After the abrupt [[[jaccuse|separation]]] on October 30th 2005,
I started playing the guitar.
After some six months trying at some chords
with some success, I suddently found myself
tapping the strings idly, of bordom.
As Crickets II has the first U2 occurence,
I had heard it with obsession many times over,
always waiting patiently for my call for joy.
It rang constantly in my head during those days,
especially my favored part:
A faint left hand, where the notes are not easily
memorable at first listening.
With my 70s Rock listening experience,
this kind of thing always attracted me
more than the main tracks.
So my left hand fingers naturally were tapping Crickets II,
while my right is hanging idle from the shoulder.
Hey, listen to this, I am playing with Shira.
There was no one there to share my joy.
It was nevertheless a turn of events in the favor
of my guitar learning.
It only took for crickets II to be over enough
times for my fingers to be totally paralyzed,
and then I glued myself to the computer
screen, watching over again a long remebered
[[Stanley Jordan|Stanley Jordan]] video.
Not only does his system happen to have
brought me on an imaginary stage with Shira -
of shear luck -
but I also discovered he is a superb educator,
and take guidance from him with this single
[[[[www.rottentomatoes.com/m/master_sessions_with_stanley_jordan_guitar/|video]]]] for some time now and still.
Following methodically his guidance of avoiding
doing anything that is more complicated than
necessery, for the purpose of rapid learning,
I glued myself to this one sequence.
Even though the notes didn't even match most of the time,
the rythm was there, and I could imagine hearing the part
for which my playing matches the notes.
After all, I know it all and can listen in paralel
to my ears and my memories,
as long as the rythm fits.
And my fingers are slowly learning some speed
with this single sequence, while I am playing
with my beloved lost adopted daughter.
With the [[Audacity|Audacity]] [[[xplace|open source]]] mixing software,
I turned the speed down to my comfort level
as per Stanley Jordan's religious rule:
Zero mistakes, as slow as needed,
and slowly but surely got up to speed.
It was only then starting to bother me that I am not
playing the right tunes some of the time.
So I started on those.
Then I remembered from olf explanations,
that the original notes present a creativty problem:
During the first seven minutes Shira takes advantage
of the synth quality of being able to hold the keys down
and plays this one chord thruoghout,
not allowing me to join with a similar rythm with the guitar.
There is no rythm in the left hand of the original work.
After about a month of discussing this with
the crickets and the guitar,
it all fell into place on its own:
A small sequence of notes from the creative parts,
was reused to accompany the first seven minutes,
thereby keeping strict the zero-creativity concept.
By Shira's sixteenth birthday,
a year and a bit from when I started, I was ready with
[[[[www.theora.com/guitar/wiwa3/aLetterForShira.mp3|my own version]]]] of [[[[www.theora.com/Shira/Crickets/3/1. Crickets III.mp3|crickets III]]]].
All the while Shira was also part of a two member band with Moria.
While Shira was hiding from Moria her classical-like compositions,
Moria was composing the music for the band,
and Shira was writing the lyrics for [[[[www.theora.com/Shira/The M.S. Sessions/|songs]]]] like [[[[www.theora.com/Shira/The M.S. Sessions/5. Zman Meyutar.mp3|Waisted Time]]]].
The [[[[www.theora.com/Shira/The M.S. Sessions/6. Smpl0039.mp3|happy times]]]] seemed like they would never end.
[[[[[images/Shira3.jpg]]]]] [[[[[images/lassalStudio.jpg]]]]] [[[[[images/RedHotChiliPeppers.jpg]]]]] [[[[[images/californication.jpg]]]]]
Educating Shira was always a collection of conficts of all sorts.
While with children one must always keep a degree of subtlety,
with Shira it was the opposite most of time.
Shira has suffered many hardships which caused her to
have develop to adulthood much earlier in life,
yet denial is strong for too many reasons on
too many diffrent subject matters which are central.
The net result is that in the comfort