Sorting through some boxes of sheet music today, I came face to face with something that took me instantly back to c. 1977. This was a book called Jibbidy-F and A-C-E, the book that I worked through when I first started piano lessons. Even before I opened it, I could sing the first tune. Granted, the feat of memory required to remember and perform this tune note-perfectly after all these years is not particularly impressive one, since it consists of just one note - your Very First Note. As you play it repeatedly, you sing the immortal lines, "I am C! Middle C! Left hand, right hand, middle C!"
While the proud declamatory cry of Middle C has stayed with me forever, I had forgotten many of the others. Mentally singing the tunes today, I found them instantly familiar, as if part of me has never forgotten them. There's Doggy D, who, although confined to the treble clef, is occasionally allowed to play with Top Line A and Bumble B, his downstairs neighbours, as well as Middle C. However, on the opposite page, we learn that Doggy D thinks Bumble B looks very very fuun-nee, sitting in a bed of flow'rs and turning them to hunn-ee. Funny behaviour indeed. But Doggy D and Bumble B disappear from the scene after this development. Over the page, we learn a new mark. '"A new mark!" says C sharp. "Look at me, I'm very dark." I'm as happy as can be. I have found my first black key.' What is C sharp dark? Is this an evil note? If so, why am I supposed to be happy at finding it?
And why now, 8 hours later, am I unable to get these incredibly uninteresting tunes out of my head. You've never been truly bothered by an earworm until you've been bothered by an earworm with only one note.
And then there's the little tune based on a theme from Haydn's Surprise Symphony which has ensured that for almost 40 years, I have been unable to hear that symphony without singing along. Or, in other words, it has ruined it forever. (NEVER set words to wordless tunes, that's my advice, because once heard, you will never ever forget them, and never ever hear that tune without mentally filling in the words.) Haydn, it tells us, was a happy man, and all the children loved him. "You will learn to love him soon," it finishes, rather threateningly.
While the proud declamatory cry of Middle C has stayed with me forever, I had forgotten many of the others. Mentally singing the tunes today, I found them instantly familiar, as if part of me has never forgotten them. There's Doggy D, who, although confined to the treble clef, is occasionally allowed to play with Top Line A and Bumble B, his downstairs neighbours, as well as Middle C. However, on the opposite page, we learn that Doggy D thinks Bumble B looks very very fuun-nee, sitting in a bed of flow'rs and turning them to hunn-ee. Funny behaviour indeed. But Doggy D and Bumble B disappear from the scene after this development. Over the page, we learn a new mark. '"A new mark!" says C sharp. "Look at me, I'm very dark." I'm as happy as can be. I have found my first black key.' What is C sharp dark? Is this an evil note? If so, why am I supposed to be happy at finding it?
And why now, 8 hours later, am I unable to get these incredibly uninteresting tunes out of my head. You've never been truly bothered by an earworm until you've been bothered by an earworm with only one note.
And then there's the little tune based on a theme from Haydn's Surprise Symphony which has ensured that for almost 40 years, I have been unable to hear that symphony without singing along. Or, in other words, it has ruined it forever. (NEVER set words to wordless tunes, that's my advice, because once heard, you will never ever forget them, and never ever hear that tune without mentally filling in the words.) Haydn, it tells us, was a happy man, and all the children loved him. "You will learn to love him soon," it finishes, rather threateningly.