Dad3353

Sorry, too cryptic for me.

In the same way that some people go to discothèques, to dance to pre-recorded music, or a DJ's mix or 'mash-up', and some folk like the 'live' aspect of singing, or watching others sing, karaoke, there are many that want to see and hear a 'live' band play music that they know and like, often with dancing and other social interactions involved. There are some that will enjoy a musician's version or interpretation; most won't have that as their main source of enjoyment, and having something close to what they have in their head already is what's required. The whole point of 'covers' is to give the audience the impression that they're seeing and hearing the original version, or close enough for them to recognise it and enjoy it. Bringing something 'original' to the party can work, of course, but it's not the 'main event'. Being close '1:1' is next to impossible for most pub/club bands, but add one's own 'flavour' is a secondary part of the affair, for most bands and for most pub/club audiences.

Dunno, mate; I play drums.

There are serious scientific methods for determining the answers to questions like this. Here is one of the more accessible ones ... The-Full-Study-Model-The-mediating-effect-of-the-authentic-self-in-the-relation-between attachment and emotional intelligence and fragmented cognitive concepts. Note: * p < .05; Choice = Choicefulness; FSC = Fragmented Self Concept; FRC = Fragmented Relationship Concept; all factor loadings on each correspondent latent variable were significant at ps < .001.

I'm glad that you agree.

I can't see that there's much to compare to. We all play different stuff, for different reasons, on different occasions. Victor Wooten also plays root-five when it's called for, so many players here are, in those circumstances, just as good as him (other virtuoso musicians are available...).

Better that than reggae, though.

If trickery is allowed, and to get the cynics 'on side', have some of the participants learning instead to canon 'Three Blind Mice', as discretely as possible. Once both songs are ready, have them sung together, to the same tempo. Three Blind Mice is longer, so their juxtaposition will become quite interesting as this ensemble progresses. Hard core..? Maybe...

Three hours, you say..? Team building..? It's a canon that you need, and what better than 'Frère Jacques', a song they will all know, but don't know that they know it. Get them all to do the melody line together, then split them into two groups, then three, then four, to build up the whole canon. If there's time, or one or two 'better' voices, pop a harmony line in there, too. Everyone will enjoy it, guaranteed.

Indeed we would; would that it would come about. Meanwhile...

Steamy enough..?

Anyone else notice the wallet floating around on the drummer's snare drum, to 'tighten up' its sound..? He has to push it away from time to time. It's an old trick, seldom seen these days. Good Stuff.

The Yellow Pages will suggest carpet cleaners, or wallpaper strippers. ...

In the same way as some modern music only makes 'sense' with its visuals, either as videos or with uber-produced live shows, opera has its fuller impact when assisting at a 'live' production, where the costumes, the storyline, the theatrics are all an integral part of what's happening. When listening to a recording, one's 'mind's eye' is visualising the scene, giving the whole experience context and meaning. Having the subject translated helps, of course, so that one may identify the characters and the plot; many are intense, and the spectacle adds to this intensity. I don't listen to extracts from Aida as background music in the car, but re-living the emotions of the full opera make a joyful, though thoughtful, evening, often with eyes closed. When I listen to my favourite 'live' Jefferson Airplane album, from start to finish, I'm 'seeing' and hearing my memories of their 'live' concerts at the Isle of Wight and London's Roundhouse. If there's a personal connection it helps; my late father-in-law was a splendid amateur tenor, and his renderings of opera and operetta extracts at family occasions were memorable, especially when accompanied by other family members at the table. On suitable occasions, the lyrics were often 'adapted', to comic (and scabrous...) effect. Happy daze..!

Hmm... Sounds a lot like much 'death metal', then (Cradle of Filth, Lamb of God... The list could be long...). In much opera, there are also orchestral parts, some, even, without the singing (overtures, anyone..?), and chorale parts. I will gladly admit that screeching soprano is not 'easy on the ear', but there is so much more than that, in many (but not all...) opera. Still, as has been pointed out, 'to each his/her own'.

Could be worse; could be reggae. ...

My main instrument is drums; the limitations are certainly not my tastes, but my own ability, steadily reducing over time. I have rather wide tastes in music, culminating in the likes of Terry Bozzio, Dave Weckl, Christian Vander, Joe Morello, Dave Mattacks and many more; never have I been anywhere near their proficiency. The limitation is not my tastes, but me. For other instruments, such as the bass, I compose, and to do so I listen to all sorts of inspirations, gleaning something from almost any and every genre, whether or not it's anything I'd ordinarily choose to listen to, or even enjoy. I find that there is much of interest in most music, but will admit to having little time for rudimentary dross such as repetitive EDM, disco, 'funk' and others. Doubtless great to dance to, if well lubricated and physically fit, but with little for the ear alone, for the most part. If this means that I'm limited by my tastes, so be it; I'll accept that as a bonus.

A frightening prospect, but intriguing, so I'll listen to what's selected, and maybe comment on what I think of it. My tastes are wide, but there are certain genres which, over the decades, have proven themselves to be 'not for me'; here's hoping there's not too much of that drawn out of the virtual hat. To be continued, then...

Again, embedded for ease of access (What's happening to this embedding stuff..? Is it all iPhones and the like that don't do it, or what..? )

Hmm... Not many opera lovers, that's certain. (Other unloved genres are available ...)

Embedded, for ease of access...

To judge from that one performance, some of them had their paper upside down.

For many people, this could be a big saving. A 50l fill saves £2.50.

I was asking the question in relation to the video posted by Lenny, as I see the drummer looking at his scores. Are they his composition or are they handed to him, pre-composed..?