montycashmusic 3Speak Podcast

https://3speak.tv/watch?v=montycashmusic/psahnaex
Thanks so much everybody I am so very grateful! 🙏❤️

This trip to Crete for modal music training and networking with industry leaders in this field was made possible in part by the Australian Government Regional Arts Fund which supports the arts in Regional and Remote Australia.

The clip at the end is from last night's Sema in Fremantle run with experienced whirler Veetrag. It was such a lovely night - thank you everyone for making my last event before the trip so special. 🥰 Veetrag made an amazing cake which we all relished over at the end with a cup of licorice chai! 😋

I will continue running Sema in the South West where I am based on my return in both Margaret River and in Denmark and also in conjunction with events hosted by Sufi Teacher and Guide Vivienne.

I look forward also to bringing together more story telling creations in collaboration with dynamic visual artists - utilizing new and exciting forms of theatre and dance.

Let's see how this year pans out and the ideas and inspirations that it brings!

#kemençe #worldmusic #whirlingdervish #regionalartsfund #regionalartsaustralia

https://3speak.tv/watch?v=montycashmusic/gkvxcryf
Many a musician would agree, it is a grand shame and a dastardly travesty to go away for a few months and put instruments in a cage! They're like people and if you let them alone - they just kind of spoil and slide into a somber sorry state and then need to be revived with love and attention when you return. Of all their needs, they must to be played!

Instruments exist to be played.

And so begins... The Monty Cash Instrument Library!

(Wow, what a great idea.. I know)

We have a few items on offer this round (there will be other rounds ladies and gents). It's a most precipitous moment to get started with the use of an instrument and also if you want a specific sound for some great masterly symphony you're crackin' on the DAW!

As a rule, the person with the most interest and least experience gets priority!

It's about getting instruments out there and played by people that have never played them before or never committed to buying one (or don't have the cash and that's completely ok).

It's also about engaging in alternative forms of exchange and encouraging and allowing opportunities for trust.

I will be based in Perth/Freo until I leave on the 19th of July and will need at least the Drum/Udu for the Sufi Sema gig coming up in North Freo on the 13th of July.

What are the terms of use/borrow:

- Take care of them like they are your children.

- If you don't use it for a month pass it on to someone else (don't leave the poor thing alone).

- Take care of them

- Use them

- For as long as you use it continuously consider that your updated library card

- oh, and of course, take care of them

It's really very simple - and if you feel so inclined - get it repaired and make it better. Consider it a service to yourself and to others who may use it in the future.

Ok - here are the options this round:

Full Button Accordion - This was a gift from Solange in the Netherlands. It is a family heirloom that otherwise would not have been used. I have learned all the fingering for this and written it down on a sheet. Once you get used to where the buttons are you actually have a lot more options than a piano accordion as your notes are closer together. Sadly, as I have been quite involved with Turkish Makam and Indian Raga and correcting my intonation to traditional ways - I have neglected using it (bad Monty!) but you can!! It's such a beautiful instrument and in very good condition for its age - it's el vintage-o. One of the surface of a button is missing but all the functions work and I bought some lovely velvet straps from Italy for it.

Tabla set - This is a decent tabla set and needs to be taken care of. Tabla is a serious instrument, it's not just a set of drums like bongos - in India people dedicate their entire lives playing this one instrument and they are supported by India for doing so. Youtube will help you but I warn you - get some doweling from bunnings and cut it into little bits and add some more strainers to the Dayan (the big one) - it needs them for tuning. Comes with a tuning hammer (looks like it came from a Scandinavian treasure cave) and some chalk (you need it to help your hand slide on the Dayan).

Homemade Kavals - Yes, I made these - in the style of a Macedonian Kaval. Two are in A (large ones for large hands) and one is in E. The Brown large one actually holds a good equal temperament (western tuning). The others are experimental masterpieces. On a Kaval there is no playing piece, you're literally blowing on an angle into a pipe, so once you get your head around the blowing technique (a quick video tutorial and a week of practice to make your first sound

) - you can be the pied piper on the streets of Perth and charm all the snakes at Beckenham train station!

