In Irish and Scottish instrumental folk music, it’s common to perform a “set” of the same kind of dance tunes. They don’t have to be in the same key or anything. Being the same kind of dance (a jig, for example) guarantees the meter is continuous though.

A peer group can certainly be a good motivator as well.

I think it’s funny that there’s such an emphasis on simplicity and accessibility in self-study resources, yet the one book I consistently see mentioned by self-teachers is CiC.

Cool. Link us in your sidebar, we’ll do the same.

The guy has a bachelor’s degree in performance from what amounts to a trade school. He’s a reasonably competent musician, but just like I wouldn’t expect a plumber with the same education attainment to be an expert in materials science and the history of municipal engineering, I wouldn’t expect a bass player with a performance degree to be an expert in music theory, music history, conducting, linguistics, or any of the other fields Neely comments upon when he has an agenda.

Nice to hear a recent performance, and such a captivating one at that. The dynamics on the tremolos in the first movement are lovely. Nice bassoon part at 9:50, in the fire chaconne, too. Interesting percussion. Do you happen to know whether the percussion would have been historically accurate?

I will join you in your optimism. Who knows, maybe this platform will pick up steam in the future. I’ve encountered quite a few technical challenges with Lemmy too, so I can see that if things persist as they are, there would be a barrier to people participating here.