Does anyone know of any classical music with offensive lyrics or meanings behind the songs?
Someone I know was wondering this…
(Read the answers here.)
Tonguing on oboe reed?
I dont take any lessons or something but im in a school band and i play oboe. my question is how do i do tonguing? i have my winter concert this week and i need to learn how to tongue my teacher says to put the reed on my tongue and blow. is that how? i know its suppose to sound like tah or tuh something like that but when i do tonguing it does tuh but in between i do breathes and you can hear it when your not suppose to. someone please help me please and thank you.
Want to know how people answered? Go here.
(I usually don’t bother answering these things; it could eat up all my time. Sometimes I groan when I read others’ answers, though.)
I just read this: “How to Use a Horn for a Knife Handle” … and you can just imagine, I’m sure, what I’m asking myself: “How can a French horn be used as a knife handle?”
Duh. They were talking deer or elk horn.
Sometimes it becomes quite obvious how my mind is so music-centric. Sad, but true.
Or maybe not so sad. Maybe kinda cool … um … right? 😉
During his performance season, Mr. Gunn generally eats only one big meal a day, usually dinner. His favorite dish is grilled steak with onions and zucchini accompanied by a glass of red wine. He rarely eats breakfast but if he does, it’s usually a cup of yogurt or piece of bread. “I only eat when I’m hungry,” he says.
At home, Mr. Gunn’s eating habits are generally the same, but his wife cooks dinner, and they will sometimes have chicken-noodle soup, a bag of potato chips and a cup of black coffee for lunch. Mr. Gunn says he will eat fries and potato chips once in a while. “If I’m too strict, then I’ll want it too much,” he says.
You can read more about Nathan Gunn’s eating and exercise habits by going here.
You can read my eating and exercising habits below:
… … … … …
Yeah. That’s about it.
Pam Hakl, my friend and colleague, got a deservedly wonderful review:
She was superb: agile, lyrical, sprightly, in cool command of her instrument, sometimes drawing a note from a vanishing point and growing it into something plump and ravishing. Prutsman, who played harpsichord here, set the pulse and overall tone for the performance, which was especially good in the first movement — a real dance, radiant and alive.
You can read the entire review here.
And NOW … Get to know Pam even more, by clinking on the link and reading Beth Zare’s article in the examiner! Cool, huh? 🙂
