Fine handmade pieces from Neufahrn/Freising

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Fine handmade pieces from Neufahrn/Freising
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2Music: The Session in the Dome of Freising, Guitar Music | cycle - music No 1 |post · publish · 2018-12-09 20:14:43





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Beeing allowed to play the guitar in the closed, wonderful Dome Church of Freising was an experience.


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7Universe: Space and Matter | cycle - science No 2 |post · publish · 2018-12-09 21:47:46





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In order to anticipate it immediately and to explain the purpose of this text, the human observer, as well as the interested person in general himself, places much of effort on his observations and then on the description methods for the observations made (whether by means of mathematics exactly or with textual means). This is done in order to describe the conditions of the environment or space and to describe events within the observable space (sometimes the description is also attempted as a prediction on what would be outside the observable space).

Our interest and knowledge aims in principle to an ever more close as possible approach to the absolute understanding and to an exact description. The creation and the establishment of descriptions of the functioning of the observed by man, of course, presupposes the observability at all. Only if something can be observed, it is in the narrower sense an observation, which can be reproduced in a description of its nature with its known conditions.

If something is not observable for us, it can only be assumed or understood as necessarily existing, by the already unsuccessful observer with the logic assumptions he has present in him. Any absolute evidence of existence is only provided by observation or measurement.

However, any description could only really be accepted as absolute if it could be fully congruent with the entirety of all possible observations and also with all conditions, or even unobservable conditions.

In this text, the main focus should be on the boundaries of the possibilities for descriptions, in consequence of the existing limits of observability, and then a no less great attempt will be started, to point on the limits of our understanding in this regard.

A grain of sand floating in the sea – possibility of a subjective conclusion – how close is it to the finiteness of the observable space? From the point of view of the grain, which drifts in the sea, can a conclusion be made of the existence or non-existence of a possibility of observation depending on the grain’s place, on what will be found on the horizon of the sea? The grain of sand in the middle and depth of the sea will not have the chance to come into contact or sight with the coast.

We can ask the same question for our position. Where, therefore, our immediate environment would be to be localized within the total space, if one is at least highly unlikely to assume that we are exactly in the centre of the space? And thus, are the distances, for the case we assume a finiteness or horizon of the known matter, in different directions, perhaps in some individual directions shorter than for others?


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In order to anticipate it immediately and to explain the purpose of this text, the human observer, as well as the interested person in general himself, places much of effort on his observations and then on the description methods for the observations made (whether by means of mathematics exactly or with textual means). This is done in order to describe the conditions of the environment or space and to describe events within the observable space (sometimes the description is also attempted as a prediction on what would be outside the observable space).

Our interest and knowledge aims in principle to an ever more close as possible approach to the absolute understanding and to an exact description. The creation and the establishment of descriptions of the functioning of the observed by man, of course, presupposes the observability at all. Only if something can be observed, it is in the narrower sense an observation, which can be reproduced in a description of its nature with its known conditions.

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8Literature: Don Quixote | cycle - literature No 3 |post · publish · 2018-12-09 22:13:06





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“En un lugar de La Mancha, de cuyo nombre no quiero acordarme, no ha mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor.“

(“Somewhere in La Mancha, in a place whose name I do not care to remember, a gentleman lived not long ago, one of those who has a lance and ancient shield on a shelf and keeps a skinny nag and a greyhound for racing.“)
<cite>Miguel de Cervantes, Don Quixote, Volume I, Chapter I </cite>

&nbsp;

https://www.youtube.com/watch?v=enhnN8aTIvA&amp;app=desktop


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(“Somewhere in La Mancha, in a place whose name I do not care to remember, a gentleman lived not long ago, one of those who has a lance and ancient shield on a shelf and keeps a skinny nag and a greyhound for racing.“)
<cite>Miguel de Cervantes, Don Quixote, Volume I, Chapter I </cite>

&nbsp;

https://www.youtube.com/watch?v=enhnN8aTIvA&amp;app=desktop
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9Philosophy: Also, Sprach Zarathustra | cycle - literature No 4 |post · publish · 2018-12-20 20:49:12





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Da sprach es wieder ohne Stimme zu mir: `Oh Zarathustra, wer Berge zu versetzen hat, der versetzt auch Thäler und Niederungen.` - Und ich antwortete: `Noch versetzte mein Wort keine Berge, und was ich redete, erreichte die Menschen nicht. Ich gieng wohl zu den Menschen, aber noch langte ich nicht bei ihnen an.` Da sprach es wieder ohne Stimme zu mir: `Was weisst du davon! Der Thau fällt auf das Gras, wenn die Nacht am verschwiegensten ist.` - Und ich antwortete: `sie verspotteten mich, als ich meinen eigenen Weg fand und gieng; und in Wahrheit zitterten damals meine Füsse.` <code></code>

Und ich antwortete: `Mir fehlt des Löwen Stimme zu allem Befehlen.` Da sprach es wieder wie ein Flüstern zu mir: `Die stillsten Worte sind es, welche den Sturm bringen. Gedanken, die mit Taubenfüssen kommen, lenken die Welt.

&nbsp;


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Da sprach es wieder ohne Stimme zu mir: `Oh Zarathustra, wer Berge zu versetzen hat, der versetzt auch Thäler und Niederungen.` - Und ich antwortete: `Noch versetzte mein Wort keine Berge, und was ich redete, erreichte die Menschen nicht. Ich gieng wohl zu den Menschen, aber noch langte ich nicht bei ihnen an.` Da sprach es wieder ohne Stimme zu mir: `Was weisst du davon! Der Thau fällt auf das Gras, wenn die Nacht am verschwiegensten ist.` - Und ich antwortete: `sie verspotteten mich, als ich meinen eigenen Weg fand und gieng; und in Wahrheit zitterten damals meine Füsse.` <code></code>

Und ich antwortete: `Mir fehlt des Löwen Stimme zu allem Befehlen.` Da sprach es wieder wie ein Flüstern zu mir: `Die stillsten Worte sind es, welche den Sturm bringen. Gedanken, die mit Taubenfüssen kommen, lenken die Welt.

&nbsp;
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10Music: The Guitar &amp; Cellar | cycle - music No 5 |post · publish · 2018-12-25 13:54:34





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Played 25.12.2018 with Voigt Alborada Ziricote.


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11Design: Der Verlust der Mitte - Design in 21st Century | cycle - design No 6 |post · publish · 2019-01-01 20:28:07





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Beauty and Harmony - in deep feeling sounds and appealing design, as with the example of a sports car in a breathtaking nature’s surrounding. Music selfmade with Guitar Alborada Sinfonietta by Voigt Luthiers in Neufahrn (c) 2018. Text of the bible, Genesis, creation of world, spoken and recorded. Inspired by school and criticism of art and design as described in Hans Sedlmayrs book Der Verlust der Mitte.


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12| Nature and mysticism: Faces of Montserrat | cycle - nature No 7 |post · publish · 2019-01-19 20:24:29





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I nearly forgot, but back in 2003 we visited the Monastery of Montserrat. Recently this prevoious and nice Recuerdo came into my mind again and fortunately I have had a few guitar pieces, composed in 2018, which I found suitable to align with the impressive pictures of the nature there and to suit with the recovered memories. The montainous scenery together with being a place of religous refugium is also with a lot of touristic attention, but nevertheless, it remains an impressive and very special scenery. The title of “Faces of Montserrat“ is really reflected by this pinturesc, montainous ambient and the nature, which can be seen there.


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13| Draw and show |page · publish · 2019-02-03 11:14:14





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https://www.youtube.com/watch?v=s2sbRFHM424

Children drawing from some years ago. It shows a march of Mauros and Christians in the Spanish village Beniganim south to Valencia. Music is composed with Guitar, HM96 Gigue classical guitar, produced in (c) 2018.

----------------------------------------------------------------------------

https://www.youtube.com/watch?v=RVE9cj7IL9E

From a project: illustration of some passages of the bible. Drawn by kids in 2017, with applicable Bible's scenerys and stories. Music composed in 2017, guitar played and recorded.

<hr />



<hr />

https://www.youtube.com/watch?v=DRDWhpb6ZNc

In the 2020's we are not coming home with our Diesel cars... instead we are on electrics!!

[Music: Eguitar Yamaha, Piano, voice JS, &amp; nothing else - its crude]!


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Children drawing from some years ago. It shows a march of Mauros and Christians in the Spanish village Beniganim south to Valencia. Music is composed with Guitar, HM96 Gigue classical guitar, produced in (c) 2018.

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From a project: illustration of some passages of the bible. Drawn by kids in 2017, with applicable Bible's scenerys and stories. Music composed in 2017, guitar played and recorded.

<hr />



<hr />

https://www.youtube.com/watch?v=DRDWhpb6ZNc

In the 2020's we are not coming home with our Diesel cars... instead we are on electrics!!

[Music: Eguitar Yamaha, Piano, voice JS, &amp; nothing else - its crude]!
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14(untitled)nav_menu_item · publish · 2021-11-16 10:46:09





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15bugatti_chiron-HD-19xl7elattachment · inherit · 2019-02-20 21:10:58





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16cropped-bugatti_chiron-HD-19xl7el-21iq5d6-y5lgq7.jpgattachment · inherit · 2019-02-20 21:12:27





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17cropped-tr_green_cor-1byd8wd-s2o848-wlshhw.gifattachment · inherit · 2019-02-20 21:22:01





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18| Architecture: Draw and create | cycle - architecture No 8 |post · publish · 2019-03-01 12:40:22





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Music played and recorded Feb 2019, with Hoefner HM96 Classic Guitar. This clip promotes the creativeness involved in Architecure &amp; Design.


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Music played and recorded Feb 2019, with Hoefner HM96 Classic Guitar. This clip promotes the creativeness involved in Architecure &amp; Design.
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19| Nature | "Die Wildgaense kommen" | cycle - nature No 9 |post · publish · 2019-03-14 17:23:29





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Clip showing the wonderful nature and its birds of the skies. Music recorded with Guitar Hoefner HM96, and a trace of percussion from the Apple iPhone music creation application.


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Clip showing the wonderful nature and its birds of the skies. Music recorded with Guitar Hoefner HM96, and a trace of percussion from the Apple iPhone music creation application.
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20| Literature | “Die letzten Tage der Menschheit“, Karl Kraus | Scene No 0 |post · publish · 2019-03-26 21:54:08





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Betreff: Bereits 3 Wochen vergangen, aber trotzdem...

Entmutigung in Frankreich! Verdrossenheit in England! Verzweiflung in Russland! Zerknirschung in Italien! Beklemmung in Belgien. Durchhalteparolen helfen schon lange nicht mehr, ja, es muß zugepackt, endlich entschieden werden! Aber und oder auch zumindest: Freude, Zuversicht, Jubel und Genugtuung in Pregarten!  -  still on the road!

Frei nach Karl Kraus, “Die letzten Tage der Menschheit“ (1915).

Music: Guitar I HM96, Guitar II Voigt Alborada, Horn, Trumpet, plus complemented bass &amp; percussion samplers.

Text: You gonna run the versions' ration, you have the seven nation army, you gonna run the whole equation, you wish you could we did it further burn it down, you gonna run the version, you gotta reach wherever we could go, you gonna, the world equation, you gonna, the re-run goes on, you gonna reach the nation, you got a seven nation army gonna down, you gonna run the ration, you gotta reach another further flow; can it? ...


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Betreff: Bereits 3 Wochen vergangen, aber trotzdem...

Entmutigung in Frankreich! Verdrossenheit in England! Verzweiflung in Russland! Zerknirschung in Italien! Beklemmung in Belgien. Durchhalteparolen helfen schon lange nicht mehr, ja, es muß zugepackt, endlich entschieden werden! Aber und oder auch zumindest: Freude, Zuversicht, Jubel und Genugtuung in Pregarten!  -  still on the road!

Frei nach Karl Kraus, “Die letzten Tage der Menschheit“ (1915).

Music: Guitar I HM96, Guitar II Voigt Alborada, Horn, Trumpet, plus complemented bass &amp; percussion samplers.

Text: You gonna run the versions' ration, you have the seven nation army, you gonna run the whole equation, you wish you could we did it further burn it down, you gonna run the version, you gotta reach wherever we could go, you gonna, the world equation, you gonna, the re-run goes on, you gonna reach the nation, you got a seven nation army gonna down, you gonna run the ration, you gotta reach another further flow; can it? ...
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21Music: "Moving the painting" | Scene No 1 |post · publish · 2019-03-30 00:03:15





Post ID93
Creatorchannel04


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Date2019-03-30 00:03:15
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Get into the Art of the ink paint.

[Music: Bass Guitar (Pasadena), Guitar (Voigt Alborada), E-Guitar (Yamaha), percussion synthisizer Apple]

Apple Garage band (C) and iMovie (C) arranged.

