零落之夜射手的个人资料

《Azwan》背景介绍这个吧现在也太冷清了吧，虽然以前也不热闹。毕竟是三哥10年来唯一一张真正意义上的新专辑，去三哥官网上找了找Azwan的背景介绍，翻译了一下。有的地方翻译的不一定准确，我觉得三哥应该改行去当哲学家。但是总体来说感触还是很深的。距离我上次在美国演出已经过去三年了。我过去每年都要去很多地方演出，但是后来我认识到这可能并不必要。每天例行化的演奏会或许会对即兴这一音乐天性有些益处，但是他同时会带来一系列重复而乏味的行为，进而使我重复着一成不变的日常和习惯，并最终消磨了我对音乐的激情。我一直以来都相信着自己通过发行唱片和多年的巡演与观众建立起来的纽带，因此我花费了相当充足的时间去做了两件事：一本书（"Pierre Bensusan Guitar Collection"）和一张新专辑（"Azwan"）。在我人生的旅途上，我断断续续地经历过联结（unity），也或多或少的意识到了作用在世间万物上的每一个动作所带来的影响和冲击。随着时间的流逝，我越发的感觉到自己和他人、动物乃至世间万物之间的紧密联系。由于我们所有人都是联系在一起的，我希望自己的一切行为都能对这种相互结合起到促进、支持的作用，尤其是通过我的音乐。对于我和那些与我一起分享自己音乐的人来说，这感觉就像是一个滋润，甚至是治愈的过程。这张新专辑的名字来源于我的妻子，Doatea。"Azwan"的含义来自我对蜜蜂的观察，这种昆虫即使在黑暗中也能像一个整体那样工作。这一度也是音乐的一种鼓舞人心的象征性表现。听着"Azwan"的曲目，可以唤起人们对一个地方、一座城市或者是一种心情的回忆，但是最终，他们听起来像是“一个整体”。为了录制"Azwan"里的每一首曲子，我已经精心筹划了很多年，让漫长的时间来使所有的音符成为一个整体。精雕细琢地作曲的过程就像是穿过一片沙漠：路途很漫长，疲劳而又充满挑战，有时候会让人感到孤独和无助，但是你知道有那么一片绿洲，并且他就是你终极的目标。理想而言，当你踏上舞台，此时此刻所有的事物就都汇集到了一起。除了学习我自己写的曲子之外，我也会思考如何克服每天晚上都要演出这一挑战，如何才能一直保持激情。在忠于原曲和尝试即兴之间，你很难做到很好的平衡。"Azwan"算是一张独奏专辑，在这张专辑中，你会感到吉他就像是一支交响乐团，旋律、低音、和弦和复调都通过一把吉他传递。此外，我还加入了一些vocal的元素，以及和几个音乐家的合作。我的演奏技巧比较接近于jazz。这个领域有很多训练有素的音乐家，当他们演奏时，大多是即时即兴的。我很高兴能和法国吉他手Jean-Marie Ecay一起完成这张专辑，而他也用着同样的技巧。他带来了两个来自法国爵士乐坛的杰出音乐家，Christophe Cravero的小提琴和中音，还有Stephane Kericky的竖琴。此外，Jean-Mari也和我在"Balkangeles"这首曲目里一同演奏。我的追求是能够创造一个空间，在这个空间里可以用吉他和人声一起来讲述一段故事。因此，当进入"zone"时，我从未感到孤单。带领听众们和我一起走进这个空间是一种令人感到谦卑的体验。这对于我而言既是一种荣幸也是一种乐趣。 It's been three years since I last toured the US. I used to tour pretty much every year but realized that probably wasn't necessary. While playing regularly may benefit the improvisational nature of the music, it could also lead to a repetitive sequence of actions, thus creating a dull routine and habits that eventually attenuate the thrill. Trusting the bond built via my previous recordings and years of touring, I took an adequate amount of time off to invest myself into two new projects: a book ("Pierre Bensusan Guitar Collection") and an album ("Azwan"). Along my life's journey, I have experienced unity off and on, being more or less aware of the impact and influence of every action upon the entire universe. As time goes on, the more I feel connected to all people, animals and universally to the whole of nature. Being that we are all connected, my intention is that every action and behavior contributes, supports and adds value to our interconnectivity, especially through my music. It feels like a nurturing or even a healing process for me and those with whom I share it. The name of the new album came from my wife, Doatea. The concept of "Azwan" came from observing bees, those solar insects working in the darkness together as one, and by observing flocks of birds flying and dancing together as one. It has been an inspiring symbolic representation of the continuum of music. When seeing "Azwan" written, it can evoke a place, a city or a mood, but when hearing it said out loud, it sounds like "as one." I've been contemplating all the music from "Azwan" for years before actually recording it, taking time to allow all the notes to come together as one. The process of crafting and composing music is like crossing the desert: the walk is long, tiring, challenging and sometimes feels lonely and hopeless, but there is an oasis and reaching it ultimately becomes the goal. Ideally, taking the stage is the time and place where everything comes together. Besides learning to play what I wrote, I considered how to overcome the challenge of playing every night, how to keep up the excitement. It's a thin line between sticking to what's written and stepping out into the world of improvisation. "Azwan" is primarily a solo instrumental album on which the guitar is conceived as an orchestra, delivering melody, bass, chords and counterpoint in the same space. To it, we add some vocal elements and several collaborations guest musicians. My approach is similar to that of jazz musicians. While many are highly trained musicians, when they play, it is all about being in the moment and improvising. French guitarist Jean-Marie Ecay, with whom I had the great pleasure of producing the new album, takes a similar approach. He brought in Christophe Cravero on alto and violin and Stephane Kericky on upright bass: two prominent musicians from the French jazz scene. Jean-Marie also plays along with me on the track "Balkangeles". My quest is to create a space where the guitar and voice tell a story together. Then, I never feel alone when going into "the zone." Bringing the audience along with me is a humbling experience; it's both an honor and a joy. Pierre Bensusan

