we-are-the-youngblood
Band n music n things
and whatever else interests me
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So I wanted to see if Ten Duel Commandments and The World Was Wide Enough used the exact same backing, and then this happened
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on teachers and lessons and fuck ups
Studying to be a musician is hilarious, because it forces us, esp at college age, to be in a very weird position. Like, we respect, fear, love, and sometimes have grown up borderline worshiping our teachers depending on who your teacher is, but also we sort of have to grudgingly allow our teachers to see us at our absolute worst. Like who in this world has seen you mess up straight up zillions of times? Your teacher. Who is the person you go to for advice when you start hating your instrument? Probably (hopefully) your teacher. Who is the person who sees you, at some point in your life, stumbling into lesson exhausted af, not put together in the slightest, and probably not in any condition to play your instrument? Your teacher.
And it’s really funny because a lot of the time, if you have a good teacher, when you actually sit down to think about how good your teacher is at their instrument and how much they’ve done, 99% of the time the absolute LAST PERSON you want to fuck up anything in front of is your teacher and yet… here you are… once a week… fucking shit up in front of your teacher and praying that they don’t notice, but they do, and they call you out on it, but typically they won’t punish you or be angry at your humanity either. They feel you.
The literal very first time I played for my teacher, long before he actually became my teacher, I sat there shaking and so fucking nervous that I actually could not play a C Major scale. C FUCKING MAJOR. I wanted the floor to swallow me up and I looked at him, expecting to die a painful death because I’d been playing for 8 years at that point and I should know, at the very least, how to C Major. He just said, “Hey, you’re okay. You have to understand that the worst you will ever play is for your teacher. It’s like that for everyone and that’s a good thing.It’s just part of getting used to the performance nerves.” I never forgot that. (still nervous as hell every time i enter a lesson tho, but i go into it accepting the fact that at some point in the next hour I’m probably gonna screw something up royally)
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what she says: i'm fine
what she means: i've been thinking a lot about one of the reasons washington was so eager to send hamilton home at the end of meet me inside; you know how eliza says she "wrote to the general a month ago" about how she was pregnant? that means washington knew that she was having a baby and must've wanted to send alex home to find out. that also might've been why gwash said "your wife needs you alive!", because eliza needs alex to meet/raise the baby. also the fact that he kept calling alex "son" could be foreshadowing that alex is going to have a son
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what she says: i'm fine
what she means: in the background of "Wait For It" the same musical theme that plays at the beginning of "Burn" can be heard playing at a slightly faster speed. The theme that plays over this is "Love/Life/Death/Hamilton doesn't discriminate, it/he takes and it/he takes and it/he takes." In Wait For It, Burr is waiting for something while Hamilton is taking and taking and taking. The Reynolds Affair occurred while Eliza was waiting for Alexander to come to her father's house with her. She was waiting for Hamilton while he was taking and taking and taking, engaging in the affair with Maria. It's the theme for his need to constantly take and take and take and how it affects the people in his life. The same thing that led to his success ultimately lead to his downfall.
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Today I shut my cat in the fridge.
Okay, so here’s the deal. Tali loves the fridge. I don’t know why, but every single time we open it, she bolts for it and jumps in. She crawls into the back of the fridge and nestles int the smallest little corner she can. Now naturally, my biggest fear has been that I’ll close the fridge without knowing she’s in there. And of course, today I went to go grab my Brita filter to pour myself some water. I wasn’t really watching the fridge, and I just opened and closed it really quickly to put the Brita back while I was looking somewhere else. And then I looked around and realized that Tali had been in the kitchen, and now she was nowhere in sight. So immediately, I throw open the fridge door, and there is is, hanging out in the back, content as can be.
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student mentality
(for reference, when i say student, i am referring mainly to high schoolers[although this may apply to middle school or younger as well], not music majors or uni students, but of course i’m sure this happens at many ages, i’ve just noticed it’s more common among my peer group ^^)
what exactly is “student mentality”? as the name suggests, it’s something that i’ve noticed very heavily among younger/high school and middle school student classical musicians, as i’ve matured as musician and had the opportunity to connect with other musicians outside of my peer group.
to me, i feel in love with music because of the way it can move someone, by making them absolutely ecstatic one moment and bringing them to tears the next. but i’ve noticed among my peers that playing with emotion and passion is not exactly something that’s very influenced. there’s almost like a ranking system based of who can play the most insanely fast runs in 2932049832908402th position or who can play all those intense etudes at 3294230498230 bpm or something like that. and if you can’t do that, then you aren’t a good musician, and you don’t deserve to be respected.
now, don’t get me wrong- good technique is VERY important. those super fast runs and extreme etudes exist for a reason, and it is not a bad thing at all to be able to play those well! in fact, if you can slay those insanely high positions, that’s awesome! 4 for you glen coco, you go glen coco. but is that all there is to music? absolutely not.