Introduction for Garage band production: (1) with „+“ add a new instrument line, 1st line percussion (2) same for 2nd line record your guitar (3) add the bass line you record (4) add the electric guitar line (5) record the voice in the last line. Step by step you complete the song. With iMovie you can add a video, putting clip sequences and your song together:

https://youtu.be/SPD6acpKnm4

&nbsp;

&nbsp;


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Get into the Art of the ink paint.

[Music: Bass Guitar (Pasadena), Guitar (Voigt Alborada), E-Guitar (Yamaha), percussion synthisizer Apple]

Apple Garage band (C) and iMovie (C) arranged.

Introduction for Garage band production: (1) with „+“ add a new instrument line, 1st line percussion (2) same for 2nd line record your guitar (3) add the bass line you record (4) add the electric guitar line (5) record the voice in the last line. Step by step you complete the song. With iMovie you can add a video, putting clip sequences and your song together:

https://youtu.be/SPD6acpKnm4

&nbsp;

&nbsp;
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22Information Technology: Reality | Deus ex machina | 10 Apr 2019 | Scene No. 2 |post · publish · 2019-04-10 21:44:37





Post ID99
Creatorchannel04


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&nbsp;

https://www.youtube.com/watch?v=dJ8vZAarfMU&amp;app=desktop

Deus ex machina, in<i><b> </b></i>English ‘god from the machine’, understands a plot device whereby a seemingly unsolvable problem in a story is suddenly and abruptly resolved by an unexpected and seemingly unlikely occurrence, typically so much as to seem contrived. I<sup id="cite_ref-2" class="reference"></sup><sup id="cite_ref-3" class="reference"></sup>ts function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.

Arrangements: Guitar: played with Hoefner HM96, Bass: sample bass line Apple, Strings violin: sample, violin line Apple, percussion: synthesizer Apple.


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Deus ex machina, in<i><b> </b></i>English ‘god from the machine’, understands a plot device whereby a seemingly unsolvable problem in a story is suddenly and abruptly resolved by an unexpected and seemingly unlikely occurrence, typically so much as to seem contrived. I<sup id="cite_ref-2" class="reference"></sup><sup id="cite_ref-3" class="reference"></sup>ts function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.

Arrangements: Guitar: played with Hoefner HM96, Bass: sample bass line Apple, Strings violin: sample, violin line Apple, percussion: synthesizer Apple.
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23Nature: be on the way | step by step forward | Scene No 3 |post · publish · 2019-04-28 14:24:24





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| get the way forward | step by step |

Music arrangements: Variation on Joseph Kueffner (1776-1856), on easy Guitar songs, played with Hoefner HM96, with Apple Synthisizer (percussions, strings, bass).


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Music arrangements: Variation on Joseph Kueffner (1776-1856), on easy Guitar songs, played with Hoefner HM96, with Apple Synthisizer (percussions, strings, bass).
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24| Architecture &amp; Design - shooting at the world | Scene No 4 |post · publish · 2019-05-02 21:10:10





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| Guitar, Voigt Luthiers, Alborada Ziricote, www.voigt-luthiers.de |
| Acoustic Bass, Pasadena |
| Percussion Synthesizer | clip material, free stock, www.pexels.com |</p>

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| Guitar, Voigt Luthiers, Alborada Ziricote, www.voigt-luthiers.de |
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| Percussion Synthesizer | clip material, free stock, www.pexels.com |</p>

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25| Design, projections, dance: Scene No. 5 |post · publish · 2019-05-05 15:13:08





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2019 Music arrangements: | composition &amp; creation year 2019 | acoustic bass guitar Pasadena | strings | percussion | apple synthesizer |


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26Music: Dance | Scene 6 | with Guitar |post · publish · 2019-05-12 13:59:08





Post ID121
Creatorchannel04


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<span class="huvud"><span class="uppslag">Flamenco</span> <span class="etym">[spanisch, eigentlich »flämisch«]</span> <i>der, -(s)/-s,</i><i>Cante flamenco,</i></span> Gattung volkstümlicher spanischer (andalusischer) <a href="https://brockhaus.de/ecs/enzy/article/tanzlied">Tanzlieder</a> (cante »Gesang«, baile »Tanz« und toque »Gitarrenbegleitung«). Die Herkunft des seit dem Ende des 18. Jahrhunderts belegten, aber wohl bis ins 16./17. Jahrhundert zurückreichenden Flamenco ist umstritten; es werden arabisch-indische, jüdisch-synagogale und später Einflüsse der <a href="https://brockhaus.de/ecs/enzy/article/roma-40">Roma</a>-Musik beobachtet. Ab dem 19. Jahrhundert wurde der Flamenco überwiegend von Roma verbreitet. Man unterscheidet heute drei Stilarten: den schwermütig-dramatischen <i>Cante jondo</i> (andalusisch, von spanisch hondo »tief, innerlich«), den in seiner Ausführung weniger intensiven <i>Cante intermedio</i> (spanisch »dazwischenliegend«) und den schlichteren <i>Cante chico</i> (spanisch »klein«, »leicht«). Zum Cante jondo gehören Caña, Fandango, Martinete, Polo, Saeta, Siguiriya, Soleá; zum Cante intermedio Malagueña, Tiento; zum Cante chico Alegría, Fandanguillo, Farruca, Jaleo, Milonga, Rodeña, Sevillana, Tango. Der elegische, stark formelhaft geprägte, reich verzierte Gesang, meist mit Gitarrenbegleitung, hebt oft mit der Klagesilbe »Ay« an. Besungen werden Liebe, Tod, Schuld und Sühne. Die Strophen (coplas), in der Regel vierzeilig mit Refrain, werden melodisch und rhythmisch frei variiert. Der Flamenco wird als Solo- oder Einzelpaartanz vorgetragen, wobei die Tänzer den oft rasch wechselnden Rhythmus mit den Füßen stampfen, mit den Händen klatschen oder mit Kastagnettenspiel unterstreichen. In der Kunstmusik wurde der Flamenco von <a href="https://brockhaus.de/ecs/enzy/article/albeniz-isaac-manuel-francisco"><i>I. Albéniz</i></a>, <a href="https://brockhaus.de/ecs/enzy/article/granados-enrique-enric"><i>E. Granados y Campiña</i></a>, <a href="https://brockhaus.de/ecs/enzy/article/falla-manuel"><i>M. de Falla</i></a> und <a href="https://brockhaus.de/ecs/enzy/article/turina-joaquin"><i>J. Turina</i></a>verwendet. Ab den 1960er-Jahren entwickelte sich der <i>Nuevo Flamenco</i>, der traditionellen Flamenco mit <a href="https://brockhaus.de/ecs/enzy/article/blues">Blues</a>-, <a href="https://brockhaus.de/ecs/enzy/article/rockmusik">Rock</a>- oder <a href="https://brockhaus.de/ecs/enzy/article/jazz">Jazzelementen</a> verbindet. Typische Vertreter dieses Stils waren etwa <a href="https://brockhaus.de/ecs/enzy/article/lucia-paco-de"><i>P. de Lucía</i></a> und <a href="https://brockhaus.de/ecs/enzy/article/manitas-de-plata"><i>Manitas de Plata</i></a>. – Seit 2010 gehört der Flamenco zu den Meisterwerken des mündlichen und immateriellen Erbes der Menschheit der UNESCO.

| Guitar Hoefner HM96 | composed 2018 | recorded Munich 2019 | thanks to: Ja. Sch. - French Horn | St. Soew. | Li. Domi. |

&nbsp;


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| Guitar Hoefner HM96 | composed 2018 | recorded Munich 2019 | thanks to: Ja. Sch. - French Horn | St. Soew. | Li. Domi. |

&nbsp;
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27Music: Scene 7 | knowledge and faith | Ora et labora |post · publish · 2019-06-25 09:31:27





Post ID126
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Date2019-06-25 09:31:27
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The knowledge and information is associated with the word "scire". The other  type of knowing, is associated with the word "sapere". Both are understood to be related to "know" something, but the difference may be in the content of what is known. In the old tradition following the Hl. Augustinus, there is an example which could be applied to this distinction. There are different levels of motivation to do something wrong and different strengths of doing the wrong, resulting in the different intensity of sin and/or penalty for a human.

The example deals with a pear-tree from which some pears are stolen. The knowledge of the first type, provides you with the information, that they are located on another piece of land, not yours, so you should not take any of them. The knowledge of the second type, also tells you why: not because one pear would make a difference on the full tree, but because of your moral obligations to respect your next, and because your feeling tells you it would be a wrong behavior to take a pear away with you.

In the example now different levels of "wrong" are compared: Some kids, having fun, are taking away some pears and eat them, because they are hungry and enjoy to eat the nice fruits. Some kids are stealing quite many pears, and do not eat them, but rather let them left thrown down somewhere on the street. Some kids are stealing quite many pears, do not even intend to eat them, and throw them away in the cage of some pigs. There is a different quality of "wrong" in these examples. Nevertheless, everybody knows, that in a group of people, which is having fun, more or less acceptable things may happen, because of the dynamic you have in the group.

One quality more in "wrong" still, would be if one imagines, that the stealing is done on your own. This takes away the element of dynamic in the group. The responsibility is on your own. If you do it because of hunger, there is one quality of "wrong". If you do it because of fun, throwing away the fruits, there is already another quality of "wrong". But if you do it with the intention to do damage and to do real "wrong", because you put the fruits to the pigs cages, there is a very high quality of "wrong". This "wrong" also goes aligned with the moral knowledge you have. Your "fun" is obviously to intentionally do the wrong. The other way around: to do "right" can similarly to this, also be qualified in equal stages of quality. A very high quality of doing the right, would be considered if you do the "right" just on your account. You do it only for the sake of itself, without any influence from outside, or consideration of any rewards in any groups.

Music arrangements: Guitar - Voigt Alborada Sinfonietta | Bass Pasadena Acoustic | apple synthesizer |

(C) Munich 2019


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The knowledge and information is associated with the word "scire". The other  type of knowing, is associated with the word "sapere". Both are understood to be related to "know" something, but the difference may be in the content of what is known. In the old tradition following the Hl. Augustinus, there is an example which could be applied to this distinction. There are different levels of motivation to do something wrong and different strengths of doing the wrong, resulting in the different intensity of sin and/or penalty for a human.

The example deals with a pear-tree from which some pears are stolen. The knowledge of the first type, provides you with the information, that they are located on another piece of land, not yours, so you should not take any of them. The knowledge of the second type, also tells you why: not because one pear would make a difference on the full tree, but because of your moral obligations to respect your next, and because your feeling tells you it would be a wrong behavior to take a pear away with you.

In the example now different levels of "wrong" are compared: Some kids, having fun, are taking away some pears and eat them, because they are hungry and enjoy to eat the nice fruits. Some kids are stealing quite many pears, and do not eat them, but rather let them left thrown down somewhere on the street. Some kids are stealing quite many pears, do not even intend to eat them, and throw them away in the cage of some pigs. There is a different quality of "wrong" in these examples. Nevertheless, everybody knows, that in a group of people, which is having fun, more or less acceptable things may happen, because of the dynamic you have in the group.

One quality more in "wrong" still, would be if one imagines, that the stealing is done on your own. This takes away the element of dynamic in the group. The responsibility is on your own. If you do it because of hunger, there is one quality of "wrong". If you do it because of fun, throwing away the fruits, there is already another quality of "wrong". But if you do it with the intention to do damage and to do real "wrong", because you put the fruits to the pigs cages, there is a very high quality of "wrong". This "wrong" also goes aligned with the moral knowledge you have. Your "fun" is obviously to intentionally do the wrong. The other way around: to do "right" can similarly to this, also be qualified in equal stages of quality. A very high quality of doing the right, would be considered if you do the "right" just on your account. You do it only for the sake of itself, without any influence from outside, or consideration of any rewards in any groups.

Music arrangements: Guitar - Voigt Alborada Sinfonietta | Bass Pasadena Acoustic | apple synthesizer |

(C) Munich 2019
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28Music and Art | Scene 8 | Modern | Bass |post · publish · 2019-06-25 09:34:14





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Music arrangements | (C) 2019 Recorded in Munich | Bass Guitar Pasadena Acoustic | Apple Synthesizer | plus voice recording |


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29| Music &amp; Dance | Scene No 9 |post · publish · 2019-07-19 09:22:41





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| Music | composed [C] 2019 | recorded in Munich |

| Yamaha E-Guitar | Pasadena acoustic Bass Guitar |


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30Music: Club | Dance | Scene No 10 | Sour beat |post · publish · 2019-07-27 17:02:00





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Music arrangements: [C] Munich 2019
Apple Synthesizer
Hoefner HM 96 Guitar


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Hoefner HM 96 Guitar
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31Scene No 11 | Flamenco 1962 | Music &amp; Dancepost · publish · 2019-09-18 19:05:30





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<p id="eow-description">Scene 11 - Flamenco 1962
Arranged Munich 2019. The history captured in this scene shows just back about half a century earlier, real and authentic gypsies in Andalucia. Not influenced in any way by a broader music interest or any other form of a touristic attention, which would have led in any case to a more show oriented performance.</p>
This scene does not even consider performance or show at any rate, and this is why it results so “true”. The ambience with the old and poor housing and street area there, is also reflected by the music added. The fast and nearly robotic flamenco movements, copied by adult flamenco dances by the boy, which he seemed to be familiar with, led this boy to an nearly ecstatic dance.

