If you listen to the fourth movement of Brahms’ Piano Concerto in B flat Major just one time, you will hear some repeated musical themes. There’s a pattern that discerning listeners hear that the untrained and unfamiliar ear doesn’t hear. However, on a second listening, even the untrained ear will begin to sense a pattern that generally goes like this: A piano plays; the other instruments of the orchestra repeat. You stand at the entrance of a canyon, yell “hello,” but hear another voice in return.
How many times have you said something that returns as something else? You express, but a nuance returns. You emphasize, but the return de-emphasizes. You define, but some thesaurus version bounces back.
It’s a bit startling: Even when everyone seems to be in the same canyon listening to the original speaker, the return sounds all seem to vary. Sometimes it takes a trained ear to hear the subtle differences. Sometimes the differences between sound and echo are quite evident.
Listen for the subtle variations in the echoes bouncing off the canyon walls of your life. They play a concerto that tells how others hear you.
How many times have you said something that returns as something else? You express, but a nuance returns. You emphasize, but the return de-emphasizes. You define, but some thesaurus version bounces back.
It’s a bit startling: Even when everyone seems to be in the same canyon listening to the original speaker, the return sounds all seem to vary. Sometimes it takes a trained ear to hear the subtle differences. Sometimes the differences between sound and echo are quite evident.
Listen for the subtle variations in the echoes bouncing off the canyon walls of your life. They play a concerto that tells how others hear you.
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