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toddwle?


moomin

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it has been borghut to my aeniotttn taht it dsoent rlaley matetr waht odrer you put the ltteers in a wrod as lnog as the frist and lsat oens are cerroct.

the rset can be a cplomtee mses and you can sitll raed it whotuit too mcuh bhoter.

arappnlety tish is busacee we do not raed ervey lteter, jsut the wrod as a wlohe.

azamnig inst it? you lraen shmtihoeg new ervey day!

 

moimon

 

www.megabird.co.uk

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Well i could have a go but first, how about learning this one

here

or are you all too young to have heard him? *wink*

 

I particularly like his Classicold Musee piece.....

 

Now to the classical form. Well, er, in the orchestra you have a distribute or the balance of the woodwilly and the sings and the simbrant brass (not the Brighouse Brass and Gastric, that's another deep folly form of expression). With the strings, of course, you have the very fine Stradivold or catgut and scrapey with the first violim which we can probably deal with with questions.

 

But, erm, with the conductor, who falollops the baton huffalo-dowder so much and draws the attraction from the eyebold. Let's not underestimail for the conductor because after all he's there not only as a figurehead, but to draw forth from the various sections of the orchestrail that which he, she or the others: and plenty femaiload do a fine scrapey too, oh definitely. Oh yes.

 

From Vivaldi and Rossini and Scarparelli, Creuthesfolly and Grumblefold, all these deep fundamoulds of music have the mediaeval fundamould of expression in the classical form, and later on of course you had the fine whimsicolly, the modern idiom which creepy hin like the Aaron Copload and also the twelve-toman scale, because it's a great shame about the eight-tone scale which is not enough room to give a fullfold folly expression of the meaning of the composey in itself. Oh no, haha.

 

No, in India you had the throoty-four-tomal scale which is sliding glissando from the deepy bass profundo up to the trittly-how of the highest ever reachy. And in this scope, and the magnitude of it, so the deep foal or expression of the human beel of that teemy contino stretching in the north, the Himalade and the Yeti with the old scalp and danglit [laughter] right down through the contiload to the little island, the teardrop of Ceylon on the other emma.

 

But, in order to express this, you see you've got the orchestra with its full understab and the manipulade and the mastery of this his individuhold of the instrument through the eyes, ears and the hand wave-it huffalo-dowder of the conductor: Enisco, Sossikinder, Alice Rawnthorpers, all these have a deep joy, and in the classicold you could express yourself through a blowit and sucker for the mouthorb. Oh! Nay, never for this.

 

Of this instrument you can, if only, the mastery which is known now through the technique for changing glissando scailbes: change of boo flat made, soo three major and herkit as you pressing this little falolloper up the end. But, erm, it is, it's one form of course one of the very difficult instruments, the French hormone which is a row, it's a horn with a largy flair whose resonant quality is not for the pressant of three valbers, oh no! 'Cos many an upper palate has been lost by the person who's trying to taken this up there and, as I say, blowing his own teeth inside-how down his throakers, and giving up the instrument over on the garbage patch for something he can buy cheaply. Because it's a terribiv and it takes years. Oh yes.

 

 

 

Edited by - fullharness on 17 Sep 2003 14:52:06

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