The hardest are, the first two are pretty self explanatory — the violin, the cello and cello. You have to learn the technical aspects of those at a young age. And then, for the drums and guitar you really need to work on those. I’ve done a lot of different things since I was 15, which I think is pretty valuable.
There is no single reason why they are so hard but I guess it’s the fact that there is such a great deal of repetition and practice involved. It can become a game. You’re playing a riff, then you’re going back to that riff and then moving in another direction and I think that can take a bit of the fun out. It doesn’t have to be fun, but it can sometimes become frustrating, especially if you need to work on a particular sound or feel you might not develop it that far at all. If you have a lot of it or you have a very large repertoire, then it’s easy to find that the more you learn, the more difficult they become. But at the same time I also think that if you just focus, you’ll find one day that after playing you’ll get it and it’ll just be awesome playing with another musician who doesn’t know the material as well as you do. It’s a lot of fun.
What can people expect in the next live album? There are going to be a lot of different things going on.
This one’s going to be a lot of different things over the next 12 months. In terms of production, I’m working with my good friend Mike Bocianco on this one really and his track on the new LP in particular will be a really different thing and it will be very ambitious and very different from anything I’ve done. But it will have a lot of big stuff on it and also a lot of really personal stuff. This one’s not going to just be a cover album; I’ll still have all my influences and a lot of stuff that I’ll have to take away from doing this. Also, the way things are going right now, I am really really nervous. With a new album, you never know if you’ll find yourself ready for it as quickly as you did after this. But you can always make excuses, right?
There has been a lot of talk lately about how electronic music could become something that becomes more acceptable in many musical situations and more appealing than people originally thought. Has there been any response?
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