Corrective Jaw (Orthognathic) Surgery, Animation.

https://www.youtube.com/embed/fw2brzBw3Q0

Restorative jaw surgical procedure, or orthognathic surgical treatment, is a group of procedures done to fix dentofacial irregularities, a lot of frequently shown up as misalignments of the jaws. These deformities not only cause malocclusion or poor bite, yet additionally create problems in the temporomandibular joint - the TMJ- as well as the air passage, leading to difficulties chewing, ingesting, speaking and also taking a breath. While the surgical treatment is performed to fix functional troubles, person'' s look might be considerably improved therefore. Open up bite is a problem where the top and also reduced front teeth do not touch when the mouth is closed or at rest. An open bite can lead to a number of oral health and wellness problems including tooth wear, tooth breakage as well as TMJ disorders. It may additionally create speech problems referred to as 'lisping' in some individuals.Open bite surgical treatment involves getting rid of a few of the bone of the upper jaw to move it to a brand-new position. Once the jaws are straightened, plates and also screws are utilized to protect the bones in position. Extending reduced jaw is corrected in a procedure called mandibular problem surgery. The tooth-bearing part of the reduced jaw is divided from its base as well as relocated backwards for proper positioning. In a comparable means, declining reduced jaw, or "weak chin", is fixed with mandibular development surgical treatment. In this situation, the tooth-bearing section of the reduced jaw is repositioned forward. Orthognathic surgical treatments are typically done in mix with orthodontic therapies and also may take numerous years to complete. Once the jaws are aligned, plates and screws are made use of to secure the bones in area. Extending lower jaw is dealt with in a procedure called mandibular trouble surgery. In this case, the tooth-bearing section of the lower jaw is repositioned onward.

african instruments

https://howtoplaythedjembedrums.com/corrective-jaw-orthognathic-surgery-animation/

Drill Rap - If You Don’t Know, Now You Know | The Daily Show

https://www.youtube.com/embed/v0l7eJXOfsc

african instruments

https://howtoplaythedjembedrums.com/drill-rap-if-you-dont-know-now-you-know-the-daily-show/

The Two Feel: Making your bass lines dance! – Bass lesson with Russell Hall

https://www.youtube.com/embed/eP1pqXgDGqk

Hey, it'' s Russell Hall below as well as Truly easy in concept, however really various in application. Someone that is possibly the best at demonstrating this in four-beat songs, in a four-beat sensibility, is the unbelievable Israel Crosby. And the reason I claim this is due to the fact that he created two-beat bass lines that had the perceptiveness of playing in four, had the flexibility of playing in four.For instance ... So no, I didn ' t play precisely what Israel played, but I attempted to play in his design of

playing in two, which is sort of dance around the two-beat. Similar to the previous workout, where we speak about rhythmic strength, rhythmic objective, Israel Crosby produced these bass lines that were extremely deliberate, however additionally really open, very extreme, however really malleable as well as versatile, like dance. Now let ' s take a track, not But Except Me, yet rather something like Autumn Leaves. Type of in the exact same vein as the wonderful Ron Carter. Just how does he create these two-beat bass lines that produce this dancing that we talk concerning? Well, initially he takes the chords, he sees what they are. He takes the melodies, he sees what it is. And also he tries to produce something that will really boost all the other artists, yet at the same time, ground the music.So at the same time he ' s. elevating, he ' s grounding. So he ' s gon na play roots,.

