The opposite also happens. One of my best teachers ever was a community college lecturer teaching math. The man was a genius at overhead projector examples, with color coding, and multiple explanations of why common formula solving methods worked - from different viewpoints.
Sometimes community college instructors are actually better at actually than 4 year college professors. The community college instructors I had actually taught their own courses and were there as teachers not as publishing academics who sometimes had to teach a class. Granted, Iâve had good and bad teachers in both 2 year and 4 year colleges (and, at least once, the exact same teacher, moonlighting), but there seem to be some huge impediments to good instruction built in to graduate and post graduate academics.
I canât believe they got a sousaphone to have such good tone.
I hated playing sousaphone in high school. Our sousaphones were leaky, and it didnât matter how much electrical tape you wrapped them in, or how tightly they always sounded like vuvuzelas and required about 3 times the airflow rate of a real tuba.
This is a fun song. I wouldnât mind playing it.
My favorite thing in marching band was we figured out the Isengard leitmotif from Lord of the Rings. Itâs in 5:4, and uses intervals not used very often, but it had a powerful effect when we scored a touchdown and this played:
Are our familiar Germanic number-names derivatives of P-Celtic number names borrowed into pre-Germanic?
Itâs much easier to derive English four, five, and Gothic fidwor, fimf, from something like Welsh pedwar, pum, than Latin quattuor, quinque. Common Germanic usually transforms pre-Germanic p to f and pre-Germanic kw to hw (Grimmâs Law).
âFour score and seven years ago our fathers brought forth on this
continent a new nation, conceived in liberty, and dedicated to the
proposition that all men are created equal.â
Yeah, sure, but thatâs entirely ceremonial speech. He could have said 87, but it wouldnât have been so poetic. Whereas in french there is no âeightyâ or anything like that. Thereâs âfour twentiesâ, and they break the number systems saying crap like âsixty-thirteenâ getting there.
Wouldnât know for certain. Bit outta my pay-grade, if you know what I meanâŠ
[quote=âMarjaE, post:63, topic:83867â]
Itâs much easier to derive English four, five, and Gothic fidwor, fimf, from something like Welsh pedwar, pum, than Latin quattuor, quinque. Common Germanic usually transforms pre-Germanic p to f and pre-Germanic kw to hw (Grimmâs Law). [/quote]
I wasnât meaning to make an argument for it, but when you said âfour twentiesâ itâs all I could think of.
My chief beef with the French language is their habit of truncating the final consonant of a word by making a noise like theyâre blowing their noses.
But thereâs plenty annoying about their language, as you note
But not enough. Iâd forgotten that Italic is also divided between p-languages and q-languages. Apparently the q->p transformations are pretty common and completely unpredictable in Germanic, for example, Indo-European *wÄșÌ„kÊ·os yields wolf instead of the expected wolwh.
As a bass player, I always felt like my part was âplay some oompahs, rest, more oompahs, long notes, shutup let the fancy cello do everything elseâ, even though I know you guys had it worse.
I liked Mendelssohn because he actually gave the bass something to do. That whole Romantic era was good for bass players.
The thought of playing a tuba in E major makes me cringe BTW. Iâm going through the fingerings in my mind, and it does not feel natural at all. Brass players like flats and hate sharps. However, itâs been decades since Iâve played a brass instrument, so maybe that has something to do with it.
Also, yes Iâm aware that the reason why I like flat key signatures is for no other reason than thatâs what I was taught on and I never really had to play sharp signatures.
