Thứ Hai, 29 tháng 10, 2018

Youtube daily music for Oct 29 2018

Let's see how much I've forgot this time.

The big bag.

The best way to pack...

just throw all shoes in a sack.

The huge down jacket is with me but I probably won't use it.

Any way, it's Tuesday and we're ready to go to Bruksvallarna

on the first snow camp for this year.

They'll pick me up in...

40 minutes.

They'll get here by bus from Östersund and then further on to Bruksvallarna.

We'll be there around 6 PM.

We'll be starting of with dinner when we're arriving.

So I'm just going to zip this bag and think

if I've forgot something important and after that we're off.

At least it's snowing.

Yes, nice.

That's at least positive.

Here we're staying.

Here I can lay down and play.

I think I stayed here last year as well.

But all room looks the same.

No.

It was this room, it looked just like this.

I take this one then.

Here's the view from the room.

A pond.

Is it you crying?

It wasn't that big this room, huh?

It's enough for us.

We've spread out all our stuff.

It'll be small.

I've just eaten dinner.

It'll not happen so much more today other then an information meeting.

Plus that I have to book a treatment.

So let's just jump til tomorrow.

Then we're going to ski and I can show you the tracks.

It's storm here today.

During the night it's been snowing a whole 1 cm.

It blows almost 20 metres per second here today.

In the gusts.

I tried to find the most calm place now.

So the audio won't be that bad.

1.8 km have they fixed.

I just measured.

Almost exactly 1.8 km of track.

It snowed a bit during the night.

Or snowed, it was only 1 cm.

But it looks much better when there's some snow on the ground.

So it's pretty okey considering the conditions.

So this is going to be a great camp

to swirl around

on this track.

What are you doing?

Does it go well?

That's the one I had last time, it was awesome.

Huh?

I'm teaching Teodor how to play fortnite.

This is what we do on camp when we don't train or rest.

Playing video games.

Trying to be professionals on that as well.

Are you going to be pro on this?

No.

No?

Already am.

You are pro?

You can't be something you already are.

Well, you can't be any worse at this then what you are on skis.

There's more snow today.

Now it's at least 0.5 m.

Yes absolutely.

At least.

Today it's time for the first interval session.

We'll be doing threshold for 40 minutes and

each interval is 2 laps on the 1.8 km track.

We'll see how many intervals we'll do before we hit 40 minutes.

If Calle takes the lead we might have do do 20 intervals maybe.

No it'll be good.

It'll be a some what shorter and calmer interval session

because tomorrow we've a sprint race.

So I guess it's stupid ro tun out of fuel today already.

Right, Calle?

No, I've never run out of fuel on an interval session.

Neither have I.

Should I do the chins now?

Yes do them.

You can hang here on the edge and have the hands here.

And then you do 5 chins.

Where should I hang?

Here on this edge.

That edge?

No I can't.

Hang here then.

Here.

Here?

Yes.

It won't be any problem here.

Do it then.

What will I get then?

I have do get something at least.

You'll get a lot of fans from my vlog.

You'll be a star.

It'll be extremely cool.

No it's not going to break.

You're not that heavy.

Will you give me 500 kr?

From Teodor, yes.

Promise I'll get 500 kr from Teodor?

I promise.

Almost.

Two.

Three.

Four.

One more.

Good.

Now I'm warmed up and ready.

Cool.

Sad you didn't fell down.

Good job guys.

Nice rhythm.

Should I serve you?

A little drink.

You serve me.

How did the intervals go?

Felt a little slow.

But

it was only threshold so

it was good.

But you played a bit with us others?

I did not.

Yes.

No need to be shy.

No need to be shy.

When you took the lead on the second one

you broke the field with 50 meters.

And did a lot of speed increases.

Yes but that was it.

Then you dominated.

What are we drinking?

Carbs and protein.

Protein.

Yes.

How did it go for you then?

I'm satisfied, I caught up with you.

Pretty well.

There you've Sweden's biggest grafter.

Where?

Cheers.

Cheers.

Good session.

Thank you.

Bruksvallarna is really beautiful.

It's placed in the west of Härjedalen.

It's pretty high.

