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June 15th, 2021:

Music You’ve Heard But Can’t Name

Leroy Anderson came up in conversation recently, and I remarked that his orchestral compositions are a perfect example of music that everybody’s heard but (almost) nobody can name. When you hear an Anderson piece, you think, Sure, everybody’s heard that! But then you waste a minute or two trying to remember what it’s called. And you fail.

There are exceptions. Anderson wrote “Sleigh Ride,” and although you may not remember the name of the composer, you damned well know the name of the song.

I’m not sure what Leroy Anderson’s most-heard but least-named piece is, but I’d wager it’s “Fiddle Faddle.” (If you like ants, here’s a video of ants walking around to “Fiddle Faddle.” Don’t watch it if you don’t like bugs. Fits somehow, though, doesn’t it?) Second place may well go to “Blue Tango.” with “Forgotten Dreams” close behind. A lot of people know the name of “The Syncopated Clock,” but fewer, I think, could name Anderson as the composer.

My personal Anderson favorite may not be quite as well-known (It only made it to #180 of the Billboard annual tally–in 1953) but if you’re among the 50+ crowd, you’ve definitely heard it. And the sound effects pretty much give it away. My grandmother gifted me her huge cast-iron Underwood typewriter in 1962, when I could barely lift it myself. I pounded on it for six years, until my godmother bought me a Smith-Corona electric in 1968. The Underwood Standard #5 hammered out a lot of my juvenalia during its tenure, but I’m pretty sure that it could not smack the platen anywhere near fast enough to do justice to Anderson’s borderline-manic “The Typewriter.” This guy tries pretty hard, though with a much smaller typewriter.

Which leads me to wonder: How many people these days have ever actually heard a manual typeriter, much less used one?

As for un-nameable music, Leroy Anderson had no lock on the concept. I think a lot of people have heard at least portions of “The Light Cavalry Overture” without knowing what it was. You’ll have to listen for a couple of minutes to get to the familiar part. But when you do, you’ll know it. It’s become a metaphor for slogging doggedly along, and in truth I like the other parts better. Ditto Offenbach’s “Orpheus in the Underworld Overture.” You have to get about seven minutes into the work, but, then, yes, you’ve heard it a hundred times.

Any others come to mind?