Bendir/Frame Drum - This is a synthetic skin frame drum in D (well it kind of shifts a little sometimes but generally stays around D). You can use it for all traditional musics. Youtube videos are rife with tutorials on this. I use this one a bit like a daf or erbane from Iran which normally has rings on it. You can use a sitting method on your knee or hold it with two hands with a thumb on the side. The choice is yours!

Udu/Claypot Drum - I made this one - it's a little special. I even sanded it and made it smooth - your hand get sore but it makes a good doof. After a time your hand gets used to smacking against a clay pot. You'll discover a certain interesting tenacity building in your hand and finger muscles after about a month's time! Something to look forward to!

Thank you folks! Let me know if you're keen. I hope to come back from Turkiye with a massive bag/s of fizz bang fancy instruments, I paid an extra 10 kg luggage for 250 USD for a reason!

So the motto of this library is: Keep the ball rolling and keep instruments in the hands of those wanting to play them! Onwards!

You can message me on if you're keen - 0422 563 234

Let's start with a hot drink and a chat and take it from there (of course, I'll need to see you're really there! And also measure your keen as beans-ness!

https://3speak.tv/watch?v=montycashmusic/moyedgpw
I've been playing the Sarangi since October last year - I've already used it in many performances and as an aid to the vocal workshops with Ram VJ from Jan to March '24. In this video is also a comparison between the Sarangi and the Klasik Kemence or Politiki Lyra (as it's called in Greece) from a street musician's perspective.

I play by feel and by ear predominantly. This is sometimes a limitation but also sometimes a source of great inspiration and innovation in skill that can't be learned from a teacher. More recently, I am learning a balance between the methods of learning set music and technique and training myself by ear and by feel. Allowing two different approaches at different times and then marrying them.

Primarily. I approach music as a 'feel' science in which feel is king. In this - if we are honest with ourselves through this exploration we also discover that feel can be expanded into to help us learn specific disciplines or instruments where we don't have a ready teacher or are in a state of mind where we will only learn from ourselves.

In the pursuit of greatness of efficacy and focus we can find our way back to the rest of the world through first teaching ourselves from within. Music is a tool that allows this growth back into the social sphere for a person that is finding their way out of a closed form of thinking created as a defence from trauma. By allowing feel to be king - a person can be made to feel they are in control and when they can receive it - allow more and more of the outside world to enter in - and in this, find reference points and eventually come to a level with the rest of reality and live one and equal with all.

Please note: I am not undisciplined. Please do not consider I can just pick up things and play them. I play them for hours and hours and hours and hours - using my ear and 'feel' as guide.

It has taken me a while to bring my mind to the point of intentional discipline - but I did it by training myself through allowing me to play music whenever I felt it. By encouraging the flow when the flow was happening and by only playing what I feel and not playing by obligation. Nowadays, I can much better apply myself to something by choice and discipline - I still very much use flow and feel to work my way into a new music, discipline or instrument.

By allowing and working with flow - we find our way into something by bringing all of our many aspects into line. Then in time - after coaxing this wild animal away from its secure den - we have the trust of the naive and innocent self and it is willing to learn things more by discipline. This is a particular pathway that is effective for finding a way out of trauma. Where trauma locks a person within a mind and detaches them from the outside. Flow and feel helps find the pathway by which to access greater connection - this can be done through music or any artform for that matter.

I claim no expertise in any field of psychology - so please take advice or anything I say with this in mind - I emphasize you are your own responsibility. In a world of careful legal everything - you cannot just speak and live your truth. I can only ever share the experiences I have had with myself, in my life and in my travels and honest observations honing the tool of the mind - using many reference points - which to my mind is a greater qualification than any particular academic achievement. I've gone to the depths of the self and discovered the processes for myself. If my methods and my words ring true for some - may they be a tool for experimentation. Otherwise, no they will not be available for everyone - nor do I wish to be Jesus.

