Cal fire on Public Education and prevention and also with respect to you were talking about fuel, the fuels program, or Vegetation Management program in cal fire, we have a Robust Program throughout the state where we are conducting burning operations and Vegetation Management with prieflt ranch owners and private land owners as well as on state and cooperating with our federal agencies with the u. S. Forest service. So twofold program, Vegetation Management, we aggressively pursue that, but also from a Public Education stand point. What we find in these large scale incidents, the public is going to have to be selfsustaining and selfsupporting. They need to be prepared. We try to educate them in respect that we say well provide the offense, you provide the defense. We talk to them about hardening their structures in a defensive measure against wild land fires. A lot of it is Public Education, survivability, building standards, but predominately our focus is putting the onus on the land
I always suggest people to tear them apart, work on the melody, just work on the base, rhythm, accompaniment. That provides an important process to understanding how these elements have to happen simultaneously. When you are writing, as a fan of yours, for decades now i think your first record came out in the 1970s. 1978. That is right. As a fan, one of the things that struck me is you did not sound like anyone else i had heard, and you still do not. When i listen to any other guitarist, composer, you can hear their influence, who they took this idea or technique from. Your music just sounds fresh and novel. I wonder if you might be willing to disclose to us some of your influences and how they gave rise to your compositional playing style, and maybe demonstrate them. I like to joke, i did not learn how to play anything else really well, so i had to come up with my own. It is true, i found this out later when i was teaching. Can you show me that solo to that song . Do you know how it g
Injury or trauma, it can be disrupted. It is remarkable. The player, at some level, perhaps unconsciously, are having to think about the elements unconsciously. I teach a lot of workshops and a lot of people come to play our master classes, they come with their own performance, arrangement. They are looking for feedback. One of the things that i always say, because, as a musician, we try to get everything at once. All of the elements. We tried to simultaneously get the rhythm, melody, the subtleties, dynamics, accent, all those things that make music interesting. But a lot of times, it is Good Practice to tear them apart. Solo guitar playing, for example, polyphonic music, you have a melody and a baseline, maybe an accompaniment, 3rd voice or harmonic accompaniment. I always suggest people to tear them apart, work on the melody, just work on the base, rhythm, accompaniment. That provides an important process to understanding how these elements have to happen simultaneously. When you ar
Solo guitar playing, for example, polyphonic music, you have a melody and a baseline, maybe an accompaniment, 3rd voice or harmonic accompaniment. I always suggest people to tear them apart, work on the melody, just work on the base, rhythm, accompaniment. That provides an important process to understanding how these elements have to happen simultaneously. When you are writing, as a fan of yours, for decades now i think your first record came out in the 1970s. 1978. That is right. As a fan, one of the things that struck me is you did not sound like anyone else i had heard, and you still do not. When i listen to any other guitarist, composer, you can hear their influence, who they took this idea or technique from. Your music just sounds fresh and novel. I wonder if you might be willing to disclose to us some of your influences and how they gave rise to your compositional playing style, and maybe demonstrate them. I like to joke, i did not learn how to play anything else really well, so
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