your worth as a musician is not defined by being able to play insanely difficult repertoire or being in a higher chair. and unfortunately, that’s really not the case when it comes to the community among student musicians. ironically, classical music can be very uptight and not very accepting among our younger generation as well. it’s become like this giant competition. obviously, there’s nothing wrong with a lil competition, in fact- a little bit can be great! but once it gets to the point that i’ve seen VERY OFTEN among my peers, where being better than everyone is the only thing that matters in music, and everyone’s forgotten exactly what music is about, that’s when it needs to stop. it’s like you are only respected and taken seriously if you’re in a higher chair and can play all these flashy things, and if not- it doesn’t matter how hard to try, how much you love what you do, and it doesn’t matter how much passion you play with, you are not a good musician and you do not deserve respect.
because of this kind of thinking, i’ve seen so many of my friends completely give up and fall out of love with music, no matter how passionate they were in the past. and that’s something that shouldn’t happen to anyone.
so to all those student musicians, or really anyone in this situation, just remember that this mentality is not the truth. it doesn’t matter if you aren’t playing insanely hard rep, or you aren’t first chair, or you aren’t in that high level orchestra/band/etc, if you are passionate, if you try, and most importantly- if you love what you do, you are still a good musician, and you still deserve respect. your worth as a musician is not defined by your rep, your chair, your ensembles, a competition/audition/performance, etc. you are so much more than what others make you out to be.
♥ mod dvorak
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Photo
It's kinda pretty here
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Les mis feels like one big fever dream. Like an inkeeper is giving a man beer via a plate on the ground, Prostitutes are stealing hair and teeth off of a new prostitute, new prostitute DIES and a convict adopts her daughter, everyone is singing, it’s wild
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Straight Outta Bedroom
So I’ve had this blog for a year and a half now – yay! I’ve primarily focused on music production methods and tips. If you’re into that, making music, then here are a few (not all) old posts that could interest you. Now, did you ever wonder…
How the hell to program a killer bass?
How to master shit in your bedroom studio?
What to do just to sound tight?
How to record and mix vocals at home?
How to work the 808 kick with a sub?
How to route side-chain compression?
Which fucking BPM to use for your track?
How to bring clarity to your mix?
How to structure your song, where to put the drop?
About the old Haas effect?
How to work with parallel processing?
You’re welcome.
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Video
this is it
this is the video that ends me
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orchestra according to a bassoonist
flute: sassy and/or salty, probably caused by amount of runs
oboe: angels, family and we love the them
english horn: brother, we will fight for you, you are our baes
clarinet: always super nice and humble, what soft creatures
bassoon: perfect
contrabassoon: even more perfect like wow
trumpet: small part, big ego
trombone: steals our solos and makes fart jokes
tuba: like a metal contrabassoon but less cool, still appreciate bc low
french horn: best friends, will protect against all odds
violin: steals oboe solos and why are there so many??
viola: like a violin but less "i was told i was a prodigy from a young age" egos
cello: steals our solos but in a good way, we like them
double bass: salty creatures who get mad at us when our articulation doesn't match their pizzicatos
percussion: you play that bass drUM ONCE MORE
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A drag of musical instruments
violins: the magikarp of instruments, after years living with terrible squeaky, teeth-grinding scrapy music you will be blessed with a powerhouse of emotion that is still somehow overrated
violas: awkward teenager of the strings, but when bold enough to speak actually sounds rather lovely
cello: beautiful bastards who are much smoother than their owners
bass: big daddy who seems tough but needs the most looking after
flute: levelled up recorder who sacrificed tone for range
piccolo: steam train whistle on speed
oboe: so high maintenance that from what I gather if you start using a different toothpaste the reed might complain
cor anglais: the soul of a goose is trapped inside every one
clarinet: two modes - pompous rooty-tooty or slutty jazzman
bass clarinet: loveable foghorn
bassoon: old gentleman fart machine
contrabassoon: old elephant fart machine
horn: sound can vary from anything between ‘love incarnate’ to ‘surprised cow’
trumpet: used and abused by large egos everywhere, personalities include ‘royal announcer’, ‘moody parisian drinking in a jazz bar in Budapest’ and ‘imperial parp parp’
trombone: chill enough most of the time but secretly relishes going from 1 - 100 with 0 warning and scaring the everloving Jesus out of everyone
bass trombone: like a great dane needs a strong, patient handler
tuba: like a really big, heavy, noisy four year old who sits on your knee for the whole of rehearsal
harp: the musicalisation of an impressionist painting, beautiful but too much time, effort and money are involved for most people
piano: most people’s gateway drug into music
timpani: ‘the shower in a friends house’ at first glance looks simple enough to use, but upon closer inspection complex set up is required to use them effectively.
percussion: like ordering a mystery bag online, you’re provided with a bunch of things you probably will never use or don’t know how to use. If you’re lucky you might get a triangle.
(not intended to be a complete list
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