I really just enjoy honing focus and bringing lost parts of the self into line to find a greater harmony. That seems to be where I get my kicks.

For a large part of the last 5 years, I wake up from 4-5am and the first thing I do is get a coffee and practice. I then fill my days with adequate listening material to fill my musical imagination with options and to train my ear out of western intonation. I am not just receiving some abundant gift as though magically from spirit. I am putting a tonne of work. I work so bloody hard you wouldn't believe it!

I have come to learn there is no way around it. You must work.

In this - work becomes a pleasure because you have taught yourself how to take control of your own reward circuit. When you want to get something done - you know how to do it. I made a joking comment to a farm owner recently about scarifying a paddock with a tractor and tool - in telling me how to use it he then said, 'go out and have some fun' - I said, 'this is fun?' with a cheeky smile - and he said 'make it fun'.

And that's what we do. We learn to control fun. We learn ourselves so well we wrap ourselves in and around our 'fun' circuit that we learn to be able to do anything with willingness and dedication. We find aspects of mundane jobs that allow us to use parts of ourselves we wish to hone - we find a way for something to be fun for us. And that pathway can be as specific as each person's individual experience.

The ear requires training for stamina as well. This takes time and the only way you can build the stamina of your ear is by pushing your ear to the edge of its ability more and more and then increasing where possible. Within this also requires a deep level of honesty with the self - that when your ear goes out - you need to say so - you need to say - yes, this is out and recognize your ear has lost the ability to focus. By being honest with ourselves we can find ground, without ground there is no hope of learning. In many cases a tanpura drone from an app is very helpful because it helps keep your ear in tone. But also practice without a tanpura so you can build the skill of the implied drone of the tonic which should also be there with you in your thinking as part of your music.

Instruments like the Klasik Kemence and the Sarangi - people spend their lives learning in their respective countries. I don't claim mastery - I'm enjoying exploring with honesty and persistence and in this learning new things about myself by increasing my capacity for applied focus. Instruments with a high degree of specificity allow me to increase this capacity for applied focus. They give me a measuring point from which to reference - they give me a 'ground' from which to find very very specific levels of focus - they give me a meter and a guide to tell me where I am and where I need to go. Through self-honesty this applied focus can be increased and then this skill is a skill adaptable to other walks of life. Music literally has the ability to change the world. It's one grand tool of change in our arsenal in working towards a true solution.

To those that understand - to pick up a Sarangi and have any performing proficiency within less than a year is quite a feat. It's not a miracle however. I have learned through persistence how to condition the body and how to allay thoughts that say 'I cannot do it'. I've also at times isolated my awareness so I only share certain things with people who have a positive can do mindset. As a sensitive empath, it seems important to culture this isolated self about something until I have developed a proficiency in it - then my body has it in its memory and it cannot be moved or forgotten by a wandering projection. I stop being a feather shaken so easy in the wind. This is another skill to learn - to maintain precious privacy for the self to cultivate certain habits, skills and lessons until they become a living part of the self.

I have at times had a mind that constantly tells me I cannot do it - and I persisted with physical practice and technique - and in doing this have proven time and time again that, that part of the mind was wrong - if we bring ourselves to the physical doing of something, the conditioned physical provides the opportunity for skill. This must be explored by each person alone to be effective however - I can't be a reference for you in your own mind when this is happening - to be proficient you must learn for yourself as yourself alone in your own mind. Then you are independent - and as parallel walking independent people we don't lean on each other - we walk forward in reference to a great goal and a true path, we walk together but.. alone.

With a honed intuitive compass and a large portion of persistence. Any skill is possible. I see absolutely anything is possible - anything at all. It just requires time and dedication in which to do it.

