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Music for meditation, reflection or therapy, day or night: an interview with Nightdancers
When you ask someone why he or she likes a band, artist or style of music, the usual response is either "are impressive," the rock "or" subject fun. "People tend to say that music is just for entertainment. And as for musicians, the reason I play music or" called self or ego needs to take lead in front of a crowd. But why do we even music? Is it, as Shakespeare said, "to appease the savage beast "? It's not like life or death. Or is it? For Gera Clark and John Sarantos, who perform on Native American flutes as NightDancers, music is that in the background. Mr. Santos started with the simple desire to express themselves musically, but discovered that the Native American flute, by its nature, has a past ranking functions, including age "meditation" new music. Ms. Clark's journey of music began with a desperate need of a kind lifeline at a critical time. She said: "After a prolonged illness, I began to my life … While this spiritual journey that discovered the Native American flute. "In this era of art as a diversion, or lifestyle accessory, it's a wonderful surprise to be nice to remind ourselves that, as Clark and Santos revealed in the interview below, music is a powerful and healing.
[Mark Kirby] What kind of music was played at home when you were a kid?
[Gera Clark] My mother played classical music on the piano as an escape from his existence as a housewife raising four children Urban. When I started school, my mother came home from work and noticed that his appetite for opera increased dramatically. My father was listed as Bing Crosby and I sometimes taken to try to learn the cha cha. Meanwhile, my sister sneaking into the rock and roll. Our goal is to write music together in the style of Carol King. We also heard recordings of my parents, "a Seamus Ennis, my grand-uncle who played the uilleann pipes (a type of Irish bagpipes).
[John Sarantos] During my early years, my mother played classical music and opera when I was in school, but very little music was played while I was at home except at Christmas.
[Mark Kirby] What kind of music been studied before the Native American flute?
[Gera Clark] As a child, my mother would bribe with soda to take lessons piano because she wanted me to be a child prodigy. When I was able to travel on my own, I took the flute, which I carried with me for three years.
[John Sarantos] I tried to learn the battery of junior professor of music at school, but I said he had no rhythm and could not work for me. After attending a concert by Jethro Tull and be inspired by the flute Ian Anderson, flute tried to cross but I was told my flute teacher that I was deaf and would not work for me. I tried singing, but I was told I was tone deaf for three great coaches in Los Angeles and the voice that would not work for me. I tried guitar and banjo, but it was difficult to play than the cables, and could not sing with me. Then I discovered Native American Flute.
[Mark Kirby] How did you start playing Native American music in general, especially the flute?
[Gera Clark] After death of my husband and a quick marriage and divorce recovery, followed by a long illness, I started putting my life. Thus began the search for beauty. Although this spiritual path, who discovered the Native American flute.
One day I found a hundred miles Western New York, standing outside a Tibetan Buddhist temple, when suddenly I heard the sound the best. After the powerful sound, but disturbing, I found that emanate a Native American flute, played by Ed Callshim (Ponca Sioux). After this experience, I finally found a flute of my own at the Native American Museum in New York. Later, when traveling to Niagara Falls with my teacher, Amy Lee (Iroquois), a deep desire to communicate with my recent travels in the Southwest awoke. In one particular trip, I found myself exploring the canyons along the Rio Grande. Finally, I took on the mountains and the Taos Pueblo, when I heard the haunting sound drifting through the air. I followed to its source, an adobe. Inside, I met a guy and a talented man who encouraged me to play the flute native. This gentleman, unknown to me at the moment is one of the best Native American flute players in the world, John Rainer, Jr. (Taos / Creek). Departure New Mexico with renewed faith, led me through the Community House American Indian in New York for menus Franco (Muskogee Creek). He became my mentor extremely patient for many years.
On my birthday, I flew to R. Carlos Nakai (Navajo / Ute) concert with the Symphony Orchestra of San Francisco, where I learned a revival of the Native American Flute workshop in Montana. I returned to New York and I booked a flight to Montana, that's where I met John Sarantos, music and our partnership was born.