The quality falls under the category most authentic, with its poor clothing and poor people, in times of strong prejudice. The played music also goes with this character in similarities, yet under practicing quality, with slow or changing rhythm and imperfections in the sound and quality, however seeing that this boy's impressive dance allows a certain kind of harmony with the guitar music, being a kind of try to an analogy in music to Tarrega’s masterpiece “Tango”. Having a certain reservation to distribute this intimate dance of a young boy, nevertheless it should be safekept for his extravagant truth and beauty.

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Arranged Munich 2019. The history captured in this scene shows just back about half a century earlier, real and authentic gypsies in Andalucia. Not influenced in any way by a broader music interest or any other form of a touristic attention, which would have led in any case to a more show oriented performance.</p>
This scene does not even consider performance or show at any rate, and this is why it results so “true”. The ambience with the old and poor housing and street area there, is also reflected by the music added. The fast and nearly robotic flamenco movements, copied by adult flamenco dances by the boy, which he seemed to be familiar with, led this boy to an nearly ecstatic dance.

The quality falls under the category most authentic, with its poor clothing and poor people, in times of strong prejudice. The played music also goes with this character in similarities, yet under practicing quality, with slow or changing rhythm and imperfections in the sound and quality, however seeing that this boy's impressive dance allows a certain kind of harmony with the guitar music, being a kind of try to an analogy in music to Tarrega’s masterpiece “Tango”. Having a certain reservation to distribute this intimate dance of a young boy, nevertheless it should be safekept for his extravagant truth and beauty.

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323d-ice-hd-wallpaper_kindlephoto-3634111attachment · inherit · 2019-09-18 19:20:02





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33143880_wallpapers-4k-ultra-hd-para-pcattachment · inherit · 2019-09-19 11:16:18





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twentyfifteen











34Scene No 12 | prayer | ___________________post · publish · 2019-09-20 19:52:18





Post ID144
Creatorchannel04


Typepost
Statuspublish


Date2019-09-20 19:52:18
Comments0




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category: uncategorized


Content — video preview and full exported text
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Open video on YouTube
https://www.youtube.com/watch?v=P1bjE0Fx2mY
<h1><strong>2024</strong></h1>
Music arrangements: recorded Munich 2019 | Guitar Hoefner HM96 | Text and Song: Latin version Regnum tuam adveniat | [C] 2019 |


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Music arrangements: recorded Munich 2019 | Guitar Hoefner HM96 | Text and Song: Latin version Regnum tuam adveniat | [C] 2019 |
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35Scene No 13 | Flmco | The Dance |post · publish · 2019-10-02 20:31:06





Post ID148
Creatorchannel04


Typepost
Statuspublish


Date2019-10-02 20:31:06
Comments0




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Open video on YouTube
________________________________

https://www.youtube.com/watch?v=a3LxMU7rYO0

__________________________________
<h1>| F l m c o |</h1>
Music arrangement (C) 2019, Guitar Hoefner HM96, Hannabach Gold Carbon Strings

<b>Carmen Amaya</b> (2 November 1918<sup id="cite_ref-car_1-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-car-1">[1]</a></sup> – 19 November 1963) was a <a title="Spaniards" href="https://en.m.wikipedia.org/wiki/Spaniards">Spanish</a> <a title="Romani people" href="https://en.m.wikipedia.org/wiki/Romani_people">Romani</a> <a title="Flamenco" href="https://en.m.wikipedia.org/wiki/Flamenco">flamenco</a> dancer and singer, born in the <a title="Somorrostro" href="https://en.m.wikipedia.org/wiki/Somorrostro">Somorrostro</a> district of <a title="Barcelona" href="https://en.m.wikipedia.org/wiki/Barcelona">Barcelona</a>, <a title="Catalonia" href="https://en.m.wikipedia.org/wiki/Catalonia">Catalonia</a>, <a title="Spain" href="https://en.m.wikipedia.org/wiki/Spain">Spain</a>.
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<th colspan="2">
<div class="fn">Carmen Amaya</div></th>
</tr>
<tr>
<td colspan="2"><a class="image" href="https://en.m.wikipedia.org/wiki/File:1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg/220px-1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg" alt="1942 - Lyric Theater - 8 Dec MC - Allentown PA.jpg" width="220" height="131" data-file-width="957" data-file-height="569" /></a>
<div>1942 newspaper advertisement</div></td>
</tr>
<tr>
<th scope="row">Born</th>
<td>
<div class="nickname">Carmen Amaya Amaya</div>
2 November 1913
<div class="birthplace"><a title="Barcelona" href="https://en.m.wikipedia.org/wiki/Barcelona">Barcelona</a></div></td>
</tr>
<tr>
<th scope="row">Died</th>
<td>19 November 1963 (aged 50)
<div class="deathplace"><a title="Begur, Spain" href="https://en.m.wikipedia.org/wiki/Begur,_Spain">Begur</a></div></td>
</tr>
<tr>
<th scope="row">Occupation</th>
<td class="role">Flamenco dancer, singer, actress</td>
</tr>
<tr>
<th scope="row">Years active</th>
<td>1926-1963</td>
</tr>
<tr>
<td colspan="2"></td>
</tr>
<tr>
<th scope="row">Dances</th>
<td>flamenco</td>
</tr>
</tbody>
</table>
She has been called "the greatest Spanish <a title="Romani people" href="https://en.m.wikipedia.org/wiki/Romani_people">Romani</a> dancer of her generation"<sup id="cite_ref-hist_2-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-hist-2">[2]</a></sup> and "the most extraordinary personality of all time in <a class="mw-redirect" title="Flamenco dance" href="https://en.m.wikipedia.org/wiki/Flamenco_dance">flamenco dance</a>."<sup id="cite_ref-encyc_3-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-encyc-3">[3]</a></sup> She was the first female flamenco dancer to master footwork previously reserved for the best male dancers, due to its speed and intensity. She sometimes danced in high-waisted trousers as a symbol of her strong character.


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________________________________

https://www.youtube.com/watch?v=a3LxMU7rYO0

__________________________________
<h1>| F l m c o |</h1>
Music arrangement (C) 2019, Guitar Hoefner HM96, Hannabach Gold Carbon Strings

<b>Carmen Amaya</b> (2 November 1918<sup id="cite_ref-car_1-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-car-1">[1]</a></sup> – 19 November 1963) was a <a title="Spaniards" href="https://en.m.wikipedia.org/wiki/Spaniards">Spanish</a> <a title="Romani people" href="https://en.m.wikipedia.org/wiki/Romani_people">Romani</a> <a title="Flamenco" href="https://en.m.wikipedia.org/wiki/Flamenco">flamenco</a> dancer and singer, born in the <a title="Somorrostro" href="https://en.m.wikipedia.org/wiki/Somorrostro">Somorrostro</a> district of <a title="Barcelona" href="https://en.m.wikipedia.org/wiki/Barcelona">Barcelona</a>, <a title="Catalonia" href="https://en.m.wikipedia.org/wiki/Catalonia">Catalonia</a>, <a title="Spain" href="https://en.m.wikipedia.org/wiki/Spain">Spain</a>.
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<td colspan="2"><a class="image" href="https://en.m.wikipedia.org/wiki/File:1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg/220px-1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg" alt="1942 - Lyric Theater - 8 Dec MC - Allentown PA.jpg" width="220" height="131" data-file-width="957" data-file-height="569" /></a>
<div>1942 newspaper advertisement</div></td>
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<th scope="row">Born</th>
<td>
<div class="nickname">Carmen Amaya Amaya</div>
2 November 1913
<div class="birthplace"><a title="Barcelona" href="https://en.m.wikipedia.org/wiki/Barcelona">Barcelona</a></div></td>
</tr>
<tr>
<th scope="row">Died</th>
<td>19 November 1963 (aged 50)
<div class="deathplace"><a title="Begur, Spain" href="https://en.m.wikipedia.org/wiki/Begur,_Spain">Begur</a></div></td>
</tr>
<tr>
<th scope="row">Occupation</th>
<td class="role">Flamenco dancer, singer, actress</td>
</tr>
<tr>
<th scope="row">Years active</th>
<td>1926-1963</td>
</tr>
<tr>
<td colspan="2"></td>
</tr>
<tr>
<th scope="row">Dances</th>
<td>flamenco</td>
</tr>
</tbody>
</table>
She has been called "the greatest Spanish <a title="Romani people" href="https://en.m.wikipedia.org/wiki/Romani_people">Romani</a> dancer of her generation"<sup id="cite_ref-hist_2-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-hist-2">[2]</a></sup> and "the most extraordinary personality of all time in <a class="mw-redirect" title="Flamenco dance" href="https://en.m.wikipedia.org/wiki/Flamenco_dance">flamenco dance</a>."<sup id="cite_ref-encyc_3-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-encyc-3">[3]</a></sup> She was the first female flamenco dancer to master footwork previously reserved for the best male dancers, due to its speed and intensity. She sometimes danced in high-waisted trousers as a symbol of her strong character.
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36Scene No 14 | Science | CL 2019 | at the sites with Telescopes |post · publish · 2019-11-06 10:52:00





Post ID152
Creatorchannel04


Typepost
Statuspublish


Date2019-11-06 10:52:00
Comments0




Original link 


category: uncategorized


Content — video preview and full exported text
YouTube video preview
Open video on YouTube
https://www.youtube.com/watch?v=G034PQHZ8B0

___________________________________________________

Music arrangements
Hoefner HM96 Guitar
Apple Synthesizer and recording
Location arrangements
ESO Garching b. Muenchen
Chilean ESO Telescope sites (VLT, ALMA etc)

____________________________________________________
<div class="thumb tright">
<div class="thumbinner">

<a class="image" href="https://en.wikipedia.org/wiki/File:The_Globular_Cluster_47_Tu.jpg"><img class="thumbimage" src="https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/The_Globular_Cluster_47_Tu.jpg/220px-The_Globular_Cluster_47_Tu.jpg" alt="Cluster of stars" width="107" height="108" data-file-width="5370" data-file-height="5455" /></a>

</div>
</div>
With the Very Large Telescope, astronomers have made an independent determination of the age of the universe and shed new light on the earliest stages of the Milky Way. For the first time, they measured the amount of the <a class="mw-redirect" title="Radioactive isotope" href="https://en.wikipedia.org/wiki/Radioactive_isotope">radioactive isotope</a> uranium-238 in a star born when the Milky Way was still forming.<sup id="cite_ref-98" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-98">[98] </a></sup>Like <a class="mw-redirect" title="Carbon dating" href="https://en.wikipedia.org/wiki/Carbon_dating">carbon dating</a> over longer timescales, the uranium clock measures the age of a star. It shows that this star is 12.5 billion years old. Because the star cannot be older than the universe itself, the universe must be older than this. This agrees with known <a title="Cosmology" href="https://en.wikipedia.org/wiki/Cosmology">cosmology</a>, which gives an <a title="Age of the universe" href="https://en.wikipedia.org/wiki/Age_of_the_universe">age of the universe</a> of 13.8 billion years. The star (and the Milky Way) must have formed soon after the Big Bang.<sup id="cite_ref-99" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-99">[99]</a></sup>Another result is the first measurement of the <a title="Beryllium" href="https://en.wikipedia.org/wiki/Beryllium">beryllium</a> content of two stars in a Milky Way <a title="Globular cluster" href="https://en.wikipedia.org/wiki/Globular_cluster">globular cluster</a>. With this measurement, astronomers found that the first generation of stars in our galaxy must have formed soon after the end of the 200-million-year "<a title="Chronology of the universe" href="https://en.wikipedia.org/wiki/Chronology_of_the_universe#Dark_Ages">Dark Age</a>" following the Big Bang.<sup id="cite_ref-How_Old_is_the_Milky_Way_100-0" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-How_Old_is_the_Milky_Way-100">[100]</a></sup>


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Scene No 14 | Science | CL 2019 | at the sites with Telescopes |
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https://www.youtube.com/watch?v=G034PQHZ8B0

___________________________________________________

Music arrangements
Hoefner HM96 Guitar
Apple Synthesizer and recording
Location arrangements
ESO Garching b. Muenchen
Chilean ESO Telescope sites (VLT, ALMA etc)

