 and otherwise, all is good. You wanna ask me how I'm feeling? No. I'm feeling good though. Good, I'm good. A little horny, but... Well, your wife's in the audience. Like you've never had it before! Today we got a debar video. El debarge? No, like the classical music. The one we want to go see live and had the opportunity to do it and couldn't and we were really bummed out about. That means we're about to go on a journey. A classical journey? Yes. This is a snippet from a Carnatic violin concert performed by Ganesh and Komoresh, brothers who were hailed as young prodigies in the violin. Their performances are typically rooted in traditional aspects of raga, tala, structure, composition, etc. They present it with a more modern, fresh perspective. This particular piece is an alfana, which is a melodic exploration of a raga. It has no rhythm, typically precedes a composition in the same raga. The raga they're playing is called a barit. A is pronounced ah as in almond, ah. The ascending scale, so if you keep C as the base note as in C, E-flat, F, G, B-flat, C. And the descending scale is C, B-flat, A, G, F, E-flat, D, C. Of course. In any melodic phrase that you hear, the ascending melody will never have A and D. Otherwise it would sound like a different raga. Interesting. Cool. I'm looking forward to it. Yeah, I've noticed that about the scales. So have I. The scales, western scales typically are the same when you go up and when you go down. Most of the eastern scales that we hear, they have differentiations. They don't repeat themselves when they go back. Okay. I mean some of the notes are the same, but not all. There's usually variations. I have also noticed that, Rick. You know why fish are typically better singers? Why? Because they have scales. He taught the bow differently when you're playing eastern. Did I mean it? Yeah. He's still getting tone out of that. He's bowing two strings at once or getting an overtone while he's bowing. So it's one thing we actually don't hear a ton in terms of these videos with Indian classical music. There's other violinists in western music that many who know classical music, you may say is higher than the name of I'm about to say, but I think everybody in the world is aware of the legend of Itzhak Promen. And if you don't know Itzhak Promen, just listen to some big movie scores. You should listen to some of his classical stuff too, but he's most known for doing the violin piece in Schindler's List. Oh, okay. And he is growing up for me. It's like Yo-Yo Ma on the cello. It's like Itzhak Promen is the most expressive and exquisitely beautiful violinist I had ever heard in western music. I've never heard the violin played like that. Never. I've never heard the violin played like that. They do some stuff with the sliding in between of the notes that just doesn't happen in western modalities. And the thing I was pointing out, and I'm pretty sure it wasn't an overtone. I'm pretty sure he was hitting two strings. And what's weird about that is, well, first of all, it is so hard to gently touch a bow on a string and get a tone from it and not make it squeak. So when he was doing the super delicate thing and still making it a pure tone without there being any kind of a squeak coming from the bow on the string at all with the microphone right on it, that capacity is the amount of hours it takes and the gifting it takes. But then, have you ever held a violin and felt like, OK, so you know, and you've seen down at the bottom, the strings don't lay flat evenly like on a guitar. They're like this. That's why when they bow it, they're doing this and this so they can get to all the strings. So granted, the two strings he was playing are close to each other but still to simultaneously hit both strings so that one is hitting the one note that's like the tonic throughout and you're moving the other one around and get them to sound like they're at the same volume and this ridiculous. I agree. Always enjoy these videos. Incredible. And it never feels like anything we can say. No. It's like, wow, that was nice. I think the first time we saw instrumentation in some way that boggled our mind, it was a stodgy Ezekiel Hussein and the horse. Horse running. Right. And it just doesn't stop. We are consistently getting vocalists or dancers or singers, I mean, or musicians in some capacity that elevate in ways I've never seen the art form elevated. Yeah. Astonishing. I agree. Let us know more, please. Send it. All of it. Please. Down below.