he ' s gon na play thirds', he'' s gon na play fifths, however then he ' s additionally gon na push'it onward. For example ... So currently, that was a great deal of details. Very different to the. style of Israel Crosby, however really comparable in the. sense that he ' s dance, he ' s creating this air of. enigma in his bass lines, as he does. So, you understand, young me is determining, alright, exactly how do you do that? Like, exactly how do you identify. how to develop a 2 feel with such flexibility,. but also so basing, as well as I can clearly hear what the tune is? The fantastic Ben Wolfe,. that was my teacher for, I'' d say, most likely 15 years His very first exercise for me is. to hum the tune of the tune as well as play in two.He obtained this workout. from the fantastic Ray Brown, who was his instructor. So you at home, I want you. to try humming the tune to Fall Leaves while playing. a two feel as well as attempt to develop that very same versatility, yet. additionally that same grounding. The two-beat, often. we assume of the two-beat, as well as we'' re uncertain what to. play, so we'' ll, you understand, we ' ll just go ... Half-notes. Which is great. That ' s great. However just how do we boost that? That comes from the tuba, you understand? You'' d hear early jazz music. and also you'' ll hear the tuba.'Like, if they ' re playing a song like this, for instance, they go ... And so forth so forth, and after that. how do you obtain from that to after that Ron Carter going ... Linking the void. Vocal singing the tune in your. And at initially, it could be challenging, since you'' re like, okay, . I obtained ta play on the bass? You start off slow.Slow it down, also from. And you go on and also you go. on and you keep playing it, as well as eventually you'' ll get to. a factor where you won'' t also have to play C minor at. Like we said in exercise two, prior to this, it'' s all concerning point A to factor B. It doesn ' t matter what occurred, as long as you obtain to factor B. I'' m gon na begin at note. totally unrelated to this track. Yeah, it'' s all about the resolution. You recognize, you obtained ta think of this stuff as Lester Young would certainly'' ve believed about it.Any time you hear him. play, he plays these long. extended expressions that virtually feel like they'' re not even striking. the chord modifications, not also also hinting. at the chord changes. Extremely comparable to Miles Davis, also. But after that he'' ll just squeak into that note that simply fixes it and makes everything that occurred previously. a begin to make feeling. For instance ... Since as soon as you realize that. the chords are all subjective, that every note type of. jobs as long as there is a clear resolution, a clear. understanding of passing tones, a clear understanding of half actions, opportunities are limitless. Hey, thanks for viewing. If you intend to find out more about my course. the details are down below. Currently let ' s take a track, not Yet Not For Me, but rather something like Autumn Leaves. That ' s excellent. Like, if they ' re playing a song like this, for instance, they go ... And as well as on so forth, and then. Like we stated in exercise 2, before this, it'' s all regarding factor A to factor B. It doesn ' t issue what happened, as long as you obtain to point B.

get djembe here - click

https://howtoplaythedjembedrums.com/the-two-feel-making-your-bass-lines-dance-bass-lesson-with-russell-hall/

Hamzat Amoussa Koriko: African Drummer

https://www.youtube.com/embed/aauDKF-iPwk

(African drum beats) When I play drum, I usually inform people that I have 2 hearts. One is inside me and the second one is in the drum Anytime I play drum. I feel very satisfied. As well as I can not sit in front of a drum, and also not touch it, never gon na take place. (African drums beat) I was born in Togo, in Lome the funding city of Togo. And after that, I matured in Lome, and after that I went to institution there. When I reach the college, I was currently included with cinema. As well as then when I was in France in 2003, among my pals submitted my application for the Diversity Visa. And afterwards I won, and after that they offered me, I believe, about six months or a year to relocate to the United States. Where I expanded up, in Lome, it'' s called Nyekonakpoe. So every Sunday, there was a group of neighborhood participant that would obtain together, and afterwards they would certainly simply drum. And after that, as a youngster, we'' d be around them, you know, listening to the songs, you recognize, carrying on a few of those beats. And also often, if you obtain an opportunity, you would be allowed to, you understand, touch some of those drums.It was much like a. natural talent for me . Someone asked me if I. can still feel my hand. I stated, "Oh! Really, ". I wear'' t consider it." - (Dorothy singing in African. language as well as drum beats) I'' m from Cameroon in Africa. I fulfilled Hamzat in an. end of year celebration. So he satisfied me and also was like,. "" Oh, I like your dance step."" and, "" Inform me a lot more. about on your own."" So I informed him. Then he'' s like, "Oh,. there ' s an African Art Field that ' s in Grand Forks. You like me to join?"" I was like, "" Oh yep, I'' m. gon na expect that."" (Dorothy singing as well as. playing the ngoni) - She has. a great deal of talent.So the instruction is a chance for her, to deal with her in a more. structured atmosphere than similar to her coming. to the African Art Sector, and after that just discovering. It just took place that. she intended to discover. And she ' s also ready to. make the sacrifice needed. So, for me, sometimes,. when I'' m resting, I can awaken in the. middle of the night as well as attempt to design. something for us, due to her. desire to learn.We located,

