It's Christmas in July! Bruce Forsyth's Big Night [COMPLETE BROADCAST]

[tomswift2002]

I wonder, did you have any issues converting from the source, which I assume is PAL, to NTSC? Or is this a PAL upload? I'm getting some waviness/haziness on my screen in the scenes with quick movements -- I wonder if that's due to the PAL/NTSC framerate discrepancy? But the sound is beautiful -- listening at work now

That waviness is a de-interlacing issue. Remember, this would’ve been shot at 576-interlace. There was no progressive-scan in the 70’s. Whereas online nowadays for most sites you need to upload a minimum 240-, 480- or 576-progressive scan video, so at some point the video is going to be de-interlaced, and not all de-interlacers, especially software de-interlacers, are going to provide the best quality.

 

[Cuyler]

That waviness is a de-interlacing issue. Remember, this would’ve been shot at 576-interlace. There was no progressive-scan in the 70’s. Whereas online nowadays for most sites you need to upload a minimum 240-, 480- or 576-progressive scan video, so at some point the video is going to be de-interlaced, and not all de-interlacers, especially software de-interlacers, are going to provide the best quality.

Gotcha – thank you, @tomswift2002!

 

[Ian Claypole]

In light of our recent discussion in another thread about Karen's performance of "Please Mr. Postman" on Bruce Forsyth's Big Night from December, 1978, I thought I'd post all four segments here for all to enjoy to help cool everyone off this summer! Parts one and two here, and three and four in the next post.

PART ONE:




PART TWO:

 

[Ian Claypole]

Thanks very much for sharing Chris. Unbelievable Quality.
The UK loves Richard & Karen!

 

[JohnFB]

So, you think you're an ardent admirer of Karen and her vocal talents - well, no more so probably than this guy, who's a voice teacher and who does eventually describe in some detail the technicalities of what makes her such a great singer - that is, when he can fit them in between his adoring and lavish praises...




There's another video out there of him reacting to and analyzing her performance of "Superstar" on the BBC in 1971. It's pretty much more of the same...

 

[JohnFB]

I've been attempting to memorize MCD on my Yamaha Clavinova off and on for some time now, and I think I finally just barely "got it under my fingers" (as the old saying goes) - and believe it or not, it would be mostly recognizable to the casual listener...

The version I undertook was a simplified one at I would say the intermediate level with nice harmonization included in Dan Coates' "Complete Christmas Music Collection"- it's in the key of C and is notated in 4/4 time, with a tempo instruction of Moderately Slow, except for the intro ("Greeting cards...) which is to be played Rubato (not in strict time) - the dynamic indication is Moderately Soft until exiting the Bridge ("...that I wish you Merry Christmas...") where it changes to Moderately Loud - on repeat I play the Bridge 8va (up an octave) which was not part of Dan's arrangement, but which is very effective, returning to notated pitch at "The Logs..." The final and famous "you" at the very end is on middle C.

I have another version of this beautiful song (that it took 2 guys 20 years to compose!) that's in the songbook "Carpenters Anthology" (43 songs) - in this it is notated in the key of Bb Major and is in 2/2 time (aka, "cut time"), and I assume that this is the version/key/time they used in the recording - there is the same tempo indications, but no dynamic instructions - and the final "you" is on the tonic Bb note just below middle C (her resonant voice makes it sound lower on the recording).

Note that most songs in cut time can be played in 4/4 ("common") time simply by ignoring the 2/2 time signature and playing the notes/measures according to their usual values - but the song will have a slower tempo feel to it unless one deliberately ups the pace...my feeling is that this song warrants 4/4 time instead of 2/2, which is often used for faster paced tunes with "clipped" lyrical content.

 

[Guitarmutt]

Otherwise known as interpretation. Makin’ yer own.