I seek to provide a pathway for others to learn through feel in the playful exploration of tone and with feel as the motivation as incentive. Through feel we can also find our way to method and rote - but in allowing ourselves to reinvent the wheel - we discover for ourselves the reasons why some of these musics and instruments have stood the test of time. In learning the foundations of the driving force behind these pillars as a living knowledge instead of just as a repetition because we are told that is what is right - we learn the fundamental building blocks that make something great and substantian to go on to build our own reality.

In presenting music as a place of experimentation and mistakes and learning - we remove it from the untouchable pedestal that an overtly traditional approach has given it and we give the average person access to tools to heal their soul.

Music is very spiritual in this sense for me - I mean spiritual in the way that by applying yourself and gaining deeper levels of focus - greater awareness is available to you. I don't mean spiritual as in needing to believe in something that isn't there or following religious dogma. Where when you apply yourself deeply in one field of focus - this same focus then becomes available in others. We are quite adaptable like this, us humans.

Industry likes to present finished products and in this - while growing up I like others believed people walked out of boxes being able to perform difficult things or touch our hearts with enigmatic solo pieces - this is simply not the case. It's like an iceberg. The top is the outcome of the performance and beneath the surface lay the immensely proportionate amount of practice that has gone in to touch the heart and make that performance possible.

There is certainly aspects of born talent some people have but even this, if not honed correctly and taken as a standalone measure of skill, just wilts and dies on the fields of discipline. Discipline and focus is needed to hone talent into something that is tangible and truly relatable - it can be a trigger or an entrance however

In some cases when we present things as finished products it can discourage people from having a go. I feel it's also important to get out in public and be unashamedly human. To show real progress through visible application - in this - it illustrates how any skill is available to anyone given the right focus, discipline and persistence. This focus then becomes a cornerstone of someone's character and for someone whose life has fallen apart - this reclaimed awareness then becomes a beacon of hope and the catalyst of change to then apply themselves to the rest of life and to be effective.

Yes, let's be effective. Let's embrace deeper methods for being more and more effective. That's a pretty good goal to have. It will get us places.

Ps. I wrote this following bit on my other post but I write it again in case you didn't read my last one because it's important to thank those that gave for my Crete trip! I'm so very grateful! I can cover my costs and get back to Australia with some excess to put towards a very special event in the South-West! Those that know me personally, know I put everything into what I do - to the point of self-detriment. I'll get better at taking care of myself - but also, it shows a reassurance that I remain true to who I am and give myself as an unconditional conduit to the service of music.

https://3speak.tv/watch?v=montycashmusic/qnfrbrcw
I have trained myself by ear on the kemence since 2020. After being inspired by Turkish and Cretan music which is a taste I shared with an Afghan/Turkish/American friend (who plays the Oud in The Butterfly's Burden by Kelebek Evrimi) I decided to start my traditional music journey on a violin I bought for 40 dollars off a restaurant wall in 2019 which I restructured into a three string instrument to go on the knee.

I had already been practicing odd numbered rhythms 7s and 9s and 10s and been learning to improvise on them with my guitar. I really loved an 11 beat rhythm as well - this developed into learning to improvise free-form in many scales in over 30 different rhythms. I had yet to explore with an instrument that allowed me to play intervals outside of western 12 tone equal temperament (chromatic tuning).

The knee-violin was my beginning. On this frankenstein instrument I learned important techniques for the bow and for fingering - later I was able to purchase a kemence from what I earned for a voiceover job I did for a museum in the Netherlands. I first learned western tonality on the instrument (that is equal tempered 12 tone tuning) as I did not understand the point of microtones. If you haven't realised yet, a hall mark of my journey here has been reinventing the wheel. While this has been a slow process of getting to a point of proficiency in some ways - I feel that learning something as knowledge from within by understanding the processes is a truer way of learning and builds the concrete foundation to advance to far greater heights than just simply copying what is done.

