Twelve-Tone Commercial Joke
A young child says to his mother, “Mom, when I grow up I’d like to be a musician.” She replies, “Well honey, you know you can’t do both.”
Q: How do you make musicians complain?
A: Pay them.
Q: How many conductors does it take to screw in a light bulb?
A: No one knows, no one ever looks at him.
Q: whats the differance between a pianist and god?
A: god doesn’t think he’s a pianist
Q: how many drummers does it take to change a light buld?
A: “oops, i broke it!”
Q:Whats the difference between Terrorists and Accordion players?
A:Terrorists have sympathizers
Q:How many Folk Singers does it take to change a light bulb?
A:One to change it and 5 to sing about how good the old one was
Q: What do you call a beautiful woman on a trombonist’s arm?
A: A tattoo.
Q: What’s the difference between a banjo and an onion?
A: Nobody cries when you chop up a banjo.
Q: What do you call a drummer in a three-piece suit?
A: “The Defendant”
Q: What do clarinetists use for birth control?
A: Their personalities.
Q: What do call Bach?
Q: What did the drummer get on his I.Q. Test?
Q: What do call a guitar player without a girlfriend?
Two brass players walked out of a bar…
Q: What do you get when you drop a piano into a mine shaft?
A: A Flat Miner
Q: What’s the similarity between a drummer and a philosopher?
A: They both perceive time as an abstract concept.
Q: Why was the musician arrested?
A: He was in treble
Q: What is the difference between a drummer and a vacuum cleaner?
A: You have to plug one of them in before it sucks.
Q: Why do some people have an instant aversion to banjo players?
A: It saves time in the long run.
Q: What’s the difference between a folk guitar player and a large pizza?
A: A large pizza can feed a family of four.
Q: What’s the difference between a jet airplane and a trumpet?
A: About three decibels.
Q: What’s the latest crime wave in New York City?
A: Drive-by trombone solos.
Q: What’s the definition of a minor second interval?
A: Two Soprano Sax players reading off the same part.
Q: What is another term for trombone?
A: A wind driven, manually operated, pitch approximator.
Q: How do you get an oboist to play A flat?
A: Take the batteries out of his electronic tuner.
Q: What is the dynamic range of a bass trombone?
A: On or off.
Q: What’s the difference between a SCUD missile and a bad oboist?
A: A bad oboist can kill you.
Q: Why do clarinetists leave their cases on the dashboard?
A: So they can park in the handicapped zones.
Q: What’s the definition of perfect pitch?
A: When you toss a banjo in the garbage and it hits an accordion.
Q: What’s the difference between an opera singer and a pit bull?
Q: Why do people play trombone?
A: Because they can’t move their fingers and read music at the same time.
Q: How does a violist’s brain cell die?
Two drummers walk past a bar…
Q: What do you call a guitar player that only knows two chords?
A: A music critic.
Q: How do you keep your violin from being stolen?
A: Put it in a viola case.
Q: What’s the difference between a saxophone and a chainsaw?
A: You can tune a chainsaw.
Q: What will you never say about a banjo player?
A: “That’s the banjo player’s Porsche.”
Q: What do a viola and a lawsuit have in common?
A: Everyone is relieved when the case is closed.
Q: Why are harps like elderly parents?
A: Both are unforgiving and hard to get into and out of cars.
Q: How many trumpet players does it take to pave a driveway?
A: Seven- if you lay them out correctly.
Q: What’s the difference between an oboe and a bassoon?
A: You can hit a baseball further with a bassoon.
Q: How are a banjo player and a blind javelin thrower alike?
A: Both command immediate attention and alarm, and force everyone to move out of range.
Q: What’s the best recording of the Walton Viola Concerto?
A: “Music Minus One”
Q: What’s the difference between a Wagnerian soprano and a baby elephant?
A: Eleven pounds.
Q: Why are violist’s fingers like lightning?
A: They rarely strike the same spot twice.
Q: How many guitar players does it take to screw in a light bulb?
A: 13 – one to do it, and twelve to stand around and say, “Phhhwt! I can do that!”
Tuba Player: “Did you hear my last recital?”
Friend: “I hope so.”
Q: What’s the difference between alto clef and Greek?
A: Some conductors actually read Greek.
Glissando: A technique adopted by string players for difficult runs.
Perfect Pitch: When you throw a viola into the toilet and it doesn’t hit the sides.
