Work day is 7¼ hours, so you’d work 9–5 with a(n unpaid) 45m lunch. But only +6% for night shift. Time-and-half for overtime Mon–Thu. Double-time for overtime Fri and for the first 7¼ on Sat-Sun. Triple-time for overtime Sat–Sun.
Considering how the Chicago Tribune has always been published seven days a week, I’m sure that contract settlement really pissed off salaried management, or at least the owners. They simply had to pay "all that" all the time as the cost of operating a 7×24 business.
It does seem humane, though.
Except the night shift part; that's hardly very generous. But of course they always ran it.
@tchrist Or they hired deaf men, who were taught printing in school like it was fundamental--because it was a deafening job that hearing men did not want--and paid them as little as possible for as long as possible. My father had to quit on a regular basis (to get a living wage), usually for a few days up to a week. Hearing people couldn't take it for long. I cried and ran for the exit...after a few minutes; it was LOUD.
But my Deaf uncle was a typesetter for The Washington Post and drove a red convertible with white leather interior, so...location matters a lot, I suppose.
But also because the stops/pipes available in the Pedal Organ are different those in other divisions, including being placed differently in the case, which affects the soundscape available.
Our second one is due in a month or so. We stored our first baby (who is 4 years now.) clothes so we can reuse it but due to Damp in UK and clothes been stored for so long (4 years), I am afraid of reusing it.
Are there any concerns or special washing that we should do or should be buying new cl...
@It'sOver what video game is that that you're playing?
I just checked behind the sofa and under the carpet, and there was no aliens, zombies or nuculars.
@tchrist oh, make no mistake, Bach of all people would have probably tried that himself first thing in the morning. He was quite notorious for taking his existing pieces and then just completely changing the instrumentation.
So for all we know, he actually tried playing that cello suite on twelve broken bikes or a vuvuzela himself.
On the other hand, maybe it is with just that in mind that we can say, if there's no score of that piece for the vuvuzela, the contrabass, or the organ pedal solo, then he wasn't satisfied with the outcome of that particular experiment and we shouldn't repeat it.
@RegDwigнt Bach scored his 1004 Chaconne for solo violin only, to the best of my knowledge. That has stopped noöne from scoring it for any number of other solo and even ensemble instruments. Do you really think the old man would not have approved of the Segovia transcription for guitar, or of the organ & harpsichord transcriptions (try those on the clavichord!), or of the Brahms one for piano left hand, or of various trio transcriptions and piano accompaniments like from Schumann and Mendelssohn?
Of Busoni though, best not to speak. :)
Of course it is easier to get a bowed string instrument to sing like the human voice than it is a percussive one. I don't know that an ensemble of variously-tuned timpani would do it justice, but who knows.
@tchrist well, in my capacity as someone who has arranged and re-arranged hundreds of pieces for instruments they were never intended to be played on, I take that question to be rhetorical.
With Bach in particular, you can take anything at all that he wrote and give it to any instrument at all. And play it twice the tempo or half the tempo. And it will always sound like music.
I'd go looking for quotes but I rely on the search being thoroughly broken now.
Yeah no, it used to work for me. I was quite proficient at it.
Anyway, that's very much my beef with contemporary, and to a lesser extent XX-century, classical music. That it doesn't allow that flexibility. Very much by design, mind.
So my point above was not that he wouldn't approve. But that quite the contrary, he would actually go and do it himself. All the time. He was awfully prolific at it, too. Wrote a cantata a day like it was nothing.
So then. If you see him settle for this instrument and not that instrument, he must have had some really damn good reason for that.
Precisely because it would actually work on any instrument at all.
In other words, in a weird twist, his choice of instrument weighs all the more precisely because it does not matter one bit.
It would work on a vuvuzela. But he doesn't give it to the vuvuzela. That right there says something.
But yeah me I don't care about approval. Not by Bach not by Chopin. I just take their stuff and run with it. Music is never made by the composer, it's always made by whoever is making it.
The Willard Palmer edition of WTC1 is especially nice in its scholarly analysis and footnoting cross-referencing all the early editions. Alas it was his lifework and he perished before he got to Book II.
What was your motivation for writing out what you were listening to? It's not like you had to go to the Sistine Chapel to listen to and thence transcribe Allegri’s Miserere the way Mozart did. It's known.
English Language & Usage: Multi-Layer…
English Language & Usage: Multi-Layer…