GIVE ME THE MUSIC
Viola jokes
Q: What is a
chord?
A: Three violists playing in unison.
Q: What is the best recording of the Walton viola concerto?
A: Music Minus One.
Q: What is the difference between a viola and a trampoline?
A: You take off your shoes before you jump on the trampoline.
Q: What is the difference between the first and last desk of a viola section?
A: Half a measure.
Q: What is the difference between grapes and a viola?
A: You take off your shoes to stamp on grapes.
Conductor: Again from measure 5, if you please.
Voice from viola section: But Maestro, we have no measure numbers.
Q: What is the difference between a chainsaw and a viola?
A: If you absolutely had to, you could use a chainsaw in a string quartet.
Q: What do you call a person who plays the viola?
A: A violator.
Q: What is the difference between the first and last desk of a viola section?
A: A semi-tone.
Q: Why are violas so large?
A: It is an optical illusion. It's not that the violas are large, just that the viola player's heads are so small.
Q: What do you call the folks who hang around the musicians at conservatories?
A: Violists.
Q: What is the difference between a dog and a viola?
A: The dog knows when to stop scratching.
Q: Why can't you hear a viola on a digital recording?
A: Recording technology has reached such an advanced level of development that all extraneous noise is eliminated.
Q: What is the definition of a major seventh?
A: A violist playing octaves.
Q: How is lightning like a violist's fingers?
A: Neither one strikes in the same place twice.
Q: Which positions does a violist use?
A: First, third, and emergency.
Q: Why are orchestra intermissions only twenty minutes long?
A: So the violists don't need to be retrained.
Q: When a 16-inch viola and a 17-inch viola are dropped simultaneously from a 30-story building, which one hits the pavement first?
A: Who cares!
Q: How do you get a viola section to play spiccato?
A: Write a whole note with "solo" above it.
A: Three violists playing in unison.
Q: What is the best recording of the Walton viola concerto?
A: Music Minus One.
Q: What is the difference between a viola and a trampoline?
A: You take off your shoes before you jump on the trampoline.
Q: What is the difference between the first and last desk of a viola section?
A: Half a measure.
Q: What is the difference between grapes and a viola?
A: You take off your shoes to stamp on grapes.
Conductor: Again from measure 5, if you please.
Voice from viola section: But Maestro, we have no measure numbers.
Q: What is the difference between a chainsaw and a viola?
A: If you absolutely had to, you could use a chainsaw in a string quartet.
Q: What do you call a person who plays the viola?
A: A violator.
Q: What is the difference between the first and last desk of a viola section?
A: A semi-tone.
Q: Why are violas so large?
A: It is an optical illusion. It's not that the violas are large, just that the viola player's heads are so small.
Q: What do you call the folks who hang around the musicians at conservatories?
A: Violists.
Q: What is the difference between a dog and a viola?
A: The dog knows when to stop scratching.
Q: Why can't you hear a viola on a digital recording?
A: Recording technology has reached such an advanced level of development that all extraneous noise is eliminated.
Q: What is the definition of a major seventh?
A: A violist playing octaves.
Q: How is lightning like a violist's fingers?
A: Neither one strikes in the same place twice.
Q: Which positions does a violist use?
A: First, third, and emergency.
Q: Why are orchestra intermissions only twenty minutes long?
A: So the violists don't need to be retrained.
Q: When a 16-inch viola and a 17-inch viola are dropped simultaneously from a 30-story building, which one hits the pavement first?
A: Who cares!
Q: How do you get a viola section to play spiccato?
A: Write a whole note with "solo" above it.
Fight between the musicians
At a concert
hall one night, the stage manager comes across an oboe player and a viola
player having a fight.
He breaks the fight up and asks what the fight was about.
The oboe player says, "He broke my reed! I was just about to play my big solo when he broke my reed!"
"Well?" says the stage manager to the viola player. "What do you say to that?"
In umbrage, the viola player replies, "He undid two of my strings but he won't tell me which ones!"
He breaks the fight up and asks what the fight was about.
The oboe player says, "He broke my reed! I was just about to play my big solo when he broke my reed!"
"Well?" says the stage manager to the viola player. "What do you say to that?"
In umbrage, the viola player replies, "He undid two of my strings but he won't tell me which ones!"
Musicians on a sinking ship
A violist and a
cellist were standing on a sinking ship together.
"Help!" cried the cellist, "I can't swim!"
"Don't worry," said the violist, "just fake it."
"Help!" cried the cellist, "I can't swim!"