____________________________________________________
<div class="thumb tright">
<div class="thumbinner">

<a class="image" href="https://en.wikipedia.org/wiki/File:The_Globular_Cluster_47_Tu.jpg"><img class="thumbimage" src="https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/The_Globular_Cluster_47_Tu.jpg/220px-The_Globular_Cluster_47_Tu.jpg" alt="Cluster of stars" width="107" height="108" data-file-width="5370" data-file-height="5455" /></a>

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With the Very Large Telescope, astronomers have made an independent determination of the age of the universe and shed new light on the earliest stages of the Milky Way. For the first time, they measured the amount of the <a class="mw-redirect" title="Radioactive isotope" href="https://en.wikipedia.org/wiki/Radioactive_isotope">radioactive isotope</a> uranium-238 in a star born when the Milky Way was still forming.<sup id="cite_ref-98" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-98">[98] </a></sup>Like <a class="mw-redirect" title="Carbon dating" href="https://en.wikipedia.org/wiki/Carbon_dating">carbon dating</a> over longer timescales, the uranium clock measures the age of a star. It shows that this star is 12.5 billion years old. Because the star cannot be older than the universe itself, the universe must be older than this. This agrees with known <a title="Cosmology" href="https://en.wikipedia.org/wiki/Cosmology">cosmology</a>, which gives an <a title="Age of the universe" href="https://en.wikipedia.org/wiki/Age_of_the_universe">age of the universe</a> of 13.8 billion years. The star (and the Milky Way) must have formed soon after the Big Bang.<sup id="cite_ref-99" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-99">[99]</a></sup>Another result is the first measurement of the <a title="Beryllium" href="https://en.wikipedia.org/wiki/Beryllium">beryllium</a> content of two stars in a Milky Way <a title="Globular cluster" href="https://en.wikipedia.org/wiki/Globular_cluster">globular cluster</a>. With this measurement, astronomers found that the first generation of stars in our galaxy must have formed soon after the end of the 200-million-year "<a title="Chronology of the universe" href="https://en.wikipedia.org/wiki/Chronology_of_the_universe#Dark_Ages">Dark Age</a>" following the Big Bang.<sup id="cite_ref-How_Old_is_the_Milky_Way_100-0" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-How_Old_is_the_Milky_Way-100">[100]</a></sup>
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37Design | Composition | Scene No 15 | with Guitarpost · publish · 2019-11-07 16:11:56





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<hr />

https://www.youtube.com/watch?v=nCZaA-WLUIU

<hr />

Composition 2019 II
with Voigt Alborada Sinfonietta
Oct 2019<b></b>

<span lang="DE"><span style="color: #000000;font-family: Calibri;font-size: medium">Denn Unwissen bringt sie zum Wundern, und bewirkt es, dass sie diesem nachjagt, denn sie findet wohl, dass es ist, sie weiß nur nicht, wie und was es ist. Wenn aber der Mensch die Ursache der Dinge kennt, sofort ist er auch der Dinge müde und sucht wieder ein andres zu erfahren und hat doch immer einen Jammer, diese Dinge zu wissen und hat doch kein Dabeibleiben, darum: die unerkannte Erkenntnis hält sie bei diesem Bleiben und lässt sie doch nicht zur Ruhe kommen. Davon sprach ein heidnischer Meister ein schönes Wort zu einem andern Meister: Ich werde etwas in mir gewahr, das glänzet in meiner Vernunft; ich merke wohl, dass es etwas ist, aber was es sei, das kann ich nicht verstehen, aber es dünkt mich, wenn ich es begreifen könnte, dann kennte ich alle Wahrheit.</span></span>


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Composition 2019 II
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Oct 2019<b></b>

<span lang="DE"><span style="color: #000000;font-family: Calibri;font-size: medium">Denn Unwissen bringt sie zum Wundern, und bewirkt es, dass sie diesem nachjagt, denn sie findet wohl, dass es ist, sie weiß nur nicht, wie und was es ist. Wenn aber der Mensch die Ursache der Dinge kennt, sofort ist er auch der Dinge müde und sucht wieder ein andres zu erfahren und hat doch immer einen Jammer, diese Dinge zu wissen und hat doch kein Dabeibleiben, darum: die unerkannte Erkenntnis hält sie bei diesem Bleiben und lässt sie doch nicht zur Ruhe kommen. Davon sprach ein heidnischer Meister ein schönes Wort zu einem andern Meister: Ich werde etwas in mir gewahr, das glänzet in meiner Vernunft; ich merke wohl, dass es etwas ist, aber was es sei, das kann ich nicht verstehen, aber es dünkt mich, wenn ich es begreifen könnte, dann kennte ich alle Wahrheit.</span></span>
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38Cosmo 2001 | 2002 | Scene No. 16 | with Guitarspost · publish · 2019-11-14 21:55:43





Post ID185
Creatorchannel04


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Date2019-11-14 21:55:43
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category: uncategorized


Content — video preview and full exported text
YouTube video preview
Open video on YouTube
https://www.youtube.com/watch?v=fpZyr2ohxIo

___________________________

Wann besteht die Bereitschaft zu empfangen? Die Energie der Sonne dringt durch die Wolken, automatisch und jedenfalls, sobald die Atmosphäre und die Wolken Durchlässigkeit gewähren. Dann ist der Einfluss des Lichts stetig und unvermeidlich aktiv. Bereitschaft zu empfangen, ist dem ähnlich. In das offene Gefäss, frei von hinderlichem Stoff und Ballast, dringt es unerlässlich und automatisch. Es folgt eine ebenso zwangsläufige Aktivität beim Empfangenden.

___________________________

Freely adapted base [M. Eckhart, Dominican Prior at end of 13th Century, 1314 Magister in Theology Univ. Strasbourg]

Music Arrangements: Hoefner HM96 Gigue Guitar, Recorded in Munich Nov 2019


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___________________________

Freely adapted base [M. Eckhart, Dominican Prior at end of 13th Century, 1314 Magister in Theology Univ. Strasbourg]

Music Arrangements: Hoefner HM96 Gigue Guitar, Recorded in Munich Nov 2019
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39| Seneca's word | on clemency | with Guitar | Scene No 01 |post · publish · 2019-11-30 15:45:59





Post ID188
Creatorchannel04


Typepost
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Date2019-11-30 15:45:59
Comments0




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category: uncategorized


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Open video on YouTube
https://www.youtube.com/watch?v=m95m0Q96wc0

This video-clip was already done 2 years ago, in May 2017 with Guitar music and with some recently done drawings/paintings (Seneca bust, Olive mountain, Assembly's decision). The clear message of Seneca's words, on clemency in ruling and power, nevertheless makes it recommendable considering these words again.

<img class="alignnone  wp-image-191" src="https://channel04.edublogs.org/files/2019/11/marble-bust-of-lucius-annaeus-seneca_a-G-12063152-4986174-235x300.jpg" alt="" width="81" height="103" />

"...Caesar, in order that I may as it were serve as a mirror to you, and let you see yourself arriving at the greatest of all pleasures. For although the true enjoyment of good deeds consists in the performance of them, and virtues have no adequate reward beyond themselves, still it is worth your while to consider and investigate a good conscience from every point of view..."

Arrangements: Guitar, Voigt Luthiers, <a href="http://www.voigt-luthiers.de" target="_blank" rel="noopener noreferrer">http://www.voigt-luthiers.de</a>, Alborada Sinfonietta. Recorded May 2017.

Munich, Nov 2019


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<img class="alignnone  wp-image-191" src="https://channel04.edublogs.org/files/2019/11/marble-bust-of-lucius-annaeus-seneca_a-G-12063152-4986174-235x300.jpg" alt="" width="81" height="103" />

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Arrangements: Guitar, Voigt Luthiers, <a href="http://www.voigt-luthiers.de" target="_blank" rel="noopener noreferrer">http://www.voigt-luthiers.de</a>, Alborada Sinfonietta. Recorded May 2017.

Munich, Nov 2019
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40marble-bust-of-lucius-annaeus-seneca_a-G-12063152-4986174attachment · inherit · 2019-11-30 15:57:59





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41| Noblesse the Speaker &amp; Sound | Equipment | Scene 18 with Guitar |post · publish · 2019-12-16 19:26:26





Post ID194
Creatorchannel04


Typepost
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Date2019-12-16 19:26:26
Comments0




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category: uncategorized


Content — video preview and full exported text
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Open video on YouTube
____________________________________________________

https://www.youtube.com/watch?v=L_9l03o250E&amp;app=desktop

Music arrangements:

Guitar Hoefner HM96 Gigue

Voice record 13 December 2019

_____________________________________________________

Munich, Neufahrn b Freising (C) 2019


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https://www.youtube.com/watch?v=L_9l03o250E&amp;app=desktop

Music arrangements:

Guitar Hoefner HM96 Gigue

Voice record 13 December 2019

_____________________________________________________

Munich, Neufahrn b Freising (C) 2019
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42| Don Quixote II, de La Mancha | Scene No 19post · publish · 2019-12-20 13:21:24





Post ID196
Creatorchannel04


Typepost
Statuspublish


Date2019-12-20 13:21:24
Comments0




Original link 


category: uncategorized


Content — video preview and full exported text
YouTube video preview
Open video on YouTube
https://www.youtube.com/watch?v=vl0Kl1dnKn8

___________________________________________________

(ESP) Don Quijote, siendo el observador del pueblo en la Mancha, puede que la intensidad de su imaginación tenia efecto a lo que ha observado?

(ENG) Don Quijote, being the observer of the village in La Mancha, could it be that the intensity of his imagination has made effect on what he has observed?

Arrangements: Don Quixote No. II, written by M de Cervantes, Film Scenes, Guitar Music recorded Munich December 2019


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___________________________________________________

(ESP) Don Quijote, siendo el observador del pueblo en la Mancha, puede que la intensidad de su imaginación tenia efecto a lo que ha observado?

(ENG) Don Quijote, being the observer of the village in La Mancha, could it be that the intensity of his imagination has made effect on what he has observed?

Arrangements: Don Quixote No. II, written by M de Cervantes, Film Scenes, Guitar Music recorded Munich December 2019
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43| Scene No 20 | on the beach |post · publish · 2020-01-30 15:54:41





Post ID198
Creatorchannel04


Typepost
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Date2020-01-30 15:54:41
Comments0




Original link 


category: uncategorized


Content — video preview and full exported text
YouTube video preview
Open video on YouTube
https://www.youtube.com/watch?v=raJxfYYWJYc

with Guitar variation, Matteo Carcassi, Guitar Hoefner HM96 Gigue, Recorded MUC 2020


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44| Scene No 21 | The Spanish Flamenco &amp; The Rap |post · publish · 2020-01-30 15:58:28





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45Scene No 22 | The runpost · publish · 2020-02-09 21:31:44





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46Guitarra &amp; Danza | Scene No 23post · publish · 2020-02-09 21:35:16





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47Scene No 24 | Flamenco Crossover | Bass &amp; Guitarpost · publish · 2020-02-17 19:19:04





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48| Scene 25 | 2019 Cl |post · publish · 2020-02-24 17:54:46





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| Still what happens in the world |

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49Scene No 27 | FMCO &amp; Guitarrapost · publish · 2020-03-02 10:08:20





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50| Scene No 28 | Man &amp; Dancer |post · publish · 2020-03-07 19:28:44





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51Scene No 30post · draft · 2020-03-21 19:56:48





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_________________________

Arrangements: with Guitar Höfner HM96 Gigue, Apple Mac Pro Synthesizer

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52Scene No 30 | Alexander v Humboldt, Views on Naturepost · publish · 2020-03-21 20:06:48





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54Scene No 31 | Kandinskypost · publish · 2020-03-29 09:27:31





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https://www.youtube.com/watch?v=X4siDejf2V0

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55| Scene No 32 | @home |post · publish · 2020-03-31 08:20:41





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56| Scene No 33 | Karfreitag 04-2020 |post · publish · 2020-04-23 13:58:42





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57Scene No 34 | Scene No 33 continued |post · publish · 2020-04-23 14:01:20





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58Scene No 35 | Who is it? | with Guitar, Horn and Trumpet Hip Hoppost · publish · 2020-04-28 19:12:04





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59| Scene No 37 | with Guitar and Horn | the Spring |post · publish · 2020-05-27 08:44:11





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60| Scene No 39 |post · publish · 2020-06-01 09:56:13





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61| Scene No 40 |post · publish · 2020-06-01 10:22:41





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63IMG_7569~01attachment · inherit · 2020-06-01 10:21:20





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64| Scene No 41 |post · publish · 2020-06-07 17:40:51





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65| Scene No 42 | Guitar &amp; Horn | 3.0post · publish · 2020-06-15 19:15:08





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66| Scene No 43 |post · publish · 2020-07-01 12:56:21





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67| Scene No 44 |post · publish · 2020-07-06 13:53:40





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68| Scene No 46 |post · publish · 2020-07-22 12:03:00





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69| Scene No 47 |post · publish · 2020-07-27 14:26:56





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70| Scene No 48 |post · publish · 2020-08-05 08:18:18





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71| Scene No 49 |post · publish · 2020-08-21 07:24:03





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72| Scene No 50 |post · publish · 2020-09-05 12:19:40





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73| Scene No 51 |post · publish · 2020-09-05 12:21:49





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74| Scene No 52 |post · publish · 2020-09-19 13:34:05





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75| Scene No 53 |post · publish · 2020-09-19 13:35:11





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76| Scene No 54 |post · publish · 2020-09-19 13:36:39





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77| Scene No 55 |post · publish · 2020-10-04 09:22:14





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Tribute to Tarrega

Guitar Höfner HM96 Gigue Cocobolo, Cajon Pearl, rec MUC 2020


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78| Scene No 56 |post · publish · 2020-10-20 19:07:43





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79| Scene No 57 |post · publish · 2020-11-06 14:25:57





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Featuring Holger Waldmann.