Relative minor: A guitarist’s girlfriend.
Q: How does a young man become a member of a high school chorus?
A: On the first day of school he turns into the wrong classroom.
Subito piano: Indicates an opportunity for some obscure orchestra player to become a soloist.
Musica ficta: When you lose your place and have to bluff until you find it again.
Vibrato: Used by singers to hide the fact that they are on the wrong pitch.
Did you hear about the Tenor who was so arrogant the other Tenors noticed?
Q: What do you call a hundred conductors at the bottom of the Ocean?
A: A good start.
Q: Barenboim, Levine and Mehta all went down in a plane crash. Who survived?
Q: What’s the difference between a Lawnmower and a Viola?
Q: How can you tell when a singer is at your door?
A: The can’t find the key, and they never know when to come in.
Q: How do you get two bass players to play in unison?
A: Hand them charts a half-step apart.
Q: What’s the difference between a dead chicken in the road, and a dead trombonist in the road?
A: There’s a remote chance the chicken was on its way to a gig.
Q: What do you call someone who hangs around with musicians?
A: A vocalist.
Q: If you see a conductor and a violist in the middle of the road, who would you run over first?
A: The conductor, business before pleasure.
Q: How do you get a guitarist to play softer?
A: Place a sheet of music in front of him.
Q: Why can’t voice majors have colostomies?
A: Because they can’t find shoes to match the bag.
Q: What do you do if you see a bleeding drummer running around in your back yard?
A: Stop laughing and shoot again.
Q: How many 2nd violinists does it take to change a light bulb?
A: None, they can’t get up that high !!!!!!
Soprano Sofege: do, re, mi, me, Me, Not You, ME!!
Q: What’s the perfect weight of a conductor?
A: Three and one-half pounds, including the urn.
Q: What do all great conductors have in common?
A: They’re all dead
Q: What’s the definition of optimisim?
A: A bass trombonist with a beeper.
Q: What do you do if you run over a bass player?
A: Back up.
Q: How do you reduce wind-drag on a trombonist’s car?
A: Take the Domino’s Pizza sign off the roof
Q: How do you get a clarinetist out of a tree?
A: Cut the noose
Q: What do you throw a drowning bass player?
A: His amp.
Q: How do you get a three piece horn section to play in tune?
A: Shoot two of therm.
Q: What’s the difference between a bull and a band?
A: The bull has the horns in the front and the asshole in the back.
Q: How many vocalists does it take to screw in a bulb?
A: None. They hold the bulb over their head and the world revolves around them.
Q: How many drummers does it take to screw in a bulb?
A: None, they have machines for that now.
Q: How can you tell if the stage is level?
A: The drool comes out of both sides of the drummers mouth.
Q: How do you get a trombonist off of your porch?
A: Pay him for the pizza.
Q: What’s the last thing a drummer says before he gets kicked out of a band?
A: “When do we get to play MY songs?”
Q: What’s the difference between a tuba and a vacumn cleaner?
A: You have to turn one of them on before it sucks.
Q: How do you define a perfect pitch?
A: When the Saxaphone lands in the MIDDLE of the dumpster.
Q: What do you call a musician with a college degree?
A: Night manager at McDonalds
Q: Why are violas larger than violins?
A: They aren’t. Violists heads are smaller.
Q: How are trumpet players like pirates?
A: They’re both murder on the high Cs.
Q: A violin and a viola are both in a burning building, in the same room, which burns first?
A: The violin because the viola was in its case.
Q: What’s the difference between a dog and a violinist?
A: A dog knows when to quit scratching.
Q: How do you get a trumpet to sound like a french horn?
A: Put your hand in the bell and play a lot of wrong notes.
Q: How does one trumpet player greet another?
A: “Hi. I’m better than you.”
Q: How do you know when a drummer is at your door ?
A: He speeds up when hes knocking
Q: How many guitar players does it to take to change a lightbulb?
A: 5 …. One to change and 4 to say they could have done it better
The Mozart Effect: Makes a child smarter and more mathematical along with a higher IQ
The Haydn Effect: Child is witty and quick on his feet, quite often bringing a grin to the faces of those around him. Despite this he exhibits remarkable humility.
The Bach Effect: Child memorizes Scripture and says his prayers every day; may overwhelm listeners with his speech.
The Handel Effect: Much like the Bach Effect; in addition, the child may exhibit dramatic behavior.