"Don't worry," said the violist, "just fake it."
Make me a better musician
There once was a
violist playing in the Winnipeg Symphony. He wasn't that wonderful a player, so he sat at the back of
the section. One day, he was cleaning out his attic and discovered an old lamp.
He gave it a rub and out popped a genie.
"For letting me out of my lamp, I'll grant you three wishes!" he said.
The violist thought for a moment and replied, "Make me a far better musician than I am now."
The genie told him that this would be done. He was to go to sleep and in the morning, he would be a much better musician. The next day, he woke up to find himself the principal violist of the symphony. Well, this was just great, he thought! But he knew he could do better. He rubbed the lamp again and out popped the genie.
"You have two more wishes!" he said.
"I want you to make me a better musician than I am even now!"
Once again, the genie told him to go to bed and when he woke up, it would be so. When the violist awoke, he found he was now the principal violist of the Berlin Philharmonic. Well, the violist thought this was pretty grand, but knew he could do better yet. He rubbed on the lamp again and once more out came the genie.
"This is your last wish." the genie said.
"I want you to make me yet a better musician still!"
Yet again, he was told to go to sleep. The next morning, he woke up to find himself back in Winnipeg, sitting in the last desk of the second violin section.
"For letting me out of my lamp, I'll grant you three wishes!" he said.
The violist thought for a moment and replied, "Make me a far better musician than I am now."
The genie told him that this would be done. He was to go to sleep and in the morning, he would be a much better musician. The next day, he woke up to find himself the principal violist of the symphony. Well, this was just great, he thought! But he knew he could do better. He rubbed the lamp again and out popped the genie.
"You have two more wishes!" he said.
"I want you to make me a better musician than I am even now!"
Once again, the genie told him to go to bed and when he woke up, it would be so. When the violist awoke, he found he was now the principal violist of the Berlin Philharmonic. Well, the violist thought this was pretty grand, but knew he could do better yet. He rubbed on the lamp again and once more out came the genie.
"This is your last wish." the genie said.
"I want you to make me yet a better musician still!"
Yet again, he was told to go to sleep. The next morning, he woke up to find himself back in Winnipeg, sitting in the last desk of the second violin section.
The insane conductor
A violist comes
home late at night to discover fire trucks, police cars, and a smoking crater
where his house used to be.
The chief of police comes over to him and tells him, "While you were out, the conductor came to your house, killed your family, and burned the house down."
The violist replied, "You're kidding! The conductor came to my house?"
The chief of police comes over to him and tells him, "While you were out, the conductor came to your house, killed your family, and burned the house down."
The violist replied, "You're kidding! The conductor came to my house?"
Violin jokes
Q: How can you
tell if a violin is out of tune?
A: The bow is moving.
Q: How do you make a violin sound like a viola?
A: Sit in the back and don't play.
Q: How do you make a violin sound like a viola?
A: Play in the low register with a lot of wrong notes.
Q: What is the difference between a violin and a viola?
A: A viola burns longer.
Q: Why does a viola burn longer than a violin?
A: It is usually still in the case.
Q: What do a viola and a lawsuit have in common?
A: Everyone is happy when the case is closed.
Q: Which is smaller, a violin or a viola?
A: They are actually the same size, but a violinist's head is so much bigger.
Q: Why is a violinist like a Scud missile?
A: Both are offensive and inaccurate.
Q: How do you keep your violin from getting stolen?
A: Put it in a viola case.
Q: What is the difference between a violist and a terrorist?
A: Terrorists have sympathizers.
Q: Why don't violists play hide and seek?
A: Because no one will look for them.
Q: Why shouldn't violists take up mountaineering?
A: Because if they get lost, it takes ages before anyone notices that they're missing.
A: The bow is moving.
Q: How do you make a violin sound like a viola?
A: Sit in the back and don't play.
Q: How do you make a violin sound like a viola?
A: Play in the low register with a lot of wrong notes.
Q: What is the difference between a violin and a viola?
A: A viola burns longer.
Q: Why does a viola burn longer than a violin?
A: It is usually still in the case.
Q: What do a viola and a lawsuit have in common?
A: Everyone is happy when the case is closed.
Q: Which is smaller, a violin or a viola?
A: They are actually the same size, but a violinist's head is so much bigger.
Q: Why is a violinist like a Scud missile?
A: Both are offensive and inaccurate.
Q: How do you keep your violin from getting stolen?
A: Put it in a viola case.