In time, by listening to both Turkish Makam and Indian Raga repetitively (as well as Albanian polyphony and traditional Bulgarian Choir music and other traditional musics in the Balkan regions) - I slowly started to understand from an inner knowledge perspective. I trained my ear to be configured to truer intervals. The shift was slow but then there was a definite click into a realisation of the difference and the need to point my compass in the trajectory of original traditional disciplines in order to understand it as a living knowledge more deeply.

Later and more recently, I got confirmation from more than one musician about justonic intonation and started to really feel and understand microtones specifically through their relationship with the tonic. No longer did I discard these previously perceived 'out of tune' notes with my western conditioned ear as noise. This particular break through was especially helped from going to see an Indian Classical teacher in Freo (Branan Silvius) who went to a very specific school in Varanasi that taught about fine tune specificity with tone and understanding these relationships consciously.

More recently, I can hear how western music is kind of out of tune - it's still beautiful and is a lovely expression of the human but this realisation of tone and the relationships of intervals and a return to an original tuning structure - feeling it, genuinely - was a big ledge of understanding my mind finally grasped.

This little seed grew and is still growing. To return to the spirit of original musics through discovering true tone. I am still not perfect and do not claim to be but understand that there is so much lost in music through the translation into the 12 tone equal tempered system. In Turkish music there is over 50 komas in one octave in theory - no, not all of them are used at once but 'accidental notes' within Makams which are notes with microtonal intervals are accessed through notating these komas.

In practice in both Raga and Makam - you cannot write down these intervals. They're not something to be defined with language or with symbol. They are specific mathematical relationships that can be known through the focus of the ear on the relationships between the tones - the mind is a science and it needs to be respected. These intervals need to be learned by the ear through repetition and training.

I do not know exactly what I do or understand where I go intuitively at times - I just do it - I use a different kind of mind and in doing - the need to explain it becomes secondary. Intellect becomes a handicap in this realm. Experience through knowing is knowledge passed through the generations and is not to be written down. Nor can it be. We have many languages and we speak them through many means unknown to the physical senses. This much must be acknowledged and it must be understood to truly progress on the path of true knowledge.

Here is an experiment in Kurdi Makam - an improvisation with no set music - I call it an experiment because I know Makams have rules and I don't think I am following the rules. I have a book on Makam - it says play this cadence here and that cadence there - I don't speak this language - I play through feel and in feeling I communicate. Music is a language, through it we can focus a great deal of energy and intention - and it must be shared with people.

I am only going by the feel that I have been impressed with by listening to recordings repetitively in order to understand how a Makam should be feeling - I didn't sit down and decide - this cadence is here and that cadence is there and now this is correct. To me this is the wrong way of learning.

I know and realise all the rules of Makam are specific. But I feel there is a deeper root to all of these musics - I wish to understand them all intrinsically to find the source. I need teachers however, I need to submit to disciplines - I need to get this from real people. And that is why I wish to go to Crete to understand what it is I am doing and to put names to it - to put a bracket around this or that under this or that traditional disciplines in order to give it greater clarity, validity and authenticity than just be the imaginings of a boy who decided to pick up a cultural instrument and appropriate. I didn't even mean to buy a kemence, I intended to buy a Cretan Lyra - I didn't even know what the difference was. I bought this from Ankara on Ebay with no idea what I was buying - I just decided to spend 750 USD and hope I was getting something close to what I was aiming for. I didn't buy this in Turkey when I was there, I bought this in Australia.

I sincerely hope to find a way to marry what it is that I do, in the methods of feel and playing by ear - with tradition - or at least understand the difference - then by knowing the boundaries around a tradition, I can be aware of when I am breaking their rules and be confident in calling something my own thing.

People like Ross Daly have already travelled this path for so long and have studied various music disciplines to come to a universal understanding that still has relevance in traditional culture. He, like me, has no roots in any of these culture - being born in Ireland. I am 3rd generation Australian with an 1/8th Chinese and a 1/16th Italian and the rest a motley mix of English, Irish and Scottish - maybe a tinge of Eastern European, I'm not sure - I did a DNA test - it wasn't very accurate - but my point is - I'm running blind without a culture but within this - I also have a great strength in that I am also not bound to any one culture's discipline.