It's a lot of mountains here so I thought I should get out and film with the drone

and see how it looks from above.

Let's see if I can get som nice shots to show.

Should I take a picture?

Instagram shot.

Whom should I take on?

Wait, why is it so zoomed in?

Awesome picture!

Look

Are you vloging at the same time?

Yes

What a good quality!

Thanks Jens!

3 hours skate done.

53 km

It´s Saturday and I only have one session today.

A longer session

so an easier day with training.

The camp is moving on well so far

despite the short track

but It has become colder so they can produce more snow

hopefully we have longer tracks next week.

Sunday today and last workout for this week

but not at this camp because it ends on Tuesday.

We have done some strength training

core training and some explosive strength.

I'm alone right now and that´s because some of the others are going back to Bruksvallarna

we are in Funäsdalen were they have a good gym

some are going back to test skis

wich I already done and

some are going to run here

but I´m left here at the gym and using the rowing machine

for 1 hour

Anyway, I will end the vlog here

hope it has been an interesting one here from Bruksvallarna

and

the next weeks vlog will also contain things from this camp because

Monday and Tuesday is still left.

I will also give you a bonus video next week

when I´m interviewing the chef of Ski team Sweden

about vegetarian food

and some advice why you should eat it

and what you can do to make it simple

It will be a food post.

See you next week with the bonus video and the normal vlog.

Don't forget to like the video and subscribe to the Channel

I would appreciate that a lot.

Thanks for watching!

Bye bye!

For more infomation >> SKI TEAM SWEDEN IN BRUKSVALLARNA! First camp on snow - Duration: 11:33.

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It's Halloween Night | Halloween Song | Music For Kids | Halloween Rhymes & Cartoons For Children - Duration: 31:25.

It's Halloween Night Not a soul in sight

I hear Footsteps Who's that coming?

I see a ghost!

Oh no!!!

I see a ghost!

Run!!!

I see a ghost!

Hahahahaha!

It's Halloween Night not a soul in sight

I hear Footsteps who's that coming?

I see a zombie!

Oh no!!!

I see a zombie!

Look Out!

I see a zombie!

Hahahahaha!

It's Halloween night not a soul in sight

I hear Footsteps who's that coming?

I see a vampire!

Oh no!!!

I see a vampire!

Help!

I see a vampire!

Hahaha!

It's Halloween night not a soul in sight

I hear Footsteps who's that coming?

I see a witch!

Oh no!!!

I see a witch!

save me!

I see a witch!

Hahahahaha!

It's Halloween night not a soul in sight

I hear Footsteps who's that coming?

I see a skeleton!

Oh no!!!

I see a skeleton!

Hide!!

I see a skeleton!

Hahahahaha!

For more infomation >> It's Halloween Night | Halloween Song | Music For Kids | Halloween Rhymes & Cartoons For Children - Duration: 31:25.

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Episode 34: 10 tips to play vocal music | Your transcriptions | QUIZ! - Duration: 14:32.

This is Maria, this is Hester, and together we are the CONSORT COUNSELLORS!

Welcome to a very special episode of Consort Counsellors!

Today we are going to focus a little bit deeper on the arrangements and performance of vocal repertoire...

And then, instead of our regular 30-seconds tip, we have a QUIZ for you,

because we want to celebrate that we have reached the milestone of 1000 subscribers on YouTube!

Would you like to win an exclusive prize from the Consort Counsellors?

Please watch this video until the very end!

In episode 30 we presented a very practical method to transcribe vocal music for recorder consorts

and we invited you to try it out and maybe send us the result of your work.

David Allen sent us an arrangement of an eight-part motet by Cristóbal de Morales: "Andreas Christi famulus".

He's played this piece with his group.

They played the three top lines on recorders (two tenors and a bass) and the lower five voices on viols.

In this way they stay within the actual pitch of the human voices.

We are sure it sounds beautiful! Thank you David!

We also received a transcription of a madrigal by Monteverdi:

"Non giacinti o narcisi", made by Angela Salvaggione. Thank you Angela!

Angela found out that the two top voices would fit the range of soprano recorders,

but they would also fit the range of alto recorders.

The soprano recorders would be playing rather low, the alto recorders in the middle and higher register.

