Dad3353

Just a tad above my budget, I'm afraid. I'd love to try one out, but I doubt that my cloth ears could justify 1200€, even if I had the money. I'd test one, though, if any were going spare for a few weeks...

From Wikipedia ...

'Lefty-ism' is a bell-curve for the population as a whole, and most folks are, in any case ambidextrous to some extent. At each end of this 'spectrum' there are those who are 'totally' righty or lefty, and some folk are plumb in the middle, at ease either way round. The earlier one takes the opportunity to reverse things, the easier it is to assimilate the change; even more important is the realisation that one has the capacity to do at least something 'the other way around'. Often stubbornness will prevail, of course : 'I can't do it, so I'll abandon, as I'm [righty|lefty (pick one...)]. Necessity often dicates the change, but it's always useful to try things out anyway, just for fun. Most folk can do much better than they may have thought possible.

Maybe historical..? Plucking and strumming are relatively new, for stringed instruments. The violin extended family have been bowed for centuries, and the left hand relegated to the slightly lesser role of simply holding down the string. Bowing required the dexterity of the dominant hand (and so 'right'...), and that has been carried over to the later members of the string family. Maybe..?

S'been a very, very long time since I could play any of that stuff..!

For those that play for money. Some folk just like playing, for little money, or even for none.

Could have been framed differently, though.

It took you a minute, though.

It's a shame that the video sound quality is so poor..!

I had a tiny item to send to UK, and saw the paperwork involved. Luckily, I know a local Brit with a cottage nearby who travels regularly around Europe and the UK. He took my tiny packet to Blighty and posted it from there; job done. The item will come back to me, in time, posted to my buddy in the UK for him to bring across on his next visit. It's a slow process, but avoids all the bumf nicely. Cheers, Adam..!

... and here's the 'mash-up'; my drums and Lenny's ... well, whatever Lenny does. I set the controls to the heart of the sun set my drums to his frenetic 131 bpm, that's all. Great team, eh..? Hors Concours, obviously, just for fun. (and apologies to Lenny...)

Well, despite 'stuff', I managed this ... Here is my contribution to the August 2022 Basschat Composition Challenge, inspired by a picture chosen by one of the previous winners: Upside Downer. Well, she said 'Platform 2, eight o'clock.' It's now... Let me see... Hmm... Half-past midnight. Maybe she's not coming..? I'll give it another hour or so... Can't get much more minimalist that this, this month. A few minutes of me, loosening up on the drums. It's an e-kit (Millenium MPS850...). Recorded 'live' (that much will be obvious; no re-dubs or editing at all...), directly from the module into a USB stick, and transferred to Reaper, so the sounds are those of the e-kit itself. No treatment, other than my standard Reaper NY Glue compression on the Master tracks, as usual. Thanks for listening, if you already have; if you're about to, enjoy.

28 is not 'just short of 30'..?

No chance of having 'em at the back, in the middle (behind the drummer..?)..? If not, I'd put one each side, just for spread. There may, technically, be 'dips' in the spread at certain frequencies, but I doubt anyone will be measuring, anyway. Have a great gig...

This 👆 is wisdom, but the downside is the risk of attempting to gild pure gold, and paint the lily. Better can become the enemy of Good, unless one is disciplined enough to know when enough is enough. Just sayin'.

Indeed not, but it was the Popular Music of its time, and nearly three centuries later, still gets played, worldwide. ... and, of course ...

The chord structure is shown here, and should be easy enough to 'wing', 'walking' from one chord to another in the style..? Sympathetique chords tab... It's easy-going, laid-back, with quite a lot of repetition, so shouldn't take too long. Good luck with it all; that sounds like a nice gig to get.

Born in Salzburg (1756...), in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, aged 25, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are largely uncertain and much mythologized.

Typo fixed.

I don't (read 'can't, don't know how to'...) write 'songs as such; it's more 'composing', in which I 'see' (hear, feel...) a structure of sorts, typically with a beginning, a middle (sometimes several...) and an end. Often enough, there seems to be some kind of 'echo', or 'rappel' of the beginning in or near the end. I don't think in terms of 'beats' (disclaimer : I'm a drummer...), but rather tempo (long, languishing, increasing in urgency... that sort of thing...), and duration. Some sections have to be necessarilly short, others may extend, but not so long as to tire the ear or lose the plot (if ever plot there was...). The instrumentation comes at quite a late stage, really. 'Modern', with guitar, bass and whatever..? Classical orchestral, with a particular penchant for cellos and woodwind..? More 'roots', with primitive flutes and/or tam-tams..? On rare (very rare...) occasions, a synth-style 'futuristic' sound may force itself between my cloth ears. I have a selection of pianos, one of which is extremely lightweight, with which I often try out melodies, chords, arpeggios etc, only to ditch that sound for the 'real deal' once it's been honed a little. Of late, my physical ability and aptitude for actually playing stuff has dimished somewhat (t'was never virtuose, to be fair...), so I take to sewing together samples, gleaned from many sources, including my own stuff played years ago. Tempo matching/stretching, pitch adjustment, 'shoe-horning', sprinkled with a very hefty dose of serendipity, whereby 'by accident' things sound good (a relative term, that...) all combine with the above to create a new piece. I often strip things out, towards the end, as I have a tendency to clutter, and muddy the waters; getting back to basics, purifying, is the last stage, really. The whole 'process' goes at a steady, frenetic pace until 'finished', as I can't really relax whilst it's all going off in my skull. Most are a 24-hour or so, non-stop stint, then I can sleep. Once released into the wild, it's rare that I go back to anything to fiddle with it; with many of my older pieces, I have no idea myself how or why I came up with such ideas. A bit like Topsy : 'it just grew'. Method..? Pah..! Can't be doin' with such...

Sorry, cloth ears. I hear nothing untoward, there nor elsewhere. Old age..?

I've just played it again, with only my PC screen, so no 'visuals', and, for my part, I found it has its own musical validity, however it was produced (by MIDI piano-roll, keys, bass or whatever...); it was simply too short, s'all, being maybe simply a showcase number. I don't subscribe to this notion of having to be 'impressed' with everything (or even anything..!). It's good, musically on its own merits, in my view. Whether one likes it or not is another matter, of course, but I equally watched the recently-posted videos of a couple of 'metal' bands, with lady virtuosi, and I know what I'd rather listen to (and watch..!). To each his/her own, but 'tape à l'oeil' doesn't go far with me, I'm afraid.