a lot of the. time, the chemistry as well as then I will certainly let her lead. So, once she does something. that I such as, I say to her, "" We'' re going to." deal with that. " rather of me just. trying to enforce my know-how on her. She'' s a versatile performer,. she can do it all. - (Dorothy playing drums) - Being with Hamzat, he has, like, taught. me just how to, like, browse the phase while acting. Like to relocate, the actions to take, and the voice and also. the tone to make use of in a certain scene. He has been wonderful,. like, I'' m delighted. (Dorothy acting). He faced the area, as well as saw what has actually happened. He cried out as well as he discovered that there had actually been a huge opening. in the fence of thorn. His dad listened to the. The dad select up. (Dorothy sings in African. language while drum beats) - I wasn'' t. truly exposed to my ethnic drumming from. the Kotokoli individuals. As well as the only time. I obtained an opportunity to hear that songs was. when I lost my grandmother. People from our village. involved commemorate her life. As well as, I listened to the music. I'' ve never ever heard it before.And after that I began. dancing on it. I wouldn'' t stop. I was attempting to play. that drum yet "it was a, "No. Some people call it Bleteke. And if you go to other places, they have various other names for it. We call it Bassar, which indicates the people. from Bassar utilized to play. Anytime I touch that drum, it simply seem like my grandma is still active. ( plays drum) Among the drums. is called Djembe. It'' s one of the most popular. drum in Africa. The smaller one,. we call it Trouble'' mdo. It ' s even more of a talking drum. - Remaining in Africa, Africa has, like,. many languages. And also in my country. alone, Cameroon, we have more than 250. various languages. However when we integrate, when they play the. music and also the rhythm, you really feel like you are connected to individuals singing it, even though you can not. truly recognize. (Dorothy singing in. African language) - Perhaps someday. she'' s going to be the one sitting right here, doing the exact same point. with another person.You know, she ' s going. to be the master and also possibly, the various other individual. will be the instruction. So, the dream is to. keep our custom entering the new. atmosphere we are in. (songs playing). He'' s like, "Oh,. She'' s a versatile performer,. I wasn'' t. truly revealed to my ethnic drumming from. I'' ve never ever heard it before.And after that I began. It ' s even more of a talking drum.

learn djembe here - click

https://howtoplaythedjembedrums.com/hamzat-amoussa-koriko-african-drummer/

What's the difference between 3/4 and 6/8 time?

https://www.youtube.com/embed/N4q2kBe82-o

this video is funded by the piano discovering application skoove there can typically be difference as well as confusion about whether a song is in 3 4 time or 6 8 time now later in this video i'' ll play some examples of tunes that are either in 3 4 or 6 8 and also you'' ll have a chance to presume which one you think is but before we do that allow me explain what the distinction actually is in between 3 4 and 6 8. if a tune is in 3 4 time it suggests that there are three quarter notes in each bar of the music yet in 6 8 time the signature is informing us that there are six 8th notes in each bar now this is where the confusion arises three 4 has 3 quarter notes in a bar right yet those 3 quarter notes will certainly likewise suit a bar of 6'' 8 also 6 8th notes can additionally match a bar of 3 4.