In addition to all of this, I'm also afraid of showing disrespect to tradition in that in my journey I have already learned that my progressive western mind and ear have been wrong in so many ways I have they thought were right. I wish to show the utmost of cultural respect to these disciplines while also having the right to add my own impetus to things to truly create new music from a universal music imagination. I wish no longer to be the western elephant that just stomps on everything then makes his own and says - ah, this is culture. World music is by far the vaster and deeper universe than all western disciplines combined and yet the west puts it in this little box like a conquering culture demonizing the previous cultures Gods and rights. We must start showing respect for these disciplines, the spirit that we miss by throwing the baby of true tone and traditional discipline out with the bathwater of cultural prejudice - is a great impingement of our ability to walk the path of true knowledge.

I feel I have SO far to go in learning all different types of music to really bring it all together. I know I need to continue trusting myself and the little inclinations that lead me to realisations are screaming at me - GO AND GET A TEACHER!

I have been reading more recently in the book The Mysticism of Sound and Music by Hazrat Inayat Khan about the old ways of teaching - about repetition - in call and response with a master or teacher and not with visual. In my practice I have been working on training myself out of dependence on sight to play an instrumetn so there is direct feeling and expression from the mind to the fingers without going through any other senses. The same way one would use a voice. Where technique is not focused on but learned through feeling and through aiming at an outcome of feel. I feel this is the correct way forward -- this ensures there is no barrier between the mind and the instrument. Once enough technique has been learned and conditioned in the body then by using the feel of the sound created - alone - more fine tuned technique can be generated without actually focusing on the technique. The ear becomes the fingers and the mind becomes the instrument. This is the level of proficiency and mastering I wish with all instruments - through training with many instruments in many disciplines - these tools become appendages of the body - doorways to other worlds. I wish to learn from teachers. I want to learn via the old methods. I feel my rebellious spirit and my fire of independence can be kept in check to recognize the value of a teacher student relationship. I'm ready to learn.

ps. Also, this kemence has been through a lot. I put violin transducers on it to make it semi electric (which actually works really well, even picks up harmonics) thus the paint to cover this - professional musicians will looks at the paint and consider this is what an amateur would do - yes, I agree, you don't paint the soundboard it affects the sound. As you can see, years of playing have somehow made it possible for this instrument to be felt through the paint. I have also remade tuning pegs out of jarrah pieces I put on a lathe (I've ordered pegs from Turkiye and waited a long time, they never came), so I had to figure it out myself. The bow I have remade with horse hair I ordered from China and a bit of leather from a dumpstered couch. I'm due an upgrade. Thanks to a large donation from someone close, I'm getting something quite special - you'll see... I won't speak about it until you see it. 🤫

Thanks everyone, so much for your support - aside from the donation for the instrument, I have received almost 3000 dollars from so many beautiful and generous people and I may yet get the quick response grant for 3000 from Regional Arts WA - more than enough to cover my costs. I promise to put what excess I make into an amazing and accessible event in the South-West. See you soon x ❤️

https://3speak.tv/watch?v=montycashmusic/gdpwlbpd
It's becoming increasingly obvious that the introvert stereotype can no longer hack reality by remote control - as algorithms are limited to those with limited connectivity in literal community with literal people - as a result 'hacking' requires real time integration.

Imagine a hoard of empaths making a deliberate effort to be part of society in order to intentionally shift its norms and conditionings. Avoiding this box or that box - no, I don't want to be in the crazy box or the hippy box - or any other box for that matter - as soon as I am in a box I become unrelatable and my perspective becomes less potent.