The Beethoven Effect: Child develops a superiority complex and is prone to violent tantrums; is a perfectionist.
The Liszt Effect: Child speaks rapidly and extravagantly, but never really says anything important
The Bruckner Effect: Child speaks very slowly and repeats himself frequently. Gains a reputation for profundity.
The Grieg Effect: This child is quirky yet cheery. May be prone toward Norwegian folklore.
The Wagner Effect: Child becomes a megalomaniac. Speaks for six hours at a stretch.
The Schoenberg Effect: Child never repeats a word until he has used all the other words in his vocabulary. Sometimes talk backwards or upside-down. Eventually people stop listening to him. Child blames them for their inability to understand him.
The Ives Effect: Child develops a remarkable ability to carry on several separate conversations at once.
The Stravinsky Effect: Child is prone to savage, guttural and profane outbursts that lead to fighting and pandemonium in preschool.
The Shostakovich Effect: Child only expresses themselves in parent-approved ways.
The Cage Effect: Childs says exactly nothing for 4 minutes and 33 seconds. Preferred by 9 out of 10 classroom teachers.
The Glass Effect: Child repeats one word over, and over, and over, and over….
An L.A. recording session ground to a halt yesterday when an oboe player, who was constantly sucking on her reed to keep it moist during rests and between takes, inadvertently inhaled and swallowed it.
The conductor immediately called 911 and asked what he should do.
The operator told him, “Use muted trumpet instead.”
A violist was in the back seat of a small town’s orchestra. One day he found a genie and was granted three wishes, the first wish was that he wanted to be 5 times better then he already was. By the next practice he was principal of the violists. After some time, he wanted to become even better. He went to the geinie and asked to be 10 times better once more. The next day he became the principal violist of the Chicago Symphony Orchestra. After months he still wanted to become a musician. He asked the genie once more but to be 15 times better. The next day at practice he was back in his small town’s orchestra but in the very back of the second violin section.
A ‘C’, an E-flat, and a ‘G’ go into a bar. The bartender says: “Sorry, but we don’t serve minors.” So, the E-flat leaves, and the C and the G have an open fifth between them. After a few drinks, the fifth is diminished: the G is out flat. An F comes in and tries to augment the situation, but is not sharp enough.
A D comes into the bar and heads straight for the bathroom saying, “Excuse me. I’ll just be a second.” An A comes into the bar, but the bartender is not convinced that this relative of C is not a minor. Then the bartender notices a B-flat hiding at the end of the bar and exclaims: “Get out now! You’re the seventh minor I’ve found in this bar tonight.”
The E-flat, not easily deflated, comes back to the bar the next night in a 3-piece suit with nicely shined shoes. The bartender says: “You’re looking sharp tonight, come on in! This could be a major development.” This proves to be the case, as the E-flat takes off the suit, and everything else, and stands there au natural.
Eventually, the C sobers up, and realizes in horror that he’s under a rest. The C is brought to trial, is found guilty of contributing to the diminution of a minor, and is sentenced to 10 years of DS without Coda at an upscale correctional facility. On appeal, however, the C is found innocent of any wrongdoing, even accidental, and that all accusations to the contrary are bassless.
A father was buying bass lessons for his son.
The 1st week the father asked him what he had learned
The son said “On my 1st lesson we learned about the E string”
The 2nd week came and after the lesson the father asked what had he learned that week
The son said “On my 2nd lesson I learned about the A string”
3rd week came by and the father said to his son “You know these are expensive lessons what have you learned this week”
The son said “I quit the lessons I already got a gig”
It’s hard to believe that the Pentagon website contains this surprisingly un-PC sub-section listing of some more obscure WMD’s (Weapons of Mass Destruction): The following is a list of more obscure forms of domestic “Band” Weapons of Mass Destruction. These are the most insidious and dangerous weapons of all. To the common layperson, they appear innocuous and non-lethal, but in the right hands, they present a threat of incalculable proportions. Please read the following and heed all precautions therewith.