Q: What is the difference between a violist and a terrorist?
A: Terrorists have sympathizers.
Q: Why don't violists play hide and seek?
A: Because no one will look for them.
Q: Why shouldn't violists take up mountaineering?
A: Because if they get lost, it takes ages before anyone notices that they're missing.
The autograph book
Jacques
Thibault, the violinist, was once handed an autograph book by a fan while in
the greenroom after a concert.
"There's not much room on this page," he said. "What shall I write?"
Another violinist, standing by, offered the following helpful hint, "Write your repertoire."
"There's not much room on this page," he said. "What shall I write?"
Another violinist, standing by, offered the following helpful hint, "Write your repertoire."
Contacting a friend
Two violinists
make a pact that whoever dies first, he will contact the other and tell him
what life in Heaven is like. Poor Max has a heart attack and dies.
He manages to make contact with Abe the next day.
Abe says, "I can't believe this worked! So what is it like in Heaven?"
Max replies, "Well, it's great, but I've got good news, and I've got bad news. The good news is that there's a fantastic orchestra up here, and in fact, we're playing "Sheherezade," your favorite piece, tomorrow night!"
Abe says, "So what's the bad news?"
Max replies, "Well, you're booked to play the solo!"
He manages to make contact with Abe the next day.
Abe says, "I can't believe this worked! So what is it like in Heaven?"
Max replies, "Well, it's great, but I've got good news, and I've got bad news. The good news is that there's a fantastic orchestra up here, and in fact, we're playing "Sheherezade," your favorite piece, tomorrow night!"
Abe says, "So what's the bad news?"
Max replies, "Well, you're booked to play the solo!"
Here is your punishment
"Haven't I
seen your face before?" a judge demanded, looking down at the defendant.
"You have, Your Honor," the man answered hopefully. "I gave your son violin lessons last winter."
"You have, Your Honor," the man answered hopefully. "I gave your son violin lessons last winter."
Vocal jokes
Q: How do you
tell when your lead singer is at the door?
A: He can't find the key and doesn't know when to come in.
Q: What is the difference between a Wagnerian soprano and an All-Pro offensive lineman?
A: Stage makeup.
Q: How many lead singers does it take to change a light bulb?
A: One. He holds the bulb while the world revolves around him.
Q: What is the difference between a soprano and a Porsche?
A: Most musicians have never been inside a Porsche.
Q: Did you hear about the female opera singer who had quite a range at the lower end of the scale.
A: She was known as the deep C diva.
Q: What is the missing link between the bass and the ape?
A: The baritone.
Q: What is the difference between a Wagnerian soprano and a Wagnerian Tenor?
A: About 10 pounds.
Q: How can you tell when a tenor is really stupid?
A: When the other tenors notice.
Ever hear the one about the tenor who was so off-key that even the other tenors could tell?
Q: How many tenors does it take to change a light bulb?
A: Six. One to do it, and five to say, "It's too high for him."
Q: What's the inscription on dead blues-singers tombstones?
A: "I didn't wake up this morning..."
Person 1: It must be terrible for an opera singer to realize that he can never sing again.
Person 2: Yes, but it's much more terrible if he doesn't realize it.
Q: Dad, why do the singers rock left and right while performing on stage?
A: Because, son, it is more difficult to hit a moving target.
Q: Mom, why do you always stand by the window when I practice for my singing lessons?
A: I don't want the neighbours to think I'm employing corporal punishment, dear.
Q: How many altos does it take to change a light bulb?
A: None. They can't get up that high.
Q: How many lead singers does it take to change a light bulb?
A: None. Get the drummer to do it.
Opera is when a guy gets stabbed in the back and, instead of bleeding, he sings.
A: He can't find the key and doesn't know when to come in.
Q: What is the difference between a Wagnerian soprano and an All-Pro offensive lineman?
A: Stage makeup.
Q: How many lead singers does it take to change a light bulb?
A: One. He holds the bulb while the world revolves around him.
Q: What is the difference between a soprano and a Porsche?
A: Most musicians have never been inside a Porsche.
Q: Did you hear about the female opera singer who had quite a range at the lower end of the scale.
A: She was known as the deep C diva.
Q: What is the missing link between the bass and the ape?
A: The baritone.
Q: What is the difference between a Wagnerian soprano and a Wagnerian Tenor?
A: About 10 pounds.
Q: How can you tell when a tenor is really stupid?
A: When the other tenors notice.
Ever hear the one about the tenor who was so off-key that even the other tenors could tell?