This was her choice: to keep two alto recorders for the two top voices.

How can you know what's likely to be the best option when the range of a voice suits two different sizes of recorder?

In general, the middle and the high register of the recorder are a bit more flexible than the low register.

Staying around the "left hand area" and the second register gives you more possibilities for the flexibility of the sound

and it is also much more comfortable to play.

It is usually a good idea to avoid an octave gap between consecutive voices.

If Angela had chosen for two soprano recorders for the top lines,

there would be an octave gap: sopranos on the top lines, tenor on the third line.

This probably would create some difficulties in balance and mix, as the sopranos would stick out in sound a little bit.

When you play early repertoire, like Renaissance polyphony,

usually you have enough with three consecutive sizes of recorder,

for example: alto, tenor and bass. This is also the case in this madrigal.

If you would like to get a bit closer to the way the pieces were performed back then,

use the fourth size of a recorder only when it's essential.

Being "practical musicians" ourselves, we can't avoid adding the following tip:

Try everything! Perhaps you'll find out that a soprano and an alto,

or an alto and a soprano for the second voice, or two sopranos, or two altos...

They all sound different and it's always a good idea to try out all options,

so that you develop a sense of what the best solution is for particular sorts of pieces. [Trial and error!]

Not all arrangements we received are as early as Monteverdi and Cristóbal de Morales.

Mark Chapman sent us a lovely arrangement

of a 19th-century song by the English composer Robert Pearsall: "Who shall have my lady fair?"

If you like to try something different and cheerful, have a go!

Charbel Abi Nader from Lebanon arranged more than ten Maronite hymns

to be performed by a recorder quartet. Thank you Charbel!

Maronite hymns are traditional melodies that are sung by Christians in Lebanon.

The melodies are beautiful and the arrangements are very well done!

Perfection lies in simplicity here.

When arranging melodies like this, you have a lot of choices to make.

For example, in which line, in which voice do you put the melody?

It's not always the case that you *have to* put it in the soprano or the top line.

You can also choose to put it in the middle voices

and let the top line and the bass accompany.

That might create interesting colours. Good luck!

A good friend of ours here in the Netherlands - his name is Thijs - also reacted to our Episode 30.

He told us it would be interesting to have some more tips to perform vocal music.

How can the text, particularly, be a nice guide to rehearse and perform this music?

To answer this question we continue with 10 quick tips to work with the text when playing vocal music on recorders.

Connect the punctuation of the text with your musical phrasing.

For example, if there is a comma in the text, consider the note after the comma as a new beginning.

Take breath before, or separate it slightly from the previous note.

A spoken phrase usually has a clear direction towards the most important words.

It is a good idea to say a phrase that you are going to play

a few times in a row, to find the best emphasis and intonation.

You can put the same feeling of direction into your music.

Check episode 29 for more exercises!

Taking the previous tip even a step further, compare how you say or sing a phrase and how you play it.

Are there any obvious differences that you may like to bring closer together?

Vocal music is syllabic when each note gets its own syllable,

and melismatic when one syllable is extended over a longer passage with many notes.

In some pieces you will find both styles of writing and it may be nice to make a little difference between them.

For example, you can have a slightly more active articulation or play a little bit more separate in a syllabic section

and play the melismas as connected as possible.

Look for obvious connections between the different sentences of the text

and the phrases or sections of the music.

For example, you will usually find an important cadence in the end of each sentence of the text.

It is important to give enough attention to these transitions.

How are the phrases connected? Is there a clear ending in which you have a chance to take breath

and start with something new? Or are the phrases really overlapping?

And, what does that all mean in the development of the piece?

Connect the character of the text with your way of playing.

Think of what kind of sound, articulation, speed and timing

suit the main mood of the piece, of a phrase or even of a word.

We give you three short examples!

In musical settings of texts, very often we have to deal with repetition.

Maybe a word, a clause or a whole phrase is repeated twice, or more times.

What does that mean to you? Is the music getting more intense by repetition,

or is each repetition rather an echo, a softening of the previous?

Our perception of music is often focused on melody.

We enjoy playing the different combinations of beautiful intervals...

However, when we play vocal music, we will often come across repeated pitches.