PICCOLO: the minute dimensions of this weapon make it especially lethal as it is easily concealed and can be set off just about anywhere. As a solo weapon, this device emits a high-pitched squeal that directly targets the inner ear. The application of this tone temporarily disorients its intended victim rendering him unable to react. The natural reaction of covering one’s ears to reduce the intense pain causes military personnel within a 100 yard radius to drop their weapons leaving them defenseless to further attack. Applied in concert with a second piccolo of slightly higher or lower pitch, the weapons produce the effect of an ice pick through the eardrum and may cause profuse bleeding of the aural cavity. These weapons are constructed in three forms; metal, composite materials, wood, or any combination of the three. The all-metal piccolos are especially lethal. The only countermeasure to this weapon is to apply psychological warfare in the following manner. Compliment the musician on her: clothes/hair/shoes. This will distract the musician(s) from emitting her deadly tones and cause her to gab endlessly about herself. This in itself takes us to another problem man has dealt with for a thousand years and to which there is no antidote. Good Luck!
FLUTE: Slightly less effective as the piccolo but still nothing to be trifled with. The flute possesses the same destructive qualities as the piccolo but is required in greater numbers to do so. Sixth and seventh grade females are especially effective with this weapon and are to be approached with extreme caution.
OBOE: This weapon may appear harmless at first sight. The instrument’s stealth qualities lure its intended victims into a false state of security, and then hit them without mercy. The oboe itself is a harmless composite or wooden conical tube. Once the ordnance (reed) is inserted, it is a weapon of tremendous power. One comforting factor is that the oboe is only as dangerous as the musician who wields it. At first glance, the operator of the oboe appears sweet, demure, and quite approachable. Do not be fooled by this deception. The oboist is actually a very high strung and temperamental foe. This mania is caused by the perpetual search for the perfect reed, which we all know doesn’t exist. Those who play on plastic reeds are the bottom dwellers of the oboe world and are especially dangerous. The oboe is capable of producing a tone of laser-like quality. The sheer capabilities of volume produced can overpower an entire concert band. The resulting backpressure produced by over blowing has a two-way effect. It allows the musician to play seemingly forever on one breath resulting in sympathetic vibrations causing bulletproof glass and diamonds to shatter into deadly flying shards. The warning signs of impending doom occur when the musician raises the body of the instrument to her mouth to blow dust from under a key. This is how the weapon is cocked. If you ever see an oboist do this, run for cover my friend, for all Hell is about to break loose. The second effect of this weapon’s backpressure is to cause its owner to eventually go insane. On rare occasions an oboist’s head has been known to explode while firing their weapon. The only countermeasure to this weapon is to remove and professionally destroy the ordnance (reed). Doing so will also incur the wrath of its owner, so use extreme caution. The first master of the oboe as a weapon was Melvin “Schwartz” (Oklahoma All-State Band 1982), name changed to protect the guilty. He single handedly destroyed a performance of the Howard Hanson Romantic Symphony Finale under McBeth with his laser-like tones and inconsistent attacks. To this day, he has a bounty on his head and was last seen tending bar in Tijuana.
Eb CLARINET: The Eb clarinet is the Tasmanian Devil of the woodwind family. Entirely uncontrollable and unpredictable, its blunderbuss like emissions can occur without warning. It is as much a danger to its owner as it is to the intended victim. For this reason the Eb clarinet is not in wide use today and only used by highly trained professionals and circus band daredevils.
Bb CLARINET: As the flute is to the piccolo, the Bb Clarinet is to the Eb Clarinet. The only time a Bb clarinet is considered truly dangerous is in the hands of a saxophonist doubling on clarinet. His seemingly lacking ability to adjust his air to the clarinet causes a tone so forced and horrific that decorum prevents me from continuing.
ALTO, BASS, CONTRA BASS CLARINET: The Scud missiles of the clarinet family. Considered low-grade weapons, these clarinets are of limited lethality due to the extreme geekiness of their operators.
BASSOON: This is a weapon designed to start wars. Used primarily indoors, this weapon’s unique tone can cause great embarrassment in social situations. Also known as the “farting bed post” the bassoonist will hide behind a set of curtains at an official state dinner or similar function. With the help of a diplomatic operative during the meal, the intermittent flatulent tones emitted by the bassoon can be blamed on certain visiting high government officials, causing great embarrassment and the possible beginning of hostilities between two countries. The best countermeasure to the bassoon involves lighter fluid and matches (you fill in the blanks).
SOPRANO SAXOPHONE: (See Kenny G) AHHHHHHHHHRGHHH!!!!!
