. You can work with other composers, Paganini's variations on a theme of Rachmaninoff, for example, where the length of the variations will become very different and it won't be sort of as I like to say the boxcar-like as this arrangement. This is still boxcar-like, even though it's very diversified in terms of what's put in and on those boxcars. There are two good questions there, thanks. All right, having finished theme and variations for the moment, let's go on to talk about Rondo, R-O-N-D-O. Rondo, is that really true? Well, it goes by a couple of different names. English, call it Rondo form. The Germans call it Rondo form, and Mozart wrote, and I've looked at a lot of his autographs. Wanted to write Rondo, he spelled it R-O-N-D-O. Si nous allons en France, on I va dire Rondo. C'est Rondo, monsieur. But if you go to Italy, they would call it Ritonello. Locchiamo Ritonello. I love these Latinate languages, they're so wonderful, aren't they, the way they play with the vowels. Ritonello. So it's the same idea, a Rondo, a Rondo, and a Ritonello, it's the same principle. And oddly, the principle develops right out of the thing that we were talking about, and that Frederick introduced this to the idea of verse and chorus, because what's involved here is really one musical concept, one big theme coming back again and again and again. And this goes all the way back to the Middle Ages, where they would have soloists singing new verses, and then everybody would sing the chorus. And the thing that we all remember is the chorus, that's the big ticket item, that's the thing that everybody's doing. So that's the thing that keeps coming back again and again and again. So this, in an odd way, I think is the easiest of these forms to remember. If you hear some music, you get music, and then something else, and then hit in the face with that same music again, then something else, and you get hit in the face with that same music again, and then something else, and then same music again. That's probably Rondo form, and you can give it these different names in different languages, but the idea is the same, and as I suggest, it's primordial. I think on your sheet to show you how primordial it is, I even gave you the text of a Rondo by Gilium Dufaei that goes all the way back into the 15th century. We don't have to go back that far, and you can see we'll end up today with a Rondo by Sting. So this has been around for a long time, this particular form. Let's have an introduction to it by listening to a reasonably well-known piece by Jean-Joseph Mourais, who was a composer-in-residence at the court of King Louis XV at Versailles and in Paris in the early years of the 18th century. You probably know this music because for years it was the background theme of the introductory material for Masterpiece Theater on public television. So let's listen to a bit of this, and let me take this material off, and we'll chart here, and I'll ask you what the meter of this is, but the meter, and how many measures of our refrain, our main theme, what we'll call it, a here, how many measures we have in our theme. Stop it there. So what'd you think about that? What's the meter? Well, I would kind of give that away. Sometimes you listen to music, you can't stop yourself. It's like the end of Doctor Strange Love. You ever see that movie? Get back down. So, yeah, it's a piece in Duplometer. How many measures did we have in our theme? How many measures did we count there? Well, let's listen to it again. Right back to the beginning, I guess, Linda. So what do you think? Eight, all right, let's put eight up here, and let's listen again now. Just continue, please. So we'll stop it there, and we had how many there? Eight again. So everything is always fours and eights in music. No, not exactly. If you start, we're counting measures there in the Brahms. His theme sometimes has five measures in those sections. But this one happens to be different and more common, eight plus eight. And actually, in reality here, this is just slightly different than the first day. The ending of it is slightly different from the first day. So there we are. We've got our refrain, our theme in place, our big A idea. Now let's go on to the next material. Stop it there. How many bars did we have there? Well, eight again. Okay? So we could call it a different sort of rhythm there. We could call this a B idea, or we could even call it an X, something different, something different. And that lasted for eight bars. Back it up just a couple of, Linda, if you would please, so we can get back into that B, and then we'll go on to the next A. So here we are with our B. So what happened to our A this time? How long was it? It was still eight. Did we get it again, though? No, we got just one statement of it. Why didn't we get it again? Well, maybe he didn't need to give it to us again. Ever watched