Q: How many tenors does it take to change a light bulb?
A: Six. One to do it, and five to say, "It's too high for him."
Q: What's the inscription on dead blues-singers tombstones?
A: "I didn't wake up this morning..."
Person 1: It must be terrible for an opera singer to realize that he can never sing again.
Person 2: Yes, but it's much more terrible if he doesn't realize it.
Q: Dad, why do the singers rock left and right while performing on stage?
A: Because, son, it is more difficult to hit a moving target.
Q: Mom, why do you always stand by the window when I practice for my singing lessons?
A: I don't want the neighbours to think I'm employing corporal punishment, dear.
Q: How many altos does it take to change a light bulb?
A: None. They can't get up that high.
Q: How many lead singers does it take to change a light bulb?
A: None. Get the drummer to do it.
Opera is when a guy gets stabbed in the back and, instead of bleeding, he sings.
This must be heaven
So this trumpet
player dies. When he reaches is everlasting reward, the guy in the robe says,
"You're going to spend eternity with this combo, okay? There's a bass
player named 'Mingus' and a pianist named 'Monk', and any day now we expect
this 'Blakey' guy to show up with his drums.
"Wow!" the guy says, "I never imagined heaven would be this good."
The man in the robe says, "This is hell, not heaven. There's a girl singer."
"Wow!" the guy says, "I never imagined heaven would be this good."
The man in the robe says, "This is hell, not heaven. There's a girl singer."
A Choristers' Guide To Keeping Conductors In Line
The basic
training of every singer should, of course, include myriad types of practical
and theoretical emphases. One important area which is often neglected, however,
is the art of one-upmanship. The following rules are intended as guides to the
development of habits which will promote the proper type of relationship
between singer and conductor.
1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.
2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.
3. Bury your head in the music just before cues.
4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.
5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.
6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.
7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.
8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.
9. Look at your watch frequently. Shake it in disbelief occasionally.
10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.
11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.
12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".
13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"
14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.
Make every effort to take the attention away from the podium and put it on you, where it belongs!
1. Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.
2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.
3. Bury your head in the music just before cues.
4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.
5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.
6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.
7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.
8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.
9. Look at your watch frequently. Shake it in disbelief occasionally.
10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.
11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.
12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".
13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"
14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.
Make every effort to take the attention away from the podium and put it on you, where it belongs!
The amazing conductor
When a young
hotshot conductor was making his debut at the Met, he showed the jaded and
skeptical orchestra how well he knew the music by singing all parts of the
Lucia sextet during rehearsal.
Afterwards, one musician was overheard whispering to the other, impressed, "Well, this kid really knows his stuff!"
The other replied, "I don't think he is so hot. Did you notice how flat his high E was at the end?"
Afterwards, one musician was overheard whispering to the other, impressed, "Well, this kid really knows his stuff!"
The other replied, "I don't think he is so hot. Did you notice how flat his high E was at the end?"
Arriving at Heaven
A soprano died
and went to Heaven. St. Peter stopped her at the gate asking, "Well, how
many false notes did you sing in your life?"
The soprano answers, "Three."
"Three times, fellows!" says Pete, and along comes an angel and sticks the soprano three times with a needle.
"Ow! What was that for?" asks the soprano.
Pete explains, "Here in heaven, we stick you once for each false note you've sung down on Earth."
"Oh," says the soprano, and is just about to step through the gates when she suddenly hears a horrible screaming from behind a door. "Oh my goodness, what is that?" asks the soprano, horrified.
"Oh," says Pete, "that's a tenor we got some time back. He's just about to start his third week in the sewing machine."
The soprano answers, "Three."
"Three times, fellows!" says Pete, and along comes an angel and sticks the soprano three times with a needle.
"Ow! What was that for?" asks the soprano.
Pete explains, "Here in heaven, we stick you once for each false note you've sung down on Earth."
"Oh," says the soprano, and is just about to step through the gates when she suddenly hears a horrible screaming from behind a door. "Oh my goodness, what is that?" asks the soprano, horrified.
"Oh," says Pete, "that's a tenor we got some time back. He's just about to start his third week in the sewing machine."
Operas that never made it
Britten: A Midsummer Nightmare.
Mozart: The Magic Tuba.
Puccini: La Bamba.
Rossini: The Plumber of Seville.
Verdi: Rigatoni.
Mozart: The Magic Tuba.
Puccini: La Bamba.
Rossini: The Plumber of Seville.
Verdi: Rigatoni.
