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Everything posted by Andreas

  1. The songs are good, but I positively ha...hmmm, strongly dislike, Pitsa's voice. Which makes the record kinda suck for me since she is singing 6/10 songs on it. But the songs are pretty good.
  2. Do not forget either that a "normal" bouzouki (the bouzouki is not only a Greek instrument), does not always have separations for the notes, so it is just like the "outi" (the 'oud).... Once again, I question one of your definitions, this time "normal". In greek music and Greece as a whole, a bouzouki is the greek variant of bouzouki. Which has frets on the board, that is, separated notes. I am very well aware of that the instrument has it origins in other instruments, that actually also has separation of notes, but into maquam scales, not western scales. However, this has no place in th discussion since we are talking greek music here, and especially a little more modern greek music.
  3. Of course there are differences between different kinds of music, but the tunings are very much the same. I would actually go so far as to say that they are exactly the same. Note: Once again I am talking about the more Western-like, bouzouki based stuff from the 20th century and also much Theodorakis et al. The clarinet again is possible to play with micro-tones with good breath control, so that is not the same thing. What you say about the "easiest" Theodorakis songs being difficult for good bouzouki players is probably a problem that has to do with your definitions of "easy" and good. Summary: The tunings , not style, not ornamentation or whatever else, are the same in much greek music and "Western" music. If a greek tune says A minor, it is the same as A minor in a "Western" tune.
  4. Really? Why can't the tunings be the same? Of course I understand that there are some traditional microtone-scales that are used in much traditional music played on instruments such as the lira,outi,saz,nei etc. that can play those scales, but a bouzouki, for example can not play anything but "western" scales, if it is not custom made. But the tunings are surely the same for many, many songs.
  5. Also, there's some related stuff with Aidonis on, uh, I forgot the name of the record. Help me out here Geeske! The album with Ross Daly on oud.
  6. I would very much like to see what an unholy alliance between Dalaras and Thanassis Papakonstantinou would yield. Very much. Can't some of you guys who know him give him some discreet proposals? ?
  7. For those who don't know it, this is Dylan's "All along the watchtower". Αλέξανδρος Μπάρας translated it (this is how my browser shows greek lettering, a bit annoying; you guess the wovels Edit: Apparently they shows OK for most people.), and the music is actually by Nikos Xydakis, although Malamas sings it. Just to nitpick a bit.
  8. You know, I really think I have. If you mean something different than you have written, it is not something I can do anything about, is it? Geeske said "Who the helll do you think I am, Big Brother?", whereby you responded with: "I had really the impression you want to behave just like this "Big Brother" in the part of the Forum you are working most. But it is you, too, who called this first, and I appreciate that." Now, let's analyse this a bit. Geeske states (indirectly) that you should *not* think of her as a "Big Brother". You then respond saying that you thought she was a "Big Brother" and that she herself had said so. In my book that is not what I would call a compliment. Of course, I know that Geeske don't really bother with it, but it rhymes very badly with your:" I had to learn, how to deal with words, not only during my literaric studies. It was sometimes a painful and long-lasting study of life. Therefore, I try to be very careful in using language and words. I became sometimes oversensitive in this matter." If you are so careful in reading/writing words, you can not blame your "name calling" on ignorance. And this oversensitiveness. It is for words being directed at you, right? Not the other way around. Sorry for being so rash, but this whining is just too much for me. Yes, I said whining, because that is just what it is. Get over it!
  9. Oh yes, that was a careful way with words, was it? If you are so sensitive to other's words, why don't you try and be a bit more sensitive about what you write to others? Or perhaps it is best not to take everything so extremely serious?
  10. Albatros - Sokratis Malamas from the album Nikos Xydakis - Sokratis Malamas You can hear the similarities with the later masterwork 'Ena'.
  11. Duo Seraphim from C.Monteverdi's Mariavesper, with the hope of someday singing the first tenor part in concert.
  12. Hi everyone, I want to know if anyone know of recordings by Eleni Bairaktari-Koutalakidou. I have some tracks from some record released in 1966, containing (probably, since the tracks are) songs from Pontos. It is just her singing and a relative playing lira. Does anyone have any information of other recordings and their availability? Andreas
  13. And she plays in Sodra teatern, Stockholm, Sweden the 11th of november as well. I'm going . Her homepage is at: Highly recommended.
  14. Arrrgh! Due to the international "Speaking-like-a-pirate-day", I would like to put forward Joni Mitchell's "The pirate of penance" from Songs for a seagul. Hoist the flag, mates!
  15. Mostly what Hristaki said. It really does not help moving your head, except that it could perhaps help a bit raising your head when trying for really low notes(!) due to the elongation of the reasonant cavity (neck). But on the whole you should (classically) always think in opposite movements, i.e. think of going low when reaching for high notes and vice versa. Concerning Dalaras, I don't think that he does the raising of the head for reaching high notes, both because he is a good singer and because it seldom is very high notes, but for psychological effects. The words/music are often written to get the most prominent words in high notes to emphasise them, and of course you can also emphasise them even more with your body language. But of course, this is just guesses.
  16. Excuse me, but I think that really a lot of people do write stuff like this all the time. They are usually called poets. What do you want? No symbolism at all? Should we replace a sentence like "Her face was like a pond of stillness." with something like " Her face was very still, like something that is very still.", just because her face is not wet, decorated with primroses and probably inhabited by frogs? It might not mean anything to you, and it might not mean anything to me, but like all art poetry can only be judged by the reciever. It might mean something to others. I just don't really understand this intense reaction to some lines by Hatzidakis when there are probably just as strange things written by more or less all lyricists of, e.g., Dalaras' songs.
  17. Well done Geeske! Truly great work. That interview was really something wasn't it? Thanks again.
  18. The era of arbitrary evil. That's just splendid! On the whole a very good, very free spoken article. Great! And thanks agaain Geeske for doing this work, even if you DO enjoy it .
  19. Today's favourite is Draw on sweet night by John Wilbye. One of the better English renaissance madrigals. Incredibly beautiful.
  20. Uppε marmorns hφga berg - Susanne Rosenberg. Another period of Swedish folk music only. I'm sorry...
  21. Can't we all just TRY not to take offence at everything that can possibly be read as critizism, whether by accident or bad formulations? Just take it a little easy and make some private investigations before we start spilling guts and gall all over the place? We should have learned by now.
  22. Tou Erota - S.Malamas from Ena. Buy that album if you have even the slightest interest in music.
  23. You probably mean the "How I got addicted"-thread under Views, experiences.
  24. If you see her, say hello - Bob Dylan The whole 'Blood on the tracks'-album is just great.