[John Sarantos] My mother, who was 84 years old at the time, I presented music by Peter Kater and R. Carlos Nakai duo. M. Kater, who is from Germany, played the piano, flute and Mr. Nakai is indigenous. I discovered that I also like the sound of the native flute. I went to a concert of Kater and Nakai in Chicago, where Nakai mentioned a week-long workshop at the ranch Pipe feathers in Helena, Montana. I was option to pay about $ 1200 for the flute workshop given by Mr. Nakai and his partner and flute maker, Ken Light, or go to Japan for two weeks, all expenses paid by the school where he taught. I chose Montana.
[Mark] Kirby What will you play this kind of meditation music?
[John Sarantos] We do not believe that this is only meditative music. We worked hard to stay away from falling into that stereotype the musical style on our CD. Although many people use our record for meditation that is also used for healing and relaxation. Several people who have cancer told me to find inner peace by listening to "Montana passages.
[Gera Clark] In fact, after John surgery cancer last year, we decided that 10% of gross sales of 'Montana Crossings' would be used to buy flutes for patients cancer. So far we have given to cancer flute flute circles and individuals in New York, Chicago, Lansing, Michigan and the city of Jefferson, Oregon.
[Mark Kirby] When several Native American flutes and shakuhachi flute or in terms of technique?
[John Sarantos] Neither. The shakuhachi can take three months to get a note. The cross has many hours of game to learn the basic level. The native flute is one of the most easily to play. I taught elementary school children to play the flute native, and started playing songs in about five minutes or less.
[Mark Kirby] Describe the flutes used in terms of size, number of holes, the type of wood, etc.
[Gera Clark] We used flutes between four and six holes and four inches to five feet.
[John Sarantos] Traditionally, most flutes softwoods such as cedar and pine. However, when Europeans arrived, they brought with them the tools to facilitate the establishment of hardwood flutes, flutes were even antique guns.
[Gera Clark] Today, the flute makers create flutes of all kinds of wood, cedar wood walnut iron, including flutes of one of the hardest woods: ebony.
[John Sarantos] We also have a variety of flutes clay based on the Aztec and Mayan cultures made by master flute maker Xavier Quijas Xyotol.
[Mark Kirby] How to get the name NightDancers of their musical duo?
[Gera Clark] One day, John and I talk and found that the two used to walk around our houses in the middle of the night without lights. We thought the name Night Walkers.
[John Sarantos] However, most people we spoke to thought that the name was too similar to that vampires or ladies of the night.
[Gera Clark] After examining a variety of names, we thought NightDancers.
[Mark Kirby] When did you decide to register, Montana passages?
[Gera Clark] John and I had played together for about two years. John went to Milwaukee for the holidays, and we played to our friend Bob Hegle, who encouraged us to continue to play together. We enjoyed playing as he used to spend hours playing on speaker phone when John still lives in Milwaukee. When he started to act in local areas of New York, people wondered if there was a CD can be purchased. After a year to live presentations, we felt that we had created a wide variety of songs that we share with others.
[Mark Kirby] Why did you choose to record Avatar Studios in New York?
[John Sarantos] I wrote CD reviews for the International Native American Flute Journal for about ten years and could tell when an artist uses a computer at home all the way to a professional recording studio. If you were to put our time, effort and money in a record, we wanted it to sound as best he could. I asked several people if they could recommend recording studio in New York. Avatar studies was one of three studies in the schedules of several people.
[Gera Clark] We were also very lucky that Tino Passante Avatar recommended by our engineer Jim Anderson sound. Jim understands the sound we were trying to do, and succeeded to capture that sound.
[Mark Kirby] What are the names associated with songs that play? Are these titles indicative of what music is supposed to evoke?
[Gera Clark] The titles are revealing of inspiration behind the music.
[John Sarantos] We hope that each person has his own emotional response to music based on their own journey.
[Mark Kirby] What kinds of events or places you play?
[Gera Clark] One of our goals is to help spread the beauty of the flute to others, and play our music for others to listen [to] or share our knowledge on how to play the flute.
[John Sarantos] herefore, we play in a variety of sites for all types of events. You can check our calendar at: http://www.nightdancersmusic.com and http://www.myspace.com/nightdancersmusic
8 year old guitar player japan