If I express feelings of this or of that - I feel a box being made for me... breaking out of that box requires a deep concerned effort to be equal - to show the people around that I am just like them - and yet also choose to behave differently and maintain a set of values or a moral code.

It is better in some instances to live an archetype - a solid role/structure within collective perception - and live it deliberately. Knowing the ins and outs of that archetype - knowing how that archetype is perceived by the group mind and what methods are effective from that position within the group. Without a position - there is no hope of change. A reference point must be declared - a flag - to say - I am here - and from this ground I build up and make my mechanism for self-renewal and change which behaves as a beacon sending waves out into the cosmos.

Effective communication can only occur between equals because from an equal perspective - others can take something said as if it came from them and integration happens quicker. If you want to develop your skillset and your ability to assist a world struggling to find a footing in any values - practice the art of being equal - deliberately. Adjust your self-identity to 0 while with another - allow yourself to unconditionally be with them - in this you are them, for a moment. Society's structures were not built yesterday and rarely intentionally - they developed over time - mostly as self-defenses to all the things that went wrong. Institutions that champion values and ethics have behaved as strongholds for lasting trust within a community. No longer do I throw the baby out with the bathwater of religion or any organized group for that matter. Without a structured value system - humanity slides. It could be a value in nature itself and the need to maintain and preserve it - this then precipitates other values like trust and a need to know and live truth. There needs to be an outside motivation - a reference point. We need this.

It is not without experience that I have come to these conclusions. I have gone through various cults/belief systems, five years of street living and seven years of as a street musician internationally - 10 years as an activist - and ever an adherent to truth - jumping in and having a go, even if others say it is wrong. Discovering for myself what is real - reinventing the wheel so many times.

I no longer value the projections of those around me that choose to put this experience into a place of no repute. What I have come through in order to function would scare most people within the Western world. I know of others that have come from a far deeper pit of perception - I do not claim to be unique.

However, I see that my qualifications are my experience - this serves me far better than a university degree or government approval or funding of a project. I see severe limitation working within the boundaries of the system. I have keenly observed and identified the behaviours of the group - and have come to an independent analysis of group psychology that later have referenced with documentation. I made these discoveries with the lab of my mind - first. I doubted myself many times and was clouded with emotion many times. I have come through all that to come to an honest understanding and a level to what is really going on.

We need to be different and we need to do it now.

ps. Video is at the highest peak in the south-west of Australia - the land is so old here that everything progressively got flatter and flatter. Some small peaks remain - this one is just over 1000 metres high - it's just such a beautiful and spiritually evocative spot.

https://3speak.tv/watch?v=montycashmusic/cdfbtgyj
Open the Door was just the beginning...

For more updates for Dreams to Reality Productions see: https://facebook.com/dreamstoreality.vision

https://3speak.tv/watch?v=montycashmusic/mozkdaqz
facebook.com/indanceindance

#livelooping #livemusic #kemençe

https://3speak.tv/watch?v=montycashmusic/qhwpnmix
Find new dimensions in music with a meditative approach to alternative modes, scales and rhythms - through persistence and controlled isolation of awareness

This mode is used in my song - Ocean of Light on the album 'Open the Door' - you can find it on Spotify, RedmondRecords.com and Apple Music

I provide 1 to 1 music coaching/tutoring/consultancy to provide alternative pathways for learning and developing musical skill through 'feel' - contact me at montycash.au

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#newmusic #exploringtheunknown #creatinguniversesthroughfeel

https://3speak.tv/watch?v=montycashmusic/zedulvzv
What is this 'feel' thing and why are musicians obsessed with it?

You can book me for 1 to 1 music tutoring/coaching/consultancy

Contact details available @ https://montycash.au

https://3speak.tv/watch?v=montycashmusic/tmmbphmo
Every instrument has a super power! 🦹‍♀️🦸‍♂️🦸‍♀️🧙‍♂️🧝 You can book me for 1 to 1 music tutoring/coaching/consultancy in person or via zoom - https://montycash.au