Earbrass

[quote name='RhysP' timestamp='1461152158' post='3031882'] I think yellow staples indicates that the wood the cab is made of is diseased. [/quote] Has anyone notified the Department of Agriculture and Rural Development? Clearly the cab needs to be burnt to protect our forests from the spread of this disease, and some kind of quarantine area set up around chez Discreet. Biohazard suits will be required. [quote name='Billy Apple' timestamp='1461148221' post='3031804'] No I'm worried. [/quote] We're all worried.

You'll find a lot of traditional tunes notated on the web in ABC format. This is really handy as there are free utilities out there that will convert these to either dots or MIDI files that you can then play along to for practice, and the ABC files themselves are just text files taking up very little space, so easy to download loads (you'll find some ABC files containing many tunes).

Very obviously a fake. That's clearly 2 guys in a hedgehog suit clambering across a giant piano keyboard that's been specially constructed just to perpetrate this transparent hoax on a gullible public. Wake up sheeple!

Underpants. Knew I forgot something this morning. Oh yes, and trousers. Damn. Explains the strange tube journey though. And the chilliness.

I think I read somewhere that he had become a bikini model, but I could have got that wrong.

This is why I prefer to attend only seated concerts, preferably with pre-allocated seats. I could pretend it's because I'm old, but the truth is I was just the same as a teenager. I went to a prom once (as in Henry Wood, not the American high-school dance). Didn't care for it. I was 15.

another vote for Puff the Magic Dragon (brutal lyrics - was banned from our house when we were small because of the effect it had on my elder brother). and, since the death of my father, who taught me boogie-woogie, jazz and blues piano from a very early age, Oscar Peterson's "Hymn to Freedom" from Night Train.

...and "who were the Beatles, anyway?"

Figured bass I am aware of - common in boroque scores for the continuo parts, but the Nashville system is a new one on me. I imagine jazzers must think largely in terms of intervals and harmonic patterns, at least the ones who can play a large repertoire in pretty much any key at the drop of a hat. Not so much required by the classical brigade, who are unlikely to have a conductor step up to the podium and demand a symphony in an unfamiliar key with no warning.

I can think of three distinct ways in which people conceptualize, remember, learn or visualize tunes: a) patterns on the fretboard / keyboard etc: often favoured by those who do not read music. On some instruments (like bass) this can facilitate transposition as the same pattern played higher or lower gives the same tune in different keys (exluding open strings), though not so much on others (like piano). It is, however, generally no help when moving between different instruments (except where the instruments are closely related, eg piano/organ, mandolin/mandola/bazouki etc.) b ) by note names, or patterns on the stave: often preferred by strong readers and those with a classical background. Completely transferable between different instruments, but of limited help when transposing between keys. c) I tend to think of tunes in terms of degrees of the scale and intervals. This has the advantage of being fully transferable between completely different instruments and also makes transposition very simple, although it is of less use when playing music like modern classical music or some far-out jazz where there is no clear tonal centre. When I'm playing with the morris band, I am often the one who has to learn a new tune, sometimes from a recording or video, and then share the knowledge with the other players. My fellow melodeonist wants to know which buttons to play, as she is a non-reader, whereas the recorder player, who has a strong background in classical piano and other instruments as well as a good ear, wants to know what note it starts on. The mandolin player needs to be told all the chords. I'm also involved in an embryonic project with a smallpipes player, in which I play the nyckelharpa. For this I am often transcribing fairly simple diatonic or modal tunes from recordings. Because of the limits of the pipes, I often need to transpose from the key on the recording. I tend to work out the tune on the keyboard, as, having played the piano since I was about 5, this comes easiest to me, and then transfer the tune to the 'harpa. Because I hear the tunes in terms of degrees of the scale and intervals, this is quite easy, as I tend to just jot down the tune in terms of these degrees (root, 5th, min 3rd etc) and can then play this straight away on a different instrument and in a different key, and also write the parts out in the required key for the piper without much effort or thought. Interestingly, there are notations in common use for methods a) and b ) - tab and conventional notation respectively, but not for method c). Any thoughts?

Shampoo : Trouble

[quote name='toneknob' timestamp='1457440348' post='2998522'] Lots of rooms at The Bedford in Balham as well. [/quote] That's a nice venue - I've played there with the morris at a pagan samhain do. Decent stage, plenty of room and a gallery, if I recall correctly. Also does food.