A singer naturally gives different colours to these repeated pitches because of the different syllables they sing.

As recorder players we can vary the attack, the articulation, the length, the shape and the color of these repeated pitches

to suggest the same effect. See how far you dare to go!

Singers give great attention to the closure of the words,

and therefore also to the closure of each phrase.

End your phrases like a singer, with great care for the length, shape and closure of your final notes.

You can even imagine that there is a choir conductor in front of you,

helping you with the shape and closure of the perfect ending.

The last tip may seem a little bit paradoxical:

Text is essential, but it's not everything!

We are instrumentalists, and as such we get inspiration from the text in all the ways we just mentioned...

...but we can also go too far: try to play each comma, create different colours on each syllable and all the repeated pitches...

Like that, we mayend up a little bit too worried, and the playing might become a bit unnatural.

Like it is with everything else, let's look for a good balance!

Remember that the earlier the music you play, the more chance that the text placing is actually not entirely clear,

and in some cases it may also not be the most important thing... So it depends also on which repertoire you're playing.

As you know, very recently we reached the milestone of 1000 subscribers on YouTube!

Thank you very much for following us, for watching our videos, for sending us your comments!

We have prepared something very special to celebrate this wonderful news: a QUIZ!

With three questions, which is based on information that we have shared with you on some of our previous episodes.

You have to send the correct answer to these three questions

to consortcounsellors@gmail.com by the 15th of November 2018.

If you do, you will enter the lottery to win our very special package, consisting of a signed CD of Seldom Sene Recorder Quintet

and... an ultra-exclusive, unique coffee travel mug of the Consort Counsellors!

We will announce the winner on Monday the 17th of November, and it can be YOU!

If you are watching this video after the 15th of November, do not worry,

because when we come to the magic number of 1500 subscribers on our YouTube channel,

we'll do something special again! So please, do tell your friends about our channel

and invite them to subscribe! Here are the questions for the QUIZ:

[Question 1] How many extra notes did Sylvestro Ganassi discover in the high register of the alto recorder?

[Question 2] According to the Consort Counsellors, what are the three possible purposes of an alternative fingering?

[Question 3] In one of our early episodes we spoke about four body parts that have a major influence in the position of the tongue

and also in how the air flows into the recorder. Which four body parts are these?

Good luck with the quiz! We are looking forward to receiving your answers.

Yes! Get watching, get replying and good luck with the lottery!

See you next time, bye!

For more infomation >> Episode 34: 10 tips to play vocal music | Your transcriptions | QUIZ! - Duration: 14:32.

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Music for Office: 3 HOURS Music for Office Playlist and Music For Office Work - Duration: 3:39:44.

Title: Music for Office: 3 HOURS Music for Office Playlist and Music For Office Work

For more infomation >> Music for Office: 3 HOURS Music for Office Playlist and Music For Office Work - Duration: 3:39:44.

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Ten Orange Pumpkins | Halloween Music for Children | Kids Songs & Nursery Rhymes | Little Treehouse - Duration: 4:21.

Ten Orange Pumpkins

Ten orange pumpkins sitting on the wall

Ten orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be nine orange pumpkins sitting on the wall

Nine orange pumpkins sitting on the wall

Nine orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be eight orange pumpkins sitting on the wall

Eight orange pumpkins sitting on the wall

Eight orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be seven orange pumpkins sitting on the wall

Seven orange pumpkins sitting on the wall

Seven orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be six orange pumpkins sitting on the wall

Six orange pumpkins sitting on the wall

Six orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be five orange pumpkins sitting on the wall

Five orange pumpkins sitting on the wall

Five orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be four orange pumpkins sitting on the wall

Four orange pumpkins sitting on the wall

Four orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be three orange pumpkins sitting on the wall

Three orange pumpkins sitting on the wall

Three orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be two orange pumpkins sitting on the wall

Two orange pumpkins sitting on the wall

Two orange pumpkins sitting on the wall

And if one of those pumpkins accidentally falls

There will be one orange pumpkins sitting on the wall

One orange pumpkins sitting on the wall

One orange pumpkins sitting on the wall

And if that one pumpkins accidentally falls

There will be no orange pumpkins sitting on the wall

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