so what'' s the difference if a piece of music in three 4 can always fit into a bar of six 8 then isn'' t one of the trademarks just redundant well no as well as there'' s actually a hint to why in the method that i'' ve composed these 6 eighth notes out indeed both a bar of three 4 as well as a bar of six 8 can contain 6 eighth notes yet the distinction remains in exactly how we organize them see one element of time signatures that people usually miss is the difference between basic and compound time easy time is when each solid beat of bench separates into two just as spaced 8th notes the 8th notes are grouped right into sets of 2 three four is what we call straightforward triple time ie has 3 strong beats in the bar and each of those strong beats divides down right into two eighth notes the option to easy time is compound time compound time is when each solid beat of bench rather divides down into three equally spaced 8th notes the 8th notes are grouped right into trines 6 eight is what we call substance duple time i.e it has two strong beats in a bar with each of those solid beats splitting down right into 3 eighth notes i'' ll claim that again 6 eight has two strong beats in a bar not six yet two so although any type of opus created in 3 four can practically be pushed into a six 8 measure signature the way three 4 and six eight in fact sound is very various so what do they really appear like well 3-4 has quite got a waltz really feel to it with a clear sense of three beats in the bar you load up my senses like night in a foreign six 8 on the various other hand seems like it'' s swinging back and forth like a pendulum everyone weeps everybody a track that directly contrasts the difference in between 3 4 and 6 8 is america from leonard bernstein'' s west side story america leaps to and fro from 6 8 to 3 4 developing a sense of the pace getting faster and also slower as we'' re leaping in between having 2 solid beats in the bar and 3 strong beats in the bar another point to remember is when 6 8 is played especially gradually it can start to seem like 3 4 because our ear can'' t really acquire the 2 beats in every bar due to the fact that they ' re moving also gradually for instance gravity by john mayer is in 6 8 time so we must feel it as having 2 beats in each bar such as this however as you might have discovered just then since it'' s so sluggish our ear can instead start to acquire the 8th notes rather so we hear the music such as this if a track in three four is dipped into quick tempo it can start to seem like it'' s in 6 8 for instance i'' ve seen differing opinions on whether america by simon and also garfunkel is in 3 four or 6 eight personally i can see an instance for both the fairly fast tempo implies that you can feel it as having 3 beats in a bar similar to this or you can feel it as having 2 beats in bench like this so whether a tune remains in 3 4 or 6 8 can often be up for argument specifically if that song is at a dramatically slow-moving or quick tempo if you'' ve always been interested in finding out to play the piano then you can begin now with scoove scoove is an easy to utilize interactive app that can educate you actual tunes by classic musicians like the beatles alicia keys as well as elton john start your free trial today with the web link in the summary so currently that we'' ve discussed the differences between 3 4 and 6 8 i'' m mosting likely to play you 10 instances of tracks which are either in 3 4 or 6 8 as well as i desire you to guess which time signature they'' re in time after time i ' ve done my sentences these are a few of my favored things these that fly with the moon on their wings these are a few of my favored things repelled i was waiting say something i'' m surrendering on you say something i'' m surrendering on you i'' m celebration people anywhere depression first in my spirit lots of anxieties allow me know in the remarks the amount of you solved to ensure that'' s the distinction in between three 4 and six 8 however what would an opus seem like if it remained in both 3 four and also six eight at the exact same time to put it simply suppose one part had three solid beats in the bar whilst another component had only 2 well this would certainly be a three against 2 polyrhythm and is exactly what occurs in radiohead'' s daydreaming the ideal hand of the piano is playing in 3 4 and also the left hand is playing in 6 8 to put it simply for each 3 beats in the right-hand man the left hand is playing 2 beats certainly as is the situation with all poly rhythms we don'' t often tend to make use of different measure signature on the web page at the same time so although one part of the music has a 6 8 fill and also the other has a 3 4 fill we create it all down in one unified measure signature in this situation 3 4.

now there'' s simply a pair a lot more common points of complication with 3 4 and also 6 8 that i wanted to cover prior to completion of this video clip the first of which is what'' s the difference between 6 8 and also twelve 8 well whereas 6 8 is compound duple time so it'' s got 2 strong beats in a bar each separating down into 3 8th notes twelve eight is compound quadruple time so it has four strong beats in a bar and also as soon as again they separate down into three 8th notes now at faster tempos twelve 8 is successfully a turned or mixed 4 four however at slower tempos 12 8 is efficiently the same thing as two bars of six eight so occasionally the exact same item of music can be made a note of in 6 eight or twelve eight as an example i would certainly consider lou reed'' s ideal day to be in six eight time nevertheless i'' ve seen other individuals transcribe this tune in 12 8.

as well as it doesn'' t actually make much difference to me it feels a bit uncommon to have such lengthy bars however maybe that'' s simply me different musicians will certainly in some cases have various choices on which signature to use and also lastly i wanted to talk about the difference between three 4 and also 9 eight what measure signature would you claim this song is in and also what about this one it'' s the only point well if you said three four then that is technically correct nevertheless you might have likewise claimed 9 eight these two songs are instances of what'' s often called a jazz waltz to put it simply they'' re in swung 3-4 time so to notate this we might compose them down in 3 4 like this but with a guideline to swing the point rhythm additionally we might write them down as nine 8 9 8 and 3 four both have 3 strong beats in bench however whereas in three four these solid beats separate down right into two 8th notes in 9 8 these 3 beats divide down right into 3 8th notes as well as splitting down into three eighth notes provides it a swing really feel i must keep in mind though that in technique tunes with a jazz waltz seem like these will usually be notated in 3 4 time with a direction to swing the rhythm as they'' re simpler to read this way and likewise allow the entertainer extra freedom over how they swing the rhythm 9 8 used as substance three-way time i.e 3 solid beats in the bar splitting down right into three 8th notes is normally just found in timeless songs in pop rock as well as jazz if you discover a 9 8 time signature it will certainly instead typically indicate that the song remains in a strange or intricate meter because although in 98 we can organize the 9 8th notes right into three similarly spaced beats we can additionally organize them into irregular groups to make nine 8 job as an odd measure signature hurts i hung my head teams the 9 8th notes right into a group of 4 and a group of 5.