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80| Scene No 58 |post · publish · 2020-11-06 14:26:56





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81| Scene No 59 |post · publish · 2020-11-23 16:12:26





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82| Scene No 60 |post · publish · 2020-12-23 14:16:04





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83| Scene No 61 |post · publish · 2021-01-14 11:20:56





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84| Scene No 62 |post · publish · 2021-02-02 09:23:21





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85| Scene No 63 |post · publish · 2021-02-10 16:44:27





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86| Scene No 64 | FROM MOON to MARSpost · publish · 2021-02-20 12:51:26





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87| Scene No 65 |post · publish · 2021-02-20 12:52:43





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88| Scene No 66 |post · publish · 2021-02-28 15:33:45





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89| Scene No 67 |post · publish · 2021-03-14 18:43:28





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90| Scene No 68 |post · publish · 2021-03-16 20:59:34





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91| Scene No 69 |post · publish · 2021-03-31 14:15:49





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92Villa Medici Apartment Entresuelo, 1st Floor, E-03502 Benidorm, Spainpage · publish · 2021-11-16 10:44:15





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95IMG_6918 copyattachment · inherit · 2021-11-16 10:31:03





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96Screenshot 2021-11-16 at 11.03.09attachment · inherit · 2021-11-16 10:32:29





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97Screenshot 2021-11-16 at 11.08.33attachment · inherit · 2021-11-16 10:32:44





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98Screenshot 2021-11-16 at 11.03.09attachment · inherit · 2021-11-16 13:27:48





Post ID341
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99Screenshot 2021-11-16 at 14.26.50attachment · inherit · 2021-11-16 13:28:33





Post ID342
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Original link Attachment URL




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100Screenshot 2021-11-16 at 14.26.50attachment · inherit · 2021-11-16 13:31:51





Post ID343
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Comments0




Original link Attachment URL




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101| Scene No 70 |post · publish · 2021-03-31 14:16:56





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102| Scene No 71 |post · publish · 2021-04-29 13:42:38





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103| Scene No 72 |post · publish · 2021-05-25 14:50:17





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104| Scene No 73 |post · publish · 2021-06-09 14:40:13





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105| Scene No 74 |post · publish · 2021-07-29 14:40:10





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106| Scene No 75 |post · publish · 2021-07-29 14:47:40





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107| Scene No 76 |post · publish · 2021-07-30 08:32:28





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108| Scene No 77 |post · publish · 2021-07-30 08:57:05





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109| Scene No 78 |post · publish · 2021-07-30 08:57:54





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110| Scene No 79 |post · publish · 2021-09-02 14:46:40





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111| Scene No 80 |post · publish · 2021-09-02 14:47:33





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112| Scene No 81 |post · publish · 2021-12-21 13:48:42





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113| Scene No 83 |post · publish · 2021-12-21 13:49:57





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114| Scene No 82 |post · publish · 2021-12-21 13:51:06





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115| Scene No 84 |post · publish · 2021-12-21 14:15:13





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116| Scene No 85 |post · publish · 2021-12-21 14:18:25





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117| Scene No 86 |post · publish · 2021-12-21 14:32:46





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118| Scene No 87 |post · publish · 2021-12-21 14:34:34





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119| Scene No 88 |post · publish · 2021-12-21 14:52:21





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120| Scene No 87 extended |post · publish · 2021-12-21 16:17:04





Post ID364
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121| Scene No 88 extended |post · publish · 2021-12-21 16:19:45





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122| Scene No 89 |post · publish · 2022-02-25 10:08:08





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123| Scene No 90 |post · publish · 2022-02-25 10:09:12





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124| Scene No 28 ext. | Voluntate Currere |post · publish · 2022-02-25 10:17:03





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125| Scene No 91 |post · publish · 2022-02-25 10:32:44





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  <title><![CDATA[tr_green_cor-1byd8wd]]></title>
  <link>http://channel04.edublogs.org/2018/12/20/f-nietzsche-also-sprach-zarathustra/tr_green_cor-1byd8wd/</link>
  <pubDate>Sun, 09 Dec 2018 21:23:08 +0000</pubDate>
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  <title><![CDATA[Universe: Space and Matter | cycle - science No 2 |]]></title>
  <link>http://channel04.edublogs.org/2018/12/09/space-and-matter/</link>
  <pubDate>Sun, 09 Dec 2018 21:47:46 +0000</pubDate>
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In order to anticipate it immediately and to explain the purpose of this text, the human observer, as well as the interested person in general himself, places much of effort on his observations and then on the description methods for the observations made (whether by means of mathematics exactly or with textual means). This is done in order to describe the conditions of the environment or space and to describe events within the observable space (sometimes the description is also attempted as a prediction on what would be outside the observable space).

Our interest and knowledge aims in principle to an ever more close as possible approach to the absolute understanding and to an exact description. The creation and the establishment of descriptions of the functioning of the observed by man, of course, presupposes the observability at all. Only if something can be observed, it is in the narrower sense an observation, which can be reproduced in a description of its nature with its known conditions.

If something is not observable for us, it can only be assumed or understood as necessarily existing, by the already unsuccessful observer with the logic assumptions he has present in him. Any absolute evidence of existence is only provided by observation or measurement.

However, any description could only really be accepted as absolute if it could be fully congruent with the entirety of all possible observations and also with all conditions, or even unobservable conditions.

In this text, the main focus should be on the boundaries of the possibilities for descriptions, in consequence of the existing limits of observability, and then a no less great attempt will be started, to point on the limits of our understanding in this regard.

A grain of sand floating in the sea – possibility of a subjective conclusion – how close is it to the finiteness of the observable space? From the point of view of the grain, which drifts in the sea, can a conclusion be made of the existence or non-existence of a possibility of observation depending on the grain’s place, on what will be found on the horizon of the sea? The grain of sand in the middle and depth of the sea will not have the chance to come into contact or sight with the coast.

We can ask the same question for our position. Where, therefore, our immediate environment would be to be localized within the total space, if one is at least highly unlikely to assume that we are exactly in the centre of the space? And thus, are the distances, for the case we assume a finiteness or horizon of the known matter, in different directions, perhaps in some individual directions shorter than for others?]]></content:encoded>
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  <title><![CDATA[Literature: Don Quixote | cycle - literature No 3 |]]></title>
  <link>http://channel04.edublogs.org/2018/12/09/don-quixote/</link>
  <pubDate>Sun, 09 Dec 2018 22:13:06 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=20</guid>
  <description/>
  <content:encoded><![CDATA[“En un lugar de La Mancha, de cuyo nombre no quiero acordarme, no ha mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor.“

(“Somewhere in La Mancha, in a place whose name I do not care to remember, a gentleman lived not long ago, one of those who has a lance and ancient shield on a shelf and keeps a skinny nag and a greyhound for racing.“)
<cite>Miguel de Cervantes, Don Quixote, Volume I, Chapter I </cite>

&nbsp;

https://www.youtube.com/watch?v=enhnN8aTIvA&amp;app=desktop]]></content:encoded>
  <excerpt:encoded><![CDATA[]]></excerpt:encoded>
  <wp:post_id>20</wp:post_id>
  <wp:post_date>2018-12-09 22:13:06</wp:post_date>
  <wp:post_date_gmt>2018-12-09 22:13:06</wp:post_date_gmt>
  <wp:post_modified>2019-11-06 14:53:11</wp:post_modified>
  <wp:post_modified_gmt>2019-11-06 14:53:11</wp:post_modified_gmt>
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<item>
  <title><![CDATA[Philosophy: Also, Sprach Zarathustra | cycle - literature No 4 |]]></title>
  <link>http://channel04.edublogs.org/2018/12/20/f-nietzsche-also-sprach-zarathustra/</link>
  <pubDate>Thu, 20 Dec 2018 20:49:12 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=26</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=w8z8WyL51og&amp;app=desktop

Da sprach es wieder ohne Stimme zu mir: `Oh Zarathustra, wer Berge zu versetzen hat, der versetzt auch Thäler und Niederungen.` - Und ich antwortete: `Noch versetzte mein Wort keine Berge, und was ich redete, erreichte die Menschen nicht. Ich gieng wohl zu den Menschen, aber noch langte ich nicht bei ihnen an.` Da sprach es wieder ohne Stimme zu mir: `Was weisst du davon! Der Thau fällt auf das Gras, wenn die Nacht am verschwiegensten ist.` - Und ich antwortete: `sie verspotteten mich, als ich meinen eigenen Weg fand und gieng; und in Wahrheit zitterten damals meine Füsse.` <code></code>

Und ich antwortete: `Mir fehlt des Löwen Stimme zu allem Befehlen.` Da sprach es wieder wie ein Flüstern zu mir: `Die stillsten Worte sind es, welche den Sturm bringen. Gedanken, die mit Taubenfüssen kommen, lenken die Welt.

&nbsp;]]></content:encoded>
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  <wp:post_id>26</wp:post_id>
  <wp:post_date>2018-12-20 20:49:12</wp:post_date>
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  <wp:post_modified>2019-11-06 14:53:35</wp:post_modified>
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<item>
  <title><![CDATA[Music: The Guitar &amp; Cellar | cycle - music No 5 |]]></title>
  <link>http://channel04.edublogs.org/2018/12/25/the-guitar-cellar/</link>
  <pubDate>Tue, 25 Dec 2018 13:54:34 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=34</guid>
  <description/>
  <content:encoded><![CDATA[https://youtu.be/rL8_cSXvDsU

Played 25.12.2018 with Voigt Alborada Ziricote.]]></content:encoded>
  <excerpt:encoded><![CDATA[]]></excerpt:encoded>
  <wp:post_id>34</wp:post_id>
  <wp:post_date>2018-12-25 13:54:34</wp:post_date>
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<item>
  <title><![CDATA[Design: Der Verlust der Mitte - Design in 21st Century | cycle - design No 6 |]]></title>
  <link>http://channel04.edublogs.org/2019/01/01/der-verlust-der-mitte-design-in-21st-century/</link>
  <pubDate>Tue, 01 Jan 2019 20:28:07 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=38</guid>
  <description/>
  <content:encoded><![CDATA[https://m.youtube.com/watch?v=jJeT9tXQseQ

Beauty and Harmony - in deep feeling sounds and appealing design, as with the example of a sports car in a breathtaking nature’s surrounding. Music selfmade with Guitar Alborada Sinfonietta by Voigt Luthiers in Neufahrn (c) 2018. Text of the bible, Genesis, creation of world, spoken and recorded. Inspired by school and criticism of art and design as described in Hans Sedlmayrs book Der Verlust der Mitte.]]></content:encoded>
  <excerpt:encoded><![CDATA[]]></excerpt:encoded>
  <wp:post_id>38</wp:post_id>
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<item>
  <title><![CDATA[| Nature and mysticism: Faces of Montserrat | cycle - nature No 7 |]]></title>
  <link>http://channel04.edublogs.org/2019/01/19/nature-and-mysticism-faces-of-montserrat/</link>
  <pubDate>Sat, 19 Jan 2019 20:24:29 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=50</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=tVvF6Ho0swA

I nearly forgot, but back in 2003 we visited the Monastery of Montserrat. Recently this prevoious and nice Recuerdo came into my mind again and fortunately I have had a few guitar pieces, composed in 2018, which I found suitable to align with the impressive pictures of the nature there and to suit with the recovered memories. The montainous scenery together with being a place of religous refugium is also with a lot of touristic attention, but nevertheless, it remains an impressive and very special scenery. The title of “Faces of Montserrat“ is really reflected by this pinturesc, montainous ambient and the nature, which can be seen there.]]></content:encoded>
  <excerpt:encoded><![CDATA[]]></excerpt:encoded>
  <wp:post_id>50</wp:post_id>
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<item>
  <title><![CDATA[| Draw and show |]]></title>
  <link>http://channel04.edublogs.org/draw-and-show/</link>
  <pubDate>Sun, 03 Feb 2019 11:14:14 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?page_id=53</guid>
  <description/>
  <content:encoded><![CDATA[---------------------------------------------------------------------------

https://www.youtube.com/watch?v=s2sbRFHM424

Children drawing from some years ago. It shows a march of Mauros and Christians in the Spanish village Beniganim south to Valencia. Music is composed with Guitar, HM96 Gigue classical guitar, produced in (c) 2018.

