Woods & Strings

Join this channel to get access to perks: https://www.youtube.com/channel/UCXbAlPl017z8q2kW72TSzJA/join ******** Episode 1 of my new "podcast" (I'm saying it like that because I'm just dipping my toes in the idea), and this time I'm taking a crack at Alip's PAGEBLUK, which, believe it or not, I've avoided even listening to until I was able to just set it up as a blind reaction.  @Alip_Ba_Ta is one of my most requested artist reviews, and so I'm trying a new format of just doing a six minute reaction to tide you over until I have time to settle in to a full review. Check out Alip's original video: https://youtu.be/gFovqX8dSNY INDEPENDENT ARTISTS: If you'd like your single (video) or album (full-length) reacted or reviewed and promoted, email me for info and to share you stuff (in my profile).  #alipbata​​ #Alip_Ba_Ta​​ #review #alipers​​ #acousticguitar #original #fingerstyle​ #indiemusic #indonesia #mantap #guitarist #pagebluk  MY LINKS: My La

Originally written for the Thunder Bay Symphony Orchestra (TBSO, January 2005) Haydn’s popularity outside his native Austria must no doubt have surprised him. After all, it was not common for composers as well-settled in their particular stations as Haydn was by the 1780s to be heard outside of their home courts. But under a revised contract with the Esterházy family—in particular with Prince Nikolaus, who succeeded Haydn’s original contractor in 1762—the court no longer held exclusive rights to Haydn’s compositions, and they were published in nearly every major European city. This fact in itself led to the widespread distribution of Haydn’s symphonic and chamber works, and contributed nearly as much to his comfortable retirement as his pensions did. Haydn’s 82nd Symphony was the first in a series of six works commissioned by a Paris concert organization in 1785/86. It was unusual indeed for a composer under contract to accept foreign commissions, but Haydn’s outstanding service at Es

 Some years ago, I wrote an essay on how I perceived the steps to mastery. These steps were partly derived from my study of history and the historical context of artist training and education, and partly from some of Bruce Lee's terminology when applied to mastery in martial arts training. That essay was lost -- which is sad, because it was one of the best things I've ever written -- but the fundamental principals haven't changed. These are the stages as I interpret them: How do you become a good bass player? The same way you get good at anything: Take lessons, pay attention, and practice. That said, over the years I’ve developed a sort of theory of pedagogy (teaching) that deals with the stages of mastery. It goes something like this: Stage 1: Rudiments Learn what the bass is, how it works, how to create notes, and what notes are. Stage 2: Techniques Learn how to play correctly and efficiently. Develop the muscle mechanics involved in the task. Understand how different sty