ALTO SAX: Originally invented by Adolph Sax as the result of an evening of much cheap wine and a dare by a drunken horn player, the instrument he produced is neither brass nor woodwind. The only intended victim of this vile weapon is the concert band French horn player. Nothing is worse than hearing a great brass lick only to be obscured by the overly reedy tone and wobbly “vibrato” of some half crazed alto sax doubling the horns and overplaying them. Composers and arrangers are to blame as much as the alto players. Older players unable to temper their 1940’s swing band vibrato are also a danger. The only counter measure is to question their manhood by daring the player to play Charlie Parker’s “Donna Lee” at 230 beats per minute. That should shut ’em up!
TENOR SAX: (See Alto Sax) Counter measure, throw down the gauntlet with a dare to render John Coltrane’s “Giant Steps”.
BARITONE SAX: A tenor or alto wannabe, this instrument is flaccid and harmless unless played in the style of Stephen “Doc” Kupka (Tower of Power). His sporadic well placed grunting and punctuated style, when discovered by young players, can cause discomfort among the average school director. The only counter measure to this is self-medication by the teacher in the form of tequila shots or similar substances.
TRUMPET: Obviously one would think that a trumpeter’s greatest weapon is his ability to play high notes at great volume. This misconception has been perpetuated unwittingly by great performers like Maynard Ferguson and Dizzy Gillespie. The danger is not in the player who can play high. The danger lies in the player who THINKS he can play high. A young player’s incessant caterwauling and inflated ego are a danger to himself and all those around him. The most effective counter measure is to allow the player to continue his high note practice (even encourage him to go higher and louder) until his lips explode or he cracks a tooth jamming his face into the mouthpiece.
FRENCH HORN: French horns thankfully are a danger only to a small group of people, as their bells point in the wrong direction. They are only a danger to those unfortunate enough to have to sit behind them. Their intonation problems and constant cracking of pitches is of great annoyance to those brass players sitting behind them. Though lately the introduction of Plexiglas reflectors has reduced the danger to those behind the horns, unfortunately it presents a greater danger to the players themselves and those in front of them. Upon hearing their actual tones coming back at them, some hornists have been known to actually vomit on stage due to the hideousness of their own tone.
TROMBONE: A unique application, the instrument itself is not the real danger. The person playing the instrument is what is truly dangerous. The trombone and its player are the original “smart bomb.” This weapon is most effective in high tech warfare areas. Insertion of one or more trombonists into a warfare computer center instantly lowers the aggregate I.Q. in the room. The trombonist’s incredible stupidity is a lethal bio weapon that spreads at an incredible rate. Within 5 minutes of exposure, all computer operators within a 50-foot radius are reduced to drooling idiots incapable of the simplest motor functions and bowel control. Use of trombonists as weapons was outlawed by the Geneva Convention in 1999 after an ugly incident at a Dixieland convention in Sacramento.
BARITONE/EUPHONIUM: This is a weapon of mass confusion. Euphonium players are the Rodney Dangerfields of the brass world. Young players especially don’t know their place in the band. They double French horns, trombones, saxophones, tubas in octaves, bass clarinets, bassoons…yadda, yadda, yadda! Euphonium orchestral parts are played by the second trombone or worse, the tuba player! For this reason most euphonium………baritone…(WHATEVER!) players resort to doubling on trombone. This is when they become dangerous. (See trombone.)
TUBA: This is a sonic weapon that when set off can produce sub sonic tones causing a general feeling of uneasiness and queasiness to those within its effective range. In addition, one may attach a sousaphone to a marching column of soldiers. As all tubists drag, the ever-slowing performance of um-pahs will eventually reduce the marching soldiers to a snail’s pace causing them to be late for a battle or not arrive at all. The most effective countermeasure is to feed the tubist with great quantities of beer (imports if you have them). It won’t improve his playing but makes him more enjoyable to be around.
SNARE DRUM/TRAP SET: This weapon affects only a very small demographic: teenage girls and the fathers of these girls with steady jobs and liquid bank accounts. The snare drummer and the jazz/rock variety of set player act almost like a computer worm. The drummer will attach himself to an unsuspecting teenage girl and milk her and her father’s finances in such a way as to not be noticed by the father until it is too late. Drummers are the leaches of the music world and can only be countered by being forced to get a real day job. This will reduce the drummer’s “coolness” factor and the daughter will immediately lose interest.
Special thanks to Pam and Craig Incontro. Please send me your musician jokes for inclusion here.