Well, it’s September. A chill is in the air, kids are going back to school, and spooky stories are starting to come up in conversation. In that spirit, we’re jumping into one of my all-time favorite film scores because nothing says “fall” quite like Vertigo…
Last winter I heard a piece of music I had never heard before and, like so many before me, I became obsessed. I couldn’t even think about this piece without compulsively turning it on and listening to it several times and so eventually I decided it was time to unleash this glorious baroque beast onto all of you as well.
The seventh season of Game of Thrones comes out this Sunday which is great because honestly, it’s hot out and we could all use some winter. But it’s still days away and our watch is not yet ended, so I came up with this playlist of classical music that felt like it came out of the same world as Ramin Djawadi’s dark and unearthly Game of Thrones score.
I try not to pick favorites, I really do. But the first time I heard this piece of music I just kept yelling “What IS this?”WHO is this?” which tells you a lot about how much fun it is to hang out with me. This piece is so exhilarating and exciting and incidentally, my number 1 pick for classical music pieces to run to. Are you ready for Bacchus?
The instant I heard that a bridge was being blown up in New York City and that a group of musicians wanted to play Tchaikovsky’s 1812 Overture during the destruction…I knew we had a playlist on our hands. Since bridges don’t get demolished all that frequently, this playlist is suitable for any good demolition project you may have coming up.
It’s that time of the year again! Today is Mother’s Day, and I’d like to use this opportunity to reflect on the sheer number and variety of bad moms in opera. Or, to put it another way, 500 years of mommy issues!
Howdy y’all! We’re jumping right into Copland’s Four Dance Episodes from Rodeo today so put on your cowboy boots, saddle up and let’s wrangle this great piece of American music!
I think we can all agree that Spring is finally here. People are beginning to go outside again, windows are open, trees are budding and birds are singing. When I started thinking of something “Springy” to write about, Vaughan Williams’ The Lark Ascending, filled with hope and nostalgia and bird songs, felt all kinds of right.
Here at Canon Fodder, one of the most common reasons we hear that people don’t like classical music is that they don’t know anything about it, and therefore that they won’t understand it. The truth is, though, that even people who consider themselves newbies know more about classical music than they realize. For one thing, classical works are much more present in people’s everyday lives than they might think. From movie and television soundtracks to commercials to even many pop songs, you have probably been exposed to more of the “great works” than the average person who was alive when they were written.
Much of pop music today relies on the same concepts of harmony and composition that were established over hundreds of years of classical music1. So when we talk about some fancy-schmancy classical music concept like counterpoint, it’s important to remember that you probably know more about it already than you think, and you have definitely already heard it. I’m going to give you the basics of counterpoint so you can impress your friends and co-workers at happy hour, and show you how it’s still being used today — come for the Renaissance, stay for Bob’s Burgers!
More like CRUNCHYFIXUS amirite???