television commercials when they first come on, and then what happens to these commercials a couple of months later? What do they do? You've gained them? Yeah, they shorten them. They'll run a 60-minute version of it, then a 30-second version, that'd be interminable. A 60-second version, then a 30-second version. You psychologically, sublimely, you're filling in the missing information. So keep an eye out for that kind of thing. And composers do that, too. They know, well, we've heard this a fair amount. We'll give the psychological force of the whole thing, but really just give it to them in half. Okay, so wherever we are there it, yeah, so back in around 45 or so, if you can get there. Okay, here we've got a count now. So let's pause there. How long was that section? 20, yeah, 20 bars there is a long run of other material, and then as you can hear here, our A theme is coming back. Let's see if we get it repeated. Was there a coda there? How did this particular group of performers make the piece sound as if it were ending? Daniel? Or Angela, is it? Yeah. He retarded, de-de-de-de-deem, da-dum, slowed it way down. So that's another way of getting a sense of end here rather than throwing on some extra bricks to say the thing has concluded harmonically. All right, so that's one rondo. Let's go on to a more sophisticated rondo. We're going to go on to one by Vivaldi here. Now, this is in rittornello form, as you'll see when you read the textbook, but the principle is the same. We have a theme that keeps coming back again and again and again. And you all know this theme. You've probably heard it at Starbucks or Obon Pan eight zillion times, right? Anybody sing it? Anybody remember what the Vivaldi spring concerto sounds like? Okay, Angela's on a roll this morning. So nice and loud, don't be shy there. Good, okay. Da-dum, da-dum, da-dum, ba-da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, then we have a second idea. Ba-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, da-dum, so here it's kind of our main theme here. There's really kind of two ideas, A and B, but we're going to just for the sake of argument here just call this big A here, okay? So that's the theme. So let's listen to a bit of this. Well, no, we don't even have to listen to this because Angela has given us the retornello. So let's go on to the first X here. We've got something else coming in and it's Vivaldi's attempt to write birds chirping away on a beautiful spring morning. So let's listen to the birds here. After the birds chirp, we get our A coming back. So let's listen to our A come back here. Okay, so now we're taking a walk to a beautiful forest in the spring day and we see a babbling brook and the brook is foaming, surging away. So that's what we've got here. Da-dum, da-dum. So what was that that we just heard? Bum, bum, ba-da-dum, bum, bum, bum, bum. Was that something else or was that our retornello? Jerry? Nice and loud? Okay, that was my next question. You've jumped to it. So it was the retornello and my next question is, but what was different about that retornello? Well, the first time we had it, yum, bum, ba-da-dum, bum, bum, bum, bum. Now we're going to say, bum, bum, ba-da-dum, bum, bum, bum, bum. It's a lower key, so we've had a modulation. This is actually down on the dominant. We don't need to know that. We don't need to know whether it's tonic or dominant, but I think it would be good. We heard that as just a little bit different. It's lower, maybe a little darker than the brighter sound up above. So we had that and now let's see what happens. It doesn't the storm come up and sort of threaten us here in the beautiful forest? ["Pomp and Circumstance"] Lots of tremolo, lots of agitation. Yes, that was our retornello coming back, our theme coming back, but how is it different? Okay, yeah, I was in minor. Yum, bum, ba-ba-dum, bum, bum, bum, bum. So it had changed key again. Again, we don't need to know what key it went to. If you were a betting man in Las Vegas or a betting woman in Las Vegas, what would you say it went to the relative minor? Because about half of the time, that's what they do. And indeed, in this particular case, it went just three half steps down to the relative minor. But hearing that it went to the minor is all we're after here. So this was in a minor key here. And then on it goes. We need to play this out to the end. It gives you a sense of how retornello form can inform this particular rondo. Let's turn to another one by Mozart here. Yeah, I think we've got time for that. Take this off. So it's a horn concerto by Mozart, written in the 1870s. And we're just gonna start it out here and we're going to hear the first theme. Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. It's the basis of listening exercise 26, which we'll get to in a week or so. == Music == Okay, let's stop there. Why is this an easy theme to remember? Because it's full of da-da-da-da, da-da-da-da-da-da-da-da-da. It's a lot of notes right on the same pitch. Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. It actually starts dominatana-da-da-da-da-da-da-da-da-da-da- and sort of goes along like that. So we can keep a mental graph of this with our axis. Now, in a second, and then the orchestra repeated this, then in a second the B theme is going to come in. And it's going to be very different. Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. What's that? Arpeggio, okay? So instead of using repeated pitches, we mark the B section of this by the use of lots of leaps here. So we're going to have lots of space between our exit. Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. And then it's going to have a couple of different motives in here, but they're all very skippy. They're all very disjunct. And it's these disjunct leaps that mark the B section. So let's just continue. More jumps. Now listen to the bass here. Do it on another pedal point. Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. Sitting on the dominant. What's this? Well, this is our theme, A coming back. Okay, we're going to stop it here. So here we are at this particular juncture. Notice each time the French horn plays the theme, then the orchestra repeats it. Now, as we go into this section, we'll get a new theme. It's C and it will be marked by an interesting development. What's happened to the mode? What happened to the piece there? It's to minor, changed to minor. So we're moving fast here. We're doing all this in just one hearing. So there we are. Our C section is marked by minor. So let's continue. Rising sequence here, melodic sequence. Now falling sequence. Now step lower, and step lower yet again. And then A sneaks in, even by the orchestra. And here come our jumps. So we're back to B. Sing the next pitch. Not only bomb, but somebody starts singing. But you know what's happening next. He sets you to this big, long dominant pause. And off it goes. So play that, Linda, please. Now this we have had our A in the orchestral repeat of it. But we haven't heard this kind of stuff before. What would you imagine is going, what is this we're listening to now? Coda. I'm moving things along here. So we have a coda, and notice that down, I forget the particular key. Mozart is working through the duke of Ural harmony once again in this particular section. So let's listen to a bit of that. And this is just filler, arpeggio. So that's our coda again to show us that the piece is an end. You can end your rondo in a couple of ways. But the point here is notice the form that has been created by Mozart. And again it is timeless. I think we have time now to show a slide. And Jason isn't here today. I wanted him to do this. I think I can turn this on myself though. And we're going to listen to Lynn to start playing the sting please, just for a moment. What do I have up here on the board? Anybody ever seen this before? Anybody been there? Where would you imagine it is? In France, at the Chateau de Chambord, C-H-A-M-B-O-R-D. I took this leaning out of a bus. And you can see over the left we have one idea, the A idea, a contrasting idea, returned to the A idea, a largely contrasting idea here in the middle, return to your central concept, a contrast here that matches this contrast over there, and then the central idea at the end. It's exactly in one of these palindromic A-B-A-C, A-B-A form, the same thing that you get here in the Mozart-Horn Concerto, and the same thing that Sting and the police have programmed into their particular rondo. You've got the sheets on this. Maybe I'll turn the lights back on, because we don't need to see that anymore. Did you like that? You want that back on? Yes, okay. Yeah, it's pretty, I like it too. Okay, and we can see well enough up here. So let's listen to, I'll just tell you we've got this initial idea. Where is, what key is E? Once again, the 16451 Duke of Earl stuff, but interestingly enough here, half the time E doesn't come back. Is what? A deceptive cadence. So he alternates here between authentic cadences and deceptive cadences. So we'll listen to a little bit of it. If we run out of time, then we'll stop. The six, four, five, there we go. Here's the six, the deceptive cadence. The copyright people will be all over us. Then it goes on to the B section. Oh, can't you see? And for that we have a different chord. Did you belong to me? My heart breaks. Ta-da-da-da-dee-dee-dee-dee-dee-dee-dee. Okay, we can continue to play now. I want to get to C. Tell you what, go straight to C. This is pretty cool what he does here. He's in this particular key, and he gives us this sound. Kind of a shocking chord change right in the middle of the piece. It's a kind of what we would call a flat seventh degree. Let's see if we can hear this tonal shock and then we'll stop.