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-"Unison" endings (most of Tchaikovsky's and the Strauss family's endings for exapmle)
-Suspenden Cymbal roles before a climax
-Piano Concertos/Sonatas etc....
-Cymbal Crashes every time the piece reaches "f" or above after crecendoing
-Quoting famous composers in modern pieces (example: the Chinese composer Tan-Dun copying Beethoven at every chance he possibly gets)
-arrangements of the songs: "Danny Boy" and "Amazing Grace"

I'm I the only one who thinks these things are done to often?

Not at all. One of the biggest laughs I get from the Hoffnung series is the Grand Grand Festival Overture, which is a relentless send-up of almost every cliché you just wrote. One of the best moments is when the music builds and builds and builds and you think it's building to this amazing seventh-to-major resolution....

... and suddenly the piccolo picks up the theme and the whole thing cascades through the orchestra starting the whole whack all over again.

ZacPB189 wrote:-"Unison" endings (most of Tchaikovsky's and the Strauss family's endings for exapmle)
-Suspenden Cymbal roles before a climax
-Piano Concertos/Sonatas etc....
-Cymbal Crashes every time the piece reaches "f" or above after crecendoing
-Quoting famous composers in modern pieces (example: the Chinese composer Tan-Dun copying Beethoven at every chance he possibly gets)
-arrangements of the songs: "Danny Boy" and "Amazing Grace"

I'm I the only one who thinks these things are done to often?

You aren't. The writings of Hector Berlioz often contain complaints along many of these same lines. He was particularly annoyed by the over-use of the bass drum. Despite the decibel levels often reached in their music, both Berlioz and Wagner used bass drums rather infrequently

--Sixtus.

Zac, you would like this quote (but again, I can't remember who said it):

"Meyerbeer would have been a better composer if someone had taken the cymbals away from him."

SeanMartin wrote:Not at all. One of the biggest laughs I get from the Hoffnung series is the Grand Grand Festival Overture, which is a relentless send-up of almost every cliché you just wrote. One of the best moments is when the music builds and builds and builds and you think it's building to this amazing seventh-to-major resolution....

... and suddenly the piccolo picks up the theme and the whole thing cascades through the orchestra starting the whole whack all over again.

I like the vacuum cleaners (and floor polisher)

Tchaikovsky is definitely notorious for doing these types of things, especially towards the end. One thing that amazes me is the ending of his Symphony No. 3, where there is 11 chords to end the piece! The coda is like something somebody would compose to make it sound funny and cliche, but it is the actual real thing! It is something you could laugh at the first time you would hear it. Then you have Glazunov who always seems to end the piece the same way. But if composers do it with different tunes frequently, that is fine with me, I actually enjoy those forms.

-"Unison" endings (most of Tchaikovsky's and the Strauss family's endings for exapmle)

Doesn't bother me.

-Piano Concertos/Sonatas etc....

Strongly disagree. I love the piano (sick of writing for it lately mind you).

-Suspenden Cymbal roles before a climax
-Cymbal Crashes every time the piece reaches "f" or above after crecendoing

If we limit it to good composers, then these aren't a worry.

-Quoting famous composers in modern pieces (example: the Chinese composer Tan-Dun copying Beethoven at every chance he possibly gets)

Doesn't bother me.

-arrangements of the songs: "Danny Boy" and "Amazing Grace"

It was rotten from the beginning, so all arrangements will inherently be rotten also.