没有琴的时候，有没有可以借琴提供场地的地方如题，最近在外地出差，周末闲来无事有些手痒想问一下有没有可以提供场地练琴的地方呢以前去过录音棚，不过印象里老板好像只租电

想问一下霸王餐到店以后是怎么验证的啊今天第一次抽到了霸王餐，是一个双人餐，本来想着有空跟女票一块去，但是无奈最近一个月在外地出差刚好错过了时间，于是就想把机会转给女票跟她的闺蜜。但是我看规则里写着转让一经发现就取消资格，万一到时候白跑一趟就不好了嘛。不去的话也感觉好不容易中了一次，有点可惜。想请问一下中过霸王餐的朋友，到时候去店里的时候，店家要怎么核实呢，让女票登录我的大众点评可以吗，还是需要短信验证什么的

【求助】如何在段落内输入矩阵如题，我想在一段文字中间插入矩阵，因为考虑到排版不想让这个矩阵像公式一样另起一行。在word里的效果是图一这样的。但是实际输出在latex里只能达到图二的效果。并且发现在矩阵语句两端加上$之后会出现编译错误，提示我miss \endgroup的命令，不太明白这个问题应该如何修改。想要求助一下，有没有能够实现图一效果的方法，希望大神们能够解答，谢谢！电脑网络不太好只好用手机发帖，望谅解

尽管对23话挺失望的，但是付了钱的BD是收不回来的现在算是明白了为什么要出两期特番，把最终话挪到第三卷发售之后了（开个玩笑）

【求助】为什么我的74ls192不能计数我想完成一个具有24秒倒计时功能的电路，如图。从U6的down端给一个脉冲信号，但是只能显示预置好的数，没有计数，请问我的电路出现了什么问题呢？看说明没有看懂11脚的用法，是不是我的11脚没接的问题呀