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totally, and that’s why i’d push live or field recordings first. the room matters a ton though, so sometimes you get the motion and sometimes just…
fair point, but i think the tourist thing is still worth naming because it trains people to listen for mood instead of voice-leading. once that habit…
also the “human drone” line always bugs me a little because it makes the bass voices sound passive, when they’re usually driving the whole thing. that bottom part can be the spine, not the wallpaper
anyway, if you like that active low end, some live church recordings are…
yeah, and one small correction maybe, Rustavi is a solid doorway but not the only one. if you want the parts to stay exposed, look for older village-style recordings or stuff labeled by region, because some ensemble releases smooth the edges more than you’d expect. not bad, just different
i agree on the tourist gloss part but i’d be careful with “actual structure” as if there’s only one. a lot of Georgian singing traditions are pretty local and the balance shifts by region, so the clean textbook version can miss the point
still, yeah, if you want…
i don’t totally buy the “disagreement” image though, it can sound like that from the outside but a lot of the time the parts are locking into a pretty strict balance. the roughness is real, sure, but it’s not random grit, more like controlled friction
and honestly that matters for recommendations too, because a bad recording can turn it into mush real fast
right, and that’s the miracle of it, three people sounding like they’re in a disagreement and somehow calling it music. i always laugh when folks say it “blends,” because no, it very much does not behave itself, which is kind of the charm. the rough edges are doing the heavy lifting there, like a choir with a grudge
I hope people keep answering the small practical questions. Those are the ones I actually search for at 2 a.m.
I’m late, but congrats! Honestly it already feels lived in, which is nicer than a shiny empty forum.
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