kestrell: (Default)
Ruthie Foster proves it, and kicks ass all over the place while doing so
kestrell: (Default)
So I started making a playlist titled "Angels and Devils," with songs that mention or personify either angels or devils.

The devils are definitely winning, so I've had to retitle it "Devil's Music."

This got me wondering if people had favorite recommendations for songs mentioning the devil.

I know you folk music fans have a million of these, and you should post them, but I'm really looking for songs with a rock or metal beat, though I include anything with a great voice in it, like this one with Johnny Cash

Devil Comes Back to Georgia
Edited lated: And yes, I already have all the Rolling Stones songs.
kestrell: (Default)
So my Holtzman playlist morphed into a D.G.F. (Don't Give a F*ck) playlist and, while the other tracks all feature strong women, I had to include this commercial, because CN definitely radiates d.g.f.
kestrell: (Default)
While trying to find a folky version of this song, I came across this magnificient version, which begins with one girl playing, and ends up being one of the most fun versions I've heard
kestrell: (Default)
I just don't think yodeling and Tuvan throat singing were meant to go together. On the other hand, it makes as much sense as the Voinych Manuscript it which inspired it
kestrell: (Default)
Specifically, 13th and 14th century music, religious and secular.
kestrell: (Default)
I heard this many years ago, and have never managed to track down who performed it, but I distinctly remember at least one of the drinking songs--a toast to defrocked friars and misbehaving sisters, etc.--being performed in English.

Any ideas/recommendations?
kestrell: (Default)
_The Notation Is Not the Music_
Barthold Kuijken (Indiana University Press, 2013)

Written by a leading authority and artist of the historical transverse flute, The Notation Is Not the Music offers invaluable insight into the issues of historically informed performance and the parameters--and limitations--of notation-dependent performance. As Barthold Kuijken illustrates, performers of historical music should consider what is written on the page as a mere steppingstone for performance. Only by continual examination and reexamination of the sources to discover original intent can an early music practitioner come close to authentic performance.
kestrell: (Default)
"Dreams" by Grace Slick
I adored this song when it came out, and the purple album cover with flame-lit circus images was pretty damn awesome too. I would suggest that one of the contemporary dark classical bands should do a cover but, frankly, I don't think anyone else has the incantatory power of Grace Slick's voice. Grace Slick in this surreal crone persona is one of the three witches who inhabit my subconscious.


Jul. 8th, 2013 03:14 pm
kestrell: (Default)
This video of tips from on making the most from your practice
is fascinating after just finishing _Guitar Zero_, as they are the same points made by the psychologist-author of _Guitar Zero_. Both emphasize the need to practice slowly and carefully so the student doesn't make learn bad habits, which are difficult to unlearn, and both mention that the foundation of playing well is through hours of practice, so that what starts out as a bunch of small steps requiring mental focus, such as chord changes, become an unthinking process where all those little parts merge into a whole.
kestrell: (Default)
So there is this guy named Justin who has an entire Website full of guitar lessons
and you can check out the lessons free. He is also a fantastic explainer and gives specific instructions on which finger should go on which string at which fret (he also typically provides instructions for alternate fingerings), and instructions are given both in video and text notes. He even does a bit of troubleshooting at the end of each video so you can figure out why your chord sounds wrong. I've checked out a number of online lessons and audio courses, and this is the one I have found to be, by far, the most blind-friendly. Obviously, however, you don't have to be blind to appreciate his great teaching method, because his site has over 50,000 likes.
And, just to provide the cherry on top of the ice cream sundae, he has a British accent.

Here is the link to the D chord I am working on today
kestrell: (Default)
_Guitar zero : The new musician and the science of learning_ Gary F. Marcus (2012)

I loved this book, and I will be keeping it in the reread pile, because it is full of useful information for the would-be guitar player of any age. It is also suitable for the general reader, gently introducing some of the more technical terms used in both neuroscience and music theory, but never becoming bogged down with jargon. It's real strength, however, is that it provides a strong dose of encouragement for any adult who has thought of learning to play a musical instrument but felt overwhelmed by what seems to be the steep learning curve.
continued below cut )
kestrell: (Default)
HotPaw Talking Tuner

Kes: I bought a pre-owned iPod Touch a few months ago, and so far, this is the first app which has gotten me to use it on a regular basis. It is very simple to use--just opent he app and it goes--and does what it is designed to do, no more. The voice is clear, even with the hearing impairment in my left ear.

As far as I am concerned, this app alone justifies the cost of the iPod Touch. The one problem I have with it is that it seems to go back and forth on whether my high E string is too sharp or too flat by the smallest increment. I use a beginning guitar CD to tune the high E, but I am also learning how to tune the guitar to itself, so this isn't a big problem.

Description: A hands-off, sound-activated, talking musical instrument tuner. Talking Tuner uses built-in speech synthesis, so it does not require that VoiceOver be enabled.
With the Auto-Speak switch turned on, Talking Tuner will listen for a note to be played, and then, after waiting for the end of the sound (so as not to talk over it), will speak the note name, and how many cents sharp or flat the end of the note is estimated to be.

More information at AppleVis
kestrell: (Default)
block quote start
[W]ords at best offer only a distinctly limited window into the true nature of music....Even words that we take for granted aren't universal; pitches that we describe as "high" and "low" are described as "light" and "dark" in Norwegian.
from _Guitar Zero: The New Musician and the Science of Learning_
by Gary F. Marcus
block quote end
kestrell: (Default)
How can I not love a song in which one of the first lines is "Where the hell is my flying car?" Also, this song makes a great anthem for troublemakers.
kestrell: (Default)
I especially like the final line where someone reprimands the storytellerfor telling stories that will give kids nightmares--good to know spooky stories at bedtime is a timeless tradition.


Mar. 22nd, 2013 10:49 am
kestrell: (Default)
It is almost impossible for me to read about the music of "The Wicker Man" while listening to New Orleans jazz. I had noticed the same dissonance while trying to read a British ghost story which was heavy on atmosphere.


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