so 9 8 can be the substance equivalent to 3 4 or it can be a weird measure signature so ideally that'' s enhanced your confidence with the distinction between 3 4 as well as 6 8. at the end of the day any kind of opus in 3 4 can be listed or interpreted in six eight and also the other way around it just boils down to the manner in which you wish to really feel the songs the way that the pulse is meant to be acknowledged as well as on event some pieces of music will do simply as well in either signature if you can believe of any type of other examples of tunes in 3 4 or 6 8 after that do leave them in the comments down below and i'' ll leave you today with an item of music i'' ve created that switches over in between 3 4 as well as 6 8.

as well as thanks as always to all of the terrific people who sustain me on patreon consisting of the names you see on screen right now and also andre science representation andrew andrew brownish andrew sussman austin barrett austin russell bob mckinstry brittany parker cameron oliveina colin aiken chris cabell christopher ryan david rivers donald howard dr darren wicks elena scorchenko es ben hansen eugene leroy fd hodor julia molatona hamesh brocklebank hugo miller james ko j.a kochensparger john dye justin figger lavenderman increased mark height mark ziegenhagen max o'' keefe melody composer settled melanie schoner michael vivian nancy gillard nathan lawrence nathaniel park paul miller paul paisle peter dunphy pioche milovsky roger clay sam lin scott fenley sean kennedy steve daly stephen lazzaro tim beaker toma aharoni tricia adams tim payne toot victor levy vidad flowers vladimir kodakov and also volte you 9 8 can be the substance matching to 3 4 or it can be an odd time trademark so with any luck that'' s boosted your self-confidence with the distinction between 3 4 as well as 6 8.

learn djembe here - click

https://howtoplaythedjembedrums.com/whats-the-difference-between-3-4-and-6-8-time-5/

The Djembe Drum

Djembe drum is a type of African drum. It is one of the most popular types of drums in the world today. The name djembe is a Swahili word that means 'big drum'. The djembe is an important instrument in the culture of Africa, especially in the area of West Africa.

The djembe is a very important instrument in the traditional music of West Africa. It is used as a rhythm instrument, to accompany singing, and to mark the beginning and end of songs. It is also used as a solo instrument, and is played in a variety of styles. It is often referred to as the 'big drum' because of its size and weight.

There are different types of djembe. The most common is the djembe that is used in West Africa. The djembe used in West Africa is usually made from wood, with a single skin stretched over it. This type of djembe is played using a wooden mallet.

Another type of djembe is the djembe that has two skins. The djembe with two skins is usually played with a metal or plastic stick. The djembe with one skin is also called the djembe gourd. The djembe gourd is a small version of the djembe, usually played by women. It is not as popular as the other types of djembe.

The djembes used in West Africa have been made from wood since ancient times. The djembe was used in religious ceremonies. The djembe was also used in the funeral ceremonies of some tribes in West Africa. The djembos were used in war and battle.

The djembo drum was also used in the slave trade. The slaves were forced to play the djembe to the beat of drums. They were also forced to play the djembo drums when they were forced to march through the streets of their villages.

The djemba is one of the oldest instruments in West Africa. The djebo drum was used in the funeral ceremonies of the slaves. The djemba drum was also used in the funeral of the rulers of the city states of West Africa. The djemba was also used in the funeral ceremony of the king of Dahomey (present day Benin).

The djemba was also used as a warning to the people of the city of Dahomey. The djemba drum sounded at night and warned the people to stay away from the city. The djemba was used in the funeral ceremonies and was played in the funeral of the king of Dahome.

The djemboa was also used in the funeral rituals of the slaves. The djeba was used in the funeral of the ruler of the city state of Ashanti. The djemba was a very important part of the funeral ceremony of the ruler of the city of Asante.

The djembas were used in the funeral of the king in Dahomey. The djeba was also used in the funeral rites of the rulers of the city of Oyo. The djemba was played during the funeral of the king of Lagos.

The djembala was used in the funeral of King Akintola. The djemba was still being played during the funeral of King Oba of Lagos.