----------------------------------------------------------------------------

https://www.youtube.com/watch?v=RVE9cj7IL9E

From a project: illustration of some passages of the bible. Drawn by kids in 2017, with applicable Bible's scenerys and stories. Music composed in 2017, guitar played and recorded.

<hr />



<hr />

https://www.youtube.com/watch?v=DRDWhpb6ZNc

In the 2020's we are not coming home with our Diesel cars... instead we are on electrics!!

[Music: Eguitar Yamaha, Piano, voice JS, &amp; nothing else - its crude]!]]></content:encoded>
  <excerpt:encoded><![CDATA[]]></excerpt:encoded>
  <wp:post_id>53</wp:post_id>
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  <title><![CDATA[| Literature | “Die letzten Tage der Menschheit“, Karl Kraus | Scene No 0 |]]></title>
  <link>http://channel04.edublogs.org/2019/03/26/literature-die-letzten-tage-der-menschheit-karl-kraus/</link>
  <pubDate>Tue, 26 Mar 2019 21:54:08 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=87</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=MQG-ntFjOCQ&amp;app=desktop

Betreff: Bereits 3 Wochen vergangen, aber trotzdem...

Entmutigung in Frankreich! Verdrossenheit in England! Verzweiflung in Russland! Zerknirschung in Italien! Beklemmung in Belgien. Durchhalteparolen helfen schon lange nicht mehr, ja, es muß zugepackt, endlich entschieden werden! Aber und oder auch zumindest: Freude, Zuversicht, Jubel und Genugtuung in Pregarten!  -  still on the road!

Frei nach Karl Kraus, “Die letzten Tage der Menschheit“ (1915).

Music: Guitar I HM96, Guitar II Voigt Alborada, Horn, Trumpet, plus complemented bass &amp; percussion samplers.

Text: You gonna run the versions' ration, you have the seven nation army, you gonna run the whole equation, you wish you could we did it further burn it down, you gonna run the version, you gotta reach wherever we could go, you gonna, the world equation, you gonna, the re-run goes on, you gonna reach the nation, you got a seven nation army gonna down, you gonna run the ration, you gotta reach another further flow; can it? ...]]></content:encoded>
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  <wp:post_id>87</wp:post_id>
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  <title><![CDATA[Music: "Moving the painting" | Scene No 1 |]]></title>
  <link>http://channel04.edublogs.org/2019/03/30/music-the-ink-paint/</link>
  <pubDate>Sat, 30 Mar 2019 00:03:15 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=93</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=1QXsktHNUQw

Get into the Art of the ink paint.

[Music: Bass Guitar (Pasadena), Guitar (Voigt Alborada), E-Guitar (Yamaha), percussion synthisizer Apple]

Apple Garage band (C) and iMovie (C) arranged.

Introduction for Garage band production: (1) with „+“ add a new instrument line, 1st line percussion (2) same for 2nd line record your guitar (3) add the bass line you record (4) add the electric guitar line (5) record the voice in the last line. Step by step you complete the song. With iMovie you can add a video, putting clip sequences and your song together:

https://youtu.be/SPD6acpKnm4

&nbsp;

&nbsp;]]></content:encoded>
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  <title><![CDATA[Information Technology: Reality | Deus ex machina | 10 Apr 2019 | Scene No. 2 |]]></title>
  <link>http://channel04.edublogs.org/2019/04/10/information-technology-and-reality-10th-april-2019-deus-ex-machina/</link>
  <pubDate>Wed, 10 Apr 2019 21:44:37 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=99</guid>
  <description/>
  <content:encoded><![CDATA[&nbsp;

https://www.youtube.com/watch?v=dJ8vZAarfMU&amp;app=desktop

Deus ex machina, in<i><b> </b></i>English ‘god from the machine’, understands a plot device whereby a seemingly unsolvable problem in a story is suddenly and abruptly resolved by an unexpected and seemingly unlikely occurrence, typically so much as to seem contrived. I<sup id="cite_ref-2" class="reference"></sup><sup id="cite_ref-3" class="reference"></sup>ts function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.

Arrangements: Guitar: played with Hoefner HM96, Bass: sample bass line Apple, Strings violin: sample, violin line Apple, percussion: synthesizer Apple.]]></content:encoded>
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  <wp:post_id>99</wp:post_id>
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  <title><![CDATA[Nature: be on the way | step by step forward | Scene No 3 |]]></title>
  <link>http://channel04.edublogs.org/2019/04/28/in-the-nature-on-the-way-step-by-step-forward/</link>
  <pubDate>Sun, 28 Apr 2019 14:24:24 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=111</guid>
  <description/>
  <content:encoded><![CDATA[https://youtu.be/RBKgO7ATp68

| get the way forward | step by step |

Music arrangements: Variation on Joseph Kueffner (1776-1856), on easy Guitar songs, played with Hoefner HM96, with Apple Synthisizer (percussions, strings, bass).]]></content:encoded>
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  <wp:post_id>111</wp:post_id>
  <wp:post_date>2019-04-28 14:24:24</wp:post_date>
  <wp:post_date_gmt>2019-04-28 14:24:24</wp:post_date_gmt>
  <wp:post_modified>2019-11-06 14:49:29</wp:post_modified>
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<item>
  <title><![CDATA[| Architecture &amp; Design - shooting at the world | Scene No 4 |]]></title>
  <link>http://channel04.edublogs.org/2019/05/02/architecture-design-shooting-at-the-world/</link>
  <pubDate>Thu, 02 May 2019 21:10:10 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=115</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=TQJ_bhqx5Bo&amp;app=desktop
<div id="watch-description-text" class="watch-editable">
<p id="eow-description" class="">| Arrangements Music |
| Guitar, Voigt Luthiers, Alborada Ziricote, www.voigt-luthiers.de |
| Acoustic Bass, Pasadena |
| Percussion Synthesizer | clip material, free stock, www.pexels.com |</p>

</div>]]></content:encoded>
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  <wp:post_id>115</wp:post_id>
  <wp:post_date>2019-05-02 21:10:10</wp:post_date>
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  <title><![CDATA[| Design, projections, dance: Scene No. 5 |]]></title>
  <link>http://channel04.edublogs.org/2019/05/05/design-projections-dance-scene-no-5/</link>
  <pubDate>Sun, 05 May 2019 15:13:08 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=RjrZThec6oA&amp;app=desktop

2019 Music arrangements: | composition &amp; creation year 2019 | acoustic bass guitar Pasadena | strings | percussion | apple synthesizer |]]></content:encoded>
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  <title><![CDATA[Music: Dance | Scene 6 | with Guitar |]]></title>
  <link>http://channel04.edublogs.org/2019/05/12/scene-6-with-guitar/</link>
  <pubDate>Sun, 12 May 2019 13:59:08 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=121</guid>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=Rk39Li_F4Co

<span class="huvud"><span class="uppslag">Flamenco</span> <span class="etym">[spanisch, eigentlich »flämisch«]</span> <i>der, -(s)/-s,</i><i>Cante flamenco,</i></span> Gattung volkstümlicher spanischer (andalusischer) <a href="https://brockhaus.de/ecs/enzy/article/tanzlied">Tanzlieder</a> (cante »Gesang«, baile »Tanz« und toque »Gitarrenbegleitung«). Die Herkunft des seit dem Ende des 18. Jahrhunderts belegten, aber wohl bis ins 16./17. Jahrhundert zurückreichenden Flamenco ist umstritten; es werden arabisch-indische, jüdisch-synagogale und später Einflüsse der <a href="https://brockhaus.de/ecs/enzy/article/roma-40">Roma</a>-Musik beobachtet. Ab dem 19. Jahrhundert wurde der Flamenco überwiegend von Roma verbreitet. Man unterscheidet heute drei Stilarten: den schwermütig-dramatischen <i>Cante jondo</i> (andalusisch, von spanisch hondo »tief, innerlich«), den in seiner Ausführung weniger intensiven <i>Cante intermedio</i> (spanisch »dazwischenliegend«) und den schlichteren <i>Cante chico</i> (spanisch »klein«, »leicht«). Zum Cante jondo gehören Caña, Fandango, Martinete, Polo, Saeta, Siguiriya, Soleá; zum Cante intermedio Malagueña, Tiento; zum Cante chico Alegría, Fandanguillo, Farruca, Jaleo, Milonga, Rodeña, Sevillana, Tango. Der elegische, stark formelhaft geprägte, reich verzierte Gesang, meist mit Gitarrenbegleitung, hebt oft mit der Klagesilbe »Ay« an. Besungen werden Liebe, Tod, Schuld und Sühne. Die Strophen (coplas), in der Regel vierzeilig mit Refrain, werden melodisch und rhythmisch frei variiert. Der Flamenco wird als Solo- oder Einzelpaartanz vorgetragen, wobei die Tänzer den oft rasch wechselnden Rhythmus mit den Füßen stampfen, mit den Händen klatschen oder mit Kastagnettenspiel unterstreichen. In der Kunstmusik wurde der Flamenco von <a href="https://brockhaus.de/ecs/enzy/article/albeniz-isaac-manuel-francisco"><i>I. Albéniz</i></a>, <a href="https://brockhaus.de/ecs/enzy/article/granados-enrique-enric"><i>E. Granados y Campiña</i></a>, <a href="https://brockhaus.de/ecs/enzy/article/falla-manuel"><i>M. de Falla</i></a> und <a href="https://brockhaus.de/ecs/enzy/article/turina-joaquin"><i>J. Turina</i></a>verwendet. Ab den 1960er-Jahren entwickelte sich der <i>Nuevo Flamenco</i>, der traditionellen Flamenco mit <a href="https://brockhaus.de/ecs/enzy/article/blues">Blues</a>-, <a href="https://brockhaus.de/ecs/enzy/article/rockmusik">Rock</a>- oder <a href="https://brockhaus.de/ecs/enzy/article/jazz">Jazzelementen</a> verbindet. Typische Vertreter dieses Stils waren etwa <a href="https://brockhaus.de/ecs/enzy/article/lucia-paco-de"><i>P. de Lucía</i></a> und <a href="https://brockhaus.de/ecs/enzy/article/manitas-de-plata"><i>Manitas de Plata</i></a>. – Seit 2010 gehört der Flamenco zu den Meisterwerken des mündlichen und immateriellen Erbes der Menschheit der UNESCO.

| Guitar Hoefner HM96 | composed 2018 | recorded Munich 2019 | thanks to: Ja. Sch. - French Horn | St. Soew. | Li. Domi. |

&nbsp;]]></content:encoded>
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  <title><![CDATA[Music: Scene 7 | knowledge and faith | Ora et labora |]]></title>
  <link>http://channel04.edublogs.org/2019/06/25/music-scene-7-knowledge-and-faith-ora-et-labora/</link>
  <pubDate>Tue, 25 Jun 2019 09:31:27 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=126</guid>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=_8D3iE82dhw

The knowledge and information is associated with the word "scire". The other  type of knowing, is associated with the word "sapere". Both are understood to be related to "know" something, but the difference may be in the content of what is known. In the old tradition following the Hl. Augustinus, there is an example which could be applied to this distinction. There are different levels of motivation to do something wrong and different strengths of doing the wrong, resulting in the different intensity of sin and/or penalty for a human.

The example deals with a pear-tree from which some pears are stolen. The knowledge of the first type, provides you with the information, that they are located on another piece of land, not yours, so you should not take any of them. The knowledge of the second type, also tells you why: not because one pear would make a difference on the full tree, but because of your moral obligations to respect your next, and because your feeling tells you it would be a wrong behavior to take a pear away with you.

In the example now different levels of "wrong" are compared: Some kids, having fun, are taking away some pears and eat them, because they are hungry and enjoy to eat the nice fruits. Some kids are stealing quite many pears, and do not eat them, but rather let them left thrown down somewhere on the street. Some kids are stealing quite many pears, do not even intend to eat them, and throw them away in the cage of some pigs. There is a different quality of "wrong" in these examples. Nevertheless, everybody knows, that in a group of people, which is having fun, more or less acceptable things may happen, because of the dynamic you have in the group.