Today, the djembe is still used in the funeral ceremonies of many people in West Africa. The djema is also used in the funeral of some kings and chiefs. The djembe is also used in the funeral ceremonies in some parts of Nigeria.

https://howtoplaythedjembedrums.com/the-djembe-drum-2/

Jim Hartel minstrel banjo & Rhiannon Giddens, MUSIC episode

https://www.youtube.com/embed/N7SWUCpHme8

- The African diaspora offered us the banjo in America. There are many prototypes of the banjo that come with the slave labor. And also these stringed instruments make their way into the brand-new globe. 1781, Thomas Jefferson notes a banjar, as he called it, and also keeps in mind also that it is essentially an African tool that he is observing and also explaining. And it experiences numerous names. There'' s the strum strum, the happy wang, and also it becomes inevitably this marketed instrument called the banjo. - I make banjos. I put on'' t make modern banjos. I make banjos that were made throughout the middle of the 19th century. You recognize, around 1850. It was when the banjo was beginning to come to be designed. So there was a wide range of various type of banjos. A great deal of them were made by woodworkers or performers. And also many of the banjos made throughout that duration were a broader neck than the modern-day banjo.And a lot of

the banjos lacked worries. Fret are those steel components for marking. the various notes on the fingerboard. The rims were a great deal larger than the. kind of banjo edge that we see today, which is only around 11 inches. In those days, they had banjos as. large as 15 inches in diameter, as well as they had natural skin heads on. There are still banjo manufacturers that. are making banjos with skinheads, yet it'' s not as typical anymore. I got really thinking about making this. sort of banjo since it is the initial pop tool. American pop tool. This is a copy of a banjo that was. made by Joel Pedestrian Sweeny, that essentially was the Elvis Presley. of the 1830s. He was the person that'' s attributed with. copying servant songs as well as placing on a show. By regarding 1843, there was a theater. production of black face minstrels. - Minstrelsy was the most preferred type. of enjoyment for a long, lengthy time.And it began

off with one man. vocal singing and also playing the banjo to like, you understand, at the turn of the. century, these huge extravaganzas of professional dancers and musicians. Things that was all in typical. about minstrelsy was it was all performed in blackface. As well as so it'' s a troublesome time. duration for us to look back on due to the fact that we have not a very excellent method of. speaking about race in this nation. We'' re not great at it. You know, American background is. not all poor and also it'' s not all excellent. You know, it ' s a combination of points. which'' s what minstrelsy is. The much more that I'' ve entered it,. the a lot more that I realized that it'' s an actually important time since. - Another maker in the 1850s was. James Ashborn company. And this is an initial one. This is a banjo that I copy. I such as to duplicate this.. It'' s type of a hard edge to make, and also they split up really easy. So primarily you simply pull the wedge like that, as well as pop it out. This person. was means ahead of his time when it pertained to making banjos. You can hear just how hollow it is.

People desire these for the sound. - However it'' s, yes, it ' s held up truly well. - Great. - You understand, I'' ve played this point on. several recordings at this moment currently. - Allow me simply check the size of that. I fulfilled Rhiannon Giddens at an obtain with each other for playing early banjos. - I collapse it when I'' m not using it. - Right, excellent. - I was sort of hoping that someone would certainly have a minstrel. banjo for sale. I'' d been actually intending to enter it,. and he existed. It was like one of those things where. you get a tool and you begin playing it. As well as you'' re just like,. how much is this? I don'' t treatment. Simply', right here ' s my checking account. Simply clear it out. And also almost everywhere I go, people resemble,. who made that? What is that? What is, you recognize, as quickly as I start. to play it, you understand, various other musicians, they'' re simply like, that is the. coolest thing ever. It was like coming house, finding the. noise of this minstrel banjo. It'' s come to be a part of my songwriting.The background, you know,

keeps me there. and the wish to recast several of this songs in a modern-day light as well as, you know,. identify exactly how to do it without completely decontextualizing it, you recognize? To ensure that the music is not just entirely divorced from the context where it came. ♪ Julie, oh, Julie, won'' t you run ♪ '. ♪ ' Cause I see down yonder ♪ ♪ the soldiers have come ♪. ♪ Julie, oh Julie, can'' t you see ♪ ♪ Them adversaries involve take. you far from me. ♪ ♪ Girlfriend, oh, mistress I won'' t run ♪. ♪ ' Cause I see down yonder the soldiers have come ♪. ♪ Mistress, oh, mistress I do see ♪ ♪ And also I'' ll remain right below. '' til they come for me ♪. I don'' t make modern-day banjos. It'' s kind of a difficult rim to make, and they come apart extremely easy. - But it'' s, yes, it ' s held up really well. ♪ ' Reason I see down yonder ♪ ♪ the soldiers have come ♪. ♪ ♪ Mistress, oh, girlfriend I won'' t run ♪.

african instruments

https://howtoplaythedjembedrums.com/jim-hartel-minstrel-banjo-rhiannon-giddens-music-episode/