One quality more in "wrong" still, would be if one imagines, that the stealing is done on your own. This takes away the element of dynamic in the group. The responsibility is on your own. If you do it because of hunger, there is one quality of "wrong". If you do it because of fun, throwing away the fruits, there is already another quality of "wrong". But if you do it with the intention to do damage and to do real "wrong", because you put the fruits to the pigs cages, there is a very high quality of "wrong". This "wrong" also goes aligned with the moral knowledge you have. Your "fun" is obviously to intentionally do the wrong. The other way around: to do "right" can similarly to this, also be qualified in equal stages of quality. A very high quality of doing the right, would be considered if you do the "right" just on your account. You do it only for the sake of itself, without any influence from outside, or consideration of any rewards in any groups.

Music arrangements: Guitar - Voigt Alborada Sinfonietta | Bass Pasadena Acoustic | apple synthesizer |

(C) Munich 2019]]></content:encoded>
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  <wp:post_date>2019-06-25 09:31:27</wp:post_date>
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  <title><![CDATA[Music and Art | Scene 8 | Modern | Bass |]]></title>
  <link>http://channel04.edublogs.org/2019/06/25/music-and-art-scene-8-modern-bass/</link>
  <pubDate>Tue, 25 Jun 2019 09:34:14 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=GVi9mbERQEc

Music arrangements | (C) 2019 Recorded in Munich | Bass Guitar Pasadena Acoustic | Apple Synthesizer | plus voice recording |]]></content:encoded>
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  <title><![CDATA[| Music &amp; Dance | Scene No 9 |]]></title>
  <link>http://channel04.edublogs.org/2019/07/19/music-dance-scene-no-9/</link>
  <pubDate>Fri, 19 Jul 2019 09:22:41 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=mHfJYeoKrRQ

| Music | composed [C] 2019 | recorded in Munich |

| Yamaha E-Guitar | Pasadena acoustic Bass Guitar |]]></content:encoded>
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  <title><![CDATA[Music: Club | Dance | Scene No 10 | Sour beat |]]></title>
  <link>http://channel04.edublogs.org/2019/07/27/music-club-dance-scene-no-10-sour-beat/</link>
  <pubDate>Sat, 27 Jul 2019 17:02:00 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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Music arrangements: [C] Munich 2019
Apple Synthesizer
Hoefner HM 96 Guitar]]></content:encoded>
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  <title><![CDATA[Scene No 11 | Flamenco 1962 | Music &amp; Dance]]></title>
  <link>http://channel04.edublogs.org/2019/09/18/scene-13-flamenco-1962-music-dance/</link>
  <pubDate>Wed, 18 Sep 2019 19:05:30 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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<div id="watch-description-text" class="watch-editable">
<p id="eow-description">Scene 11 - Flamenco 1962
Arranged Munich 2019. The history captured in this scene shows just back about half a century earlier, real and authentic gypsies in Andalucia. Not influenced in any way by a broader music interest or any other form of a touristic attention, which would have led in any case to a more show oriented performance.</p>
This scene does not even consider performance or show at any rate, and this is why it results so “true”. The ambience with the old and poor housing and street area there, is also reflected by the music added. The fast and nearly robotic flamenco movements, copied by adult flamenco dances by the boy, which he seemed to be familiar with, led this boy to an nearly ecstatic dance.

The quality falls under the category most authentic, with its poor clothing and poor people, in times of strong prejudice. The played music also goes with this character in similarities, yet under practicing quality, with slow or changing rhythm and imperfections in the sound and quality, however seeing that this boy's impressive dance allows a certain kind of harmony with the guitar music, being a kind of try to an analogy in music to Tarrega’s masterpiece “Tango”. Having a certain reservation to distribute this intimate dance of a young boy, nevertheless it should be safekept for his extravagant truth and beauty.

</div>]]></content:encoded>
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  <title><![CDATA[3d-ice-hd-wallpaper_kindlephoto-3634111]]></title>
  <link>http://channel04.edublogs.org/3d-ice-hd-wallpaper_kindlephoto-3634111/</link>
  <pubDate>Wed, 18 Sep 2019 19:20:02 +0000</pubDate>
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  <title><![CDATA[143880_wallpapers-4k-ultra-hd-para-pc]]></title>
  <link>http://channel04.edublogs.org/143880_wallpapers-4k-ultra-hd-para-pc/</link>
  <pubDate>Thu, 19 Sep 2019 11:16:18 +0000</pubDate>
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  <title><![CDATA[Scene No 12 | prayer | ___________________]]></title>
  <link>http://channel04.edublogs.org/2019/09/20/2-0-2-4/</link>
  <pubDate>Fri, 20 Sep 2019 19:52:18 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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<h1><strong>2024</strong></h1>
Music arrangements: recorded Munich 2019 | Guitar Hoefner HM96 | Text and Song: Latin version Regnum tuam adveniat | [C] 2019 |]]></content:encoded>
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  <title><![CDATA[Scene No 13 | Flmco | The Dance |]]></title>
  <link>http://channel04.edublogs.org/2019/10/02/flmco-the-dance-scene/</link>
  <pubDate>Wed, 02 Oct 2019 20:31:06 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
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  <content:encoded><![CDATA[________________________________

https://www.youtube.com/watch?v=a3LxMU7rYO0

__________________________________
<h1>| F l m c o |</h1>
Music arrangement (C) 2019, Guitar Hoefner HM96, Hannabach Gold Carbon Strings

<b>Carmen Amaya</b> (2 November 1918<sup id="cite_ref-car_1-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-car-1">[1]</a></sup> – 19 November 1963) was a <a title="Spaniards" href="https://en.m.wikipedia.org/wiki/Spaniards">Spanish</a> <a title="Romani people" href="https://en.m.wikipedia.org/wiki/Romani_people">Romani</a> <a title="Flamenco" href="https://en.m.wikipedia.org/wiki/Flamenco">flamenco</a> dancer and singer, born in the <a title="Somorrostro" href="https://en.m.wikipedia.org/wiki/Somorrostro">Somorrostro</a> district of <a title="Barcelona" href="https://en.m.wikipedia.org/wiki/Barcelona">Barcelona</a>, <a title="Catalonia" href="https://en.m.wikipedia.org/wiki/Catalonia">Catalonia</a>, <a title="Spain" href="https://en.m.wikipedia.org/wiki/Spain">Spain</a>.
<table class="infobox biography vcard">
<tbody>
<tr>
<th colspan="2">
<div class="fn">Carmen Amaya</div></th>
</tr>
<tr>
<td colspan="2"><a class="image" href="https://en.m.wikipedia.org/wiki/File:1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg"><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg/220px-1942_-_Lyric_Theater_-_8_Dec_MC_-_Allentown_PA.jpg" alt="1942 - Lyric Theater - 8 Dec MC - Allentown PA.jpg" width="220" height="131" data-file-width="957" data-file-height="569" /></a>
<div>1942 newspaper advertisement</div></td>
</tr>
<tr>
<th scope="row">Born</th>
<td>
<div class="nickname">Carmen Amaya Amaya</div>
2 November 1913
<div class="birthplace"><a title="Barcelona" href="https://en.m.wikipedia.org/wiki/Barcelona">Barcelona</a></div></td>
</tr>
<tr>
<th scope="row">Died</th>
<td>19 November 1963 (aged 50)
<div class="deathplace"><a title="Begur, Spain" href="https://en.m.wikipedia.org/wiki/Begur,_Spain">Begur</a></div></td>
</tr>
<tr>
<th scope="row">Occupation</th>
<td class="role">Flamenco dancer, singer, actress</td>
</tr>
<tr>
<th scope="row">Years active</th>
<td>1926-1963</td>
</tr>
<tr>
<td colspan="2"></td>
</tr>
<tr>
<th scope="row">Dances</th>
<td>flamenco</td>
</tr>
</tbody>
</table>
She has been called "the greatest Spanish <a title="Romani people" href="https://en.m.wikipedia.org/wiki/Romani_people">Romani</a> dancer of her generation"<sup id="cite_ref-hist_2-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-hist-2">[2]</a></sup> and "the most extraordinary personality of all time in <a class="mw-redirect" title="Flamenco dance" href="https://en.m.wikipedia.org/wiki/Flamenco_dance">flamenco dance</a>."<sup id="cite_ref-encyc_3-0" class="reference"><a href="https://en.m.wikipedia.org/wiki/Carmen_Amaya#cite_note-encyc-3">[3]</a></sup> She was the first female flamenco dancer to master footwork previously reserved for the best male dancers, due to its speed and intensity. She sometimes danced in high-waisted trousers as a symbol of her strong character.]]></content:encoded>
  <excerpt:encoded><![CDATA[]]></excerpt:encoded>
  <wp:post_id>148</wp:post_id>
  <wp:post_date>2019-10-02 20:31:06</wp:post_date>
  <wp:post_date_gmt>2019-10-02 20:31:06</wp:post_date_gmt>
  <wp:post_modified>2019-11-06 14:58:46</wp:post_modified>
  <wp:post_modified_gmt>2019-11-06 14:58:46</wp:post_modified_gmt>
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<item>
  <title><![CDATA[Scene No 14 | Science | CL 2019 | at the sites with Telescopes |]]></title>
  <link>http://channel04.edublogs.org/2019/11/06/science-cl-2019-at-the-sites-with-telescopes/</link>
  <pubDate>Wed, 06 Nov 2019 10:52:00 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=152</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=G034PQHZ8B0

___________________________________________________

Music arrangements
Hoefner HM96 Guitar
Apple Synthesizer and recording
Location arrangements
ESO Garching b. Muenchen
Chilean ESO Telescope sites (VLT, ALMA etc)

____________________________________________________
<div class="thumb tright">
<div class="thumbinner">

<a class="image" href="https://en.wikipedia.org/wiki/File:The_Globular_Cluster_47_Tu.jpg"><img class="thumbimage" src="https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/The_Globular_Cluster_47_Tu.jpg/220px-The_Globular_Cluster_47_Tu.jpg" alt="Cluster of stars" width="107" height="108" data-file-width="5370" data-file-height="5455" /></a>

</div>
</div>
With the Very Large Telescope, astronomers have made an independent determination of the age of the universe and shed new light on the earliest stages of the Milky Way. For the first time, they measured the amount of the <a class="mw-redirect" title="Radioactive isotope" href="https://en.wikipedia.org/wiki/Radioactive_isotope">radioactive isotope</a> uranium-238 in a star born when the Milky Way was still forming.<sup id="cite_ref-98" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-98">[98] </a></sup>Like <a class="mw-redirect" title="Carbon dating" href="https://en.wikipedia.org/wiki/Carbon_dating">carbon dating</a> over longer timescales, the uranium clock measures the age of a star. It shows that this star is 12.5 billion years old. Because the star cannot be older than the universe itself, the universe must be older than this. This agrees with known <a title="Cosmology" href="https://en.wikipedia.org/wiki/Cosmology">cosmology</a>, which gives an <a title="Age of the universe" href="https://en.wikipedia.org/wiki/Age_of_the_universe">age of the universe</a> of 13.8 billion years. The star (and the Milky Way) must have formed soon after the Big Bang.<sup id="cite_ref-99" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-99">[99]</a></sup>Another result is the first measurement of the <a title="Beryllium" href="https://en.wikipedia.org/wiki/Beryllium">beryllium</a> content of two stars in a Milky Way <a title="Globular cluster" href="https://en.wikipedia.org/wiki/Globular_cluster">globular cluster</a>. With this measurement, astronomers found that the first generation of stars in our galaxy must have formed soon after the end of the 200-million-year "<a title="Chronology of the universe" href="https://en.wikipedia.org/wiki/Chronology_of_the_universe#Dark_Ages">Dark Age</a>" following the Big Bang.<sup id="cite_ref-How_Old_is_the_Milky_Way_100-0" class="reference"><a href="https://en.wikipedia.org/wiki/European_Southern_Observatory#cite_note-How_Old_is_the_Milky_Way-100">[100]</a></sup>]]></content:encoded>
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  <wp:post_id>152</wp:post_id>
  <wp:post_date>2019-11-06 10:52:00</wp:post_date>
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  <title><![CDATA[Design | Composition | Scene No 15 | with Guitar]]></title>
  <link>http://channel04.edublogs.org/2019/11/07/design-composition-scene-no-15-with-guitar/</link>
  <pubDate>Thu, 07 Nov 2019 16:11:56 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=183</guid>
  <description/>
  <content:encoded><![CDATA[<hr />

https://www.youtube.com/watch?v=nCZaA-WLUIU

<hr />

Composition 2019 II
with Voigt Alborada Sinfonietta
Oct 2019<b></b>

<span lang="DE"><span style="color: #000000;font-family: Calibri;font-size: medium">Denn Unwissen bringt sie zum Wundern, und bewirkt es, dass sie diesem nachjagt, denn sie findet wohl, dass es ist, sie weiß nur nicht, wie und was es ist. Wenn aber der Mensch die Ursache der Dinge kennt, sofort ist er auch der Dinge müde und sucht wieder ein andres zu erfahren und hat doch immer einen Jammer, diese Dinge zu wissen und hat doch kein Dabeibleiben, darum: die unerkannte Erkenntnis hält sie bei diesem Bleiben und lässt sie doch nicht zur Ruhe kommen. Davon sprach ein heidnischer Meister ein schönes Wort zu einem andern Meister: Ich werde etwas in mir gewahr, das glänzet in meiner Vernunft; ich merke wohl, dass es etwas ist, aber was es sei, das kann ich nicht verstehen, aber es dünkt mich, wenn ich es begreifen könnte, dann kennte ich alle Wahrheit.</span></span>]]></content:encoded>
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  <wp:post_id>183</wp:post_id>
  <wp:post_date>2019-11-07 16:11:56</wp:post_date>
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<item>
  <title><![CDATA[Cosmo 2001 | 2002 | Scene No. 16 | with Guitars]]></title>
  <link>http://channel04.edublogs.org/2019/11/14/cosmo-2001-2002-scene-no-16-with-guitars/</link>
  <pubDate>Thu, 14 Nov 2019 21:55:43 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=185</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=fpZyr2ohxIo

___________________________

Wann besteht die Bereitschaft zu empfangen? Die Energie der Sonne dringt durch die Wolken, automatisch und jedenfalls, sobald die Atmosphäre und die Wolken Durchlässigkeit gewähren. Dann ist der Einfluss des Lichts stetig und unvermeidlich aktiv. Bereitschaft zu empfangen, ist dem ähnlich. In das offene Gefäss, frei von hinderlichem Stoff und Ballast, dringt es unerlässlich und automatisch. Es folgt eine ebenso zwangsläufige Aktivität beim Empfangenden.

___________________________

Freely adapted base [M. Eckhart, Dominican Prior at end of 13th Century, 1314 Magister in Theology Univ. Strasbourg]

Music Arrangements: Hoefner HM96 Gigue Guitar, Recorded in Munich Nov 2019]]></content:encoded>
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  <title><![CDATA[| Seneca's word | on clemency | with Guitar | Scene No 01 |]]></title>
  <link>http://channel04.edublogs.org/2019/11/30/senecas-word-on-clemency-with-guitar/</link>
  <pubDate>Sat, 30 Nov 2019 15:45:59 +0000</pubDate>
  <dc:creator>channel04</dc:creator>
  <guid isPermaLink="false">http://channel04.edublogs.org/?p=188</guid>
  <description/>
  <content:encoded><![CDATA[https://www.youtube.com/watch?v=m95m0Q96wc0

This video-clip was already done 2 years ago, in May 2017 with Guitar music and with some recently done drawings/paintings (Seneca bust, Olive mountain, Assembly's decision). The clear message of Seneca's words, on clemency in ruling and power, nevertheless makes it recommendable considering these words again.

<img class="alignnone  wp-image-191" src="https://channel04.edublogs.org/files/2019/11/marble-bust-of-lucius-annaeus-seneca_a-G-12063152-4986174-235x300.jpg" alt="" width="81" height="103" />

"...Caesar, in order that I may as it were serve as a mirror to you, and let you see yourself arriving at the greatest of all pleasures. For although the true enjoyment of good deeds consists in the performance of them, and virtues have no adequate reward beyond themselves, still it is worth your while to consider and investigate a good conscience from every point of view..."

Arrangements: Guitar, Voigt Luthiers, <a href="http://www.voigt-luthiers.de" target="_blank" rel="noopener noreferrer">http://www.voigt-luthiers.de</a>, Alborada Sinfonietta. Recorded May 2017.

Munich, Nov 2019]]></content:encoded>
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  <title><![CDATA[| Noblesse the Speaker &amp; Sound | Equipment | Scene 18 with Guitar |]]></title>
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  <pubDate>Mon, 16 Dec 2019 19:26:26 +0000</pubDate>
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  <content:encoded><![CDATA[____________________________________________________

https://www.youtube.com/watch?v=L_9l03o250E&amp;app=desktop

Music arrangements:

Guitar Hoefner HM96 Gigue

Voice record 13 December 2019

_____________________________________________________

Munich, Neufahrn b Freising (C) 2019]]></content:encoded>
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  <title><![CDATA[| Don Quixote II, de La Mancha | Scene No 19]]></title>
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  <pubDate>Fri, 20 Dec 2019 13:21:24 +0000</pubDate>
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___________________________________________________

(ESP) Don Quijote, siendo el observador del pueblo en la Mancha, puede que la intensidad de su imaginación tenia efecto a lo que ha observado?

(ENG) Don Quijote, being the observer of the village in La Mancha, could it be that the intensity of his imagination has made effect on what he has observed?

Arrangements: Don Quixote No. II, written by M de Cervantes, Film Scenes, Guitar Music recorded Munich December 2019]]></content:encoded>
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  <title><![CDATA[| Scene No 20 | on the beach |]]></title>
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  <pubDate>Thu, 30 Jan 2020 15:54:41 +0000</pubDate>
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with Guitar variation, Matteo Carcassi, Guitar Hoefner HM96 Gigue, Recorded MUC 2020]]></content:encoded>
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  <title><![CDATA[| Scene No 21 | The Spanish Flamenco &amp; The Rap |]]></title>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=VC3sNg7ZPio

Recorded [C] 2020 | Alhambra Custom Olive Flamenco Guitar]]></content:encoded>
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  <title><![CDATA[Scene No 22 | The run]]></title>
  <link>http://channel04.edublogs.org/2020/02/09/scene-no-22-the-run/</link>
  <pubDate>Sun, 09 Feb 2020 21:31:44 +0000</pubDate>
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  <content:encoded><![CDATA[https://www.youtube.com/watch?v=gyst2Nnesiw

Arrangements: Alhambra Flamenco Custom Olive Guitar, Malaguena Variation, MUC 2020]]></content:encoded>
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  <wp:post_id>202</wp:post_id>
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  <title><![CDATA[Guitarra &amp; Danza | Scene No 23]]></title>
  <link>http://channel04.edublogs.org/2020/02/09/guitarra-danza-scene-no-23/</link>
  <pubDate>Sun, 09 Feb 2020 21:35:16 +0000</pubDate>
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  <content:encoded><![CDATA[________________________________

https://www.youtube.com/watch?v=uzf1ClkyiXo

__________________________________

Arrangements: Guitar Alhambra Flamenco Customs Olive, Variations on Flamenco Arabe. MUC 2020]]></content:encoded>
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  <title><![CDATA[Scene No 24 | Flamenco Crossover | Bass &amp; Guitar]]></title>
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  <pubDate>Mon, 17 Feb 2020 19:19:04 +0000</pubDate>
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  <content:encoded><![CDATA[____________________________

https://www.youtube.com/watch?v=nyci3C5pV7Q

____________________________

MUC 2020, ALHAMBRA Flamenco custom olive | Pasadena Acoustic Bass]]></content:encoded>
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  <wp:post_id>206</wp:post_id>
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<hr />

| October 2019 |

| Still what happens in the world |

| Music arrangements: Flamenco Alhambra Custom Olive, Pasadena Bass with Zoom effects pad |]]></content:encoded>
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https://www.youtube.com/watch?v=os_467n7CpY

_________________________________]]></content:encoded>
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[C] MUC 2020]]></content:encoded>
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_________________________

Arrangements: with Guitar Höfner HM96 Gigue, Apple Mac Pro Synthesizer

&nbsp;]]></content:encoded>
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__________________________

Arr.: with Guitar Höfner HM96 Gigue, MacBook Pro Synthesizer

<img class="alignleft wp-image-220 size-thumbnail" src="https://channel04.edublogs.org/files/2020/03/9166466_800-150x150.jpg" alt="" width="150" height="150" />

&nbsp;

&nbsp;

&nbsp;

&nbsp;

____________________________

&nbsp;]]></content:encoded>
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https://www.youtube.com/watch?v=X4siDejf2V0

_______________________

|MUC|2020|]]></content:encoded>
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https://www.youtube.com/watch?v=CNhHNycXIMI

_____________________________Music: Guitar Hoefner HM96 Gigue, 2020]]></content:encoded>
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  <title><![CDATA[| Scene No 33 | Karfreitag 04-2020 |]]></title>
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https://www.youtube.com/watch?v=lqYaVPtDFrs

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https://www.youtube.com/watch?v=w1GBB1Nkyvg

____________

MUC 04/2020]]></content:encoded>
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https://www.youtube.com/watch?v=xMUGXAnUxMI

______________]]></content:encoded>
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  <title><![CDATA[| Scene No 37 | with Guitar and Horn | the Spring |]]></title>
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https://www.youtube.com/watch?v=SvchiprBqm0

_____________________________

Arrangements: Guitar (Hoefner HM96 Gigue) &amp; Horn (Hoyer), arranged on MacBookPro, Synthesizer]]></content:encoded>
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  <title><![CDATA[| Scene No 39 |]]></title>
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  <title><![CDATA[| Scene No 40 |]]></title>
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<span class="style-scope yt-formatted-string" dir="auto">| Arrangements: Guitar Hoefner HM96 Gigue, Horn Hoyer, MacBook Pro synthesizing | Text: A v Humboldt, ca 1840, Kosmos, Entwurf einer physischen Weltbeschreibung, About circulation of comets. Video: May 2020, Visit in the virtual Seoul contemporary art museum.</span>

<a href="https://artsandculture.google.com/streetview/national-museum-of-modern-and-contemporary-art-korea/fQHn7MvGkiYbbQ?sv_lng=127.0197983010958&amp;sv_lat=37.43110056762217&amp;sv_h=342&amp;sv_p=0&amp;sv_pid=b7HtuQ1J0RUCWHERZhzGDQ&amp;sv_z=1.0000000000000002">https://artsandculture.google.com/streetview/national-museum-of-modern-and-contemporary-art-korea/fQHn7MvGkiYbbQ?sv_lng=127.0197983010958&amp;sv_lat=37.43110056762217&amp;sv_h=342&amp;sv_p=0&amp;sv_pid=b7HtuQ1J0RUCWHERZhzGDQ&amp;sv_z=1.0000000000000002</a>

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https://www.youtube.com/watch?v=gzsBiHisW7g

______________

| Arr.: Yamaha Guitar | Pasadena Bass | Music | "Morgen sind wir dann am Mond" | MUC (C) 2020 |]]></content:encoded>
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https://www.youtube.com/watch?v=0ATyU-nFCdI

______________________

Atacama, Chile, October 2019

Music: Horn / H Hoyer, Guitar / Alhambra olive Flamenco]]></content:encoded>
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| Scene No 43 | 2020 vs. 1669 |

| with Guitar, Hoefner HM96 Cocobolo |]]></content:encoded>
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https://www.youtube.com/watch?v=SAxLSjw8x7Y

_________________________________________

Guitar: Alhambra olive Flamenco

Cajon: Pearl]]></content:encoded>
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https://www.youtube.com/watch?v=qXW0NYrsFps

______

Guitar: Hoefner HM96 Gigue]]></content:encoded>
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https://www.youtube.com/watch?v=Ub4PEr40-ts

_____

| Scene No 47 |

Music arrangements: Guitar Alhambra Olive Flamenco, Cajon Pearl, Macbook pro synthesising | Video arrangements: Pexels stock videos]]></content:encoded>
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Arr. with Guitars Hoefner HM96 Gigue Cocobolo, Alhambra customs olive Flamenco]]></content:encoded>
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https://www.youtube.com/watch?v=HXAtLnzBVss

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https://www.youtube.com/watch?v=OLCr-yL9Mcw

__________________

Music arrangements: Variations on Bach, Guitar Voigt Luthiers Alborada Sinfonietta]]></content:encoded>
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FMco 2020 | Hip Hop | arranged: 2018]]></content:encoded>
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Tribute to Tarrega

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______________________________________________________________

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  <title><![CDATA[Villa Medici Apartment Entresuelo, 1st Floor, E-03502 Benidorm, Spain]]></title>
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___________________________________________________
<ul>
 	<li>Building Villa Medici</li>
 	<li>45 min to Airport Alicante</li>
 	<li>Apartment Entresuelo ca 55 m2</li>
 	<li>2 Bedrooms with double beds (4 persons max)</li>
 	<li>Equipped Kitchen</li>
 	<li>Bathroom</li>
 	<li>Swimming pool (common by owners)</li>
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 	<li>EUR 250 / day (EUR 1.450 / week), plus final cleaning 90 EUR</li>
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___________________________________________________

<img class="alignnone size-full wp-image-333" src="https://channel04.edublogs.org/files/2021/11/IMG_8369.jpg" alt="" width="1920" height="1440" />

___________________________________________________

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___________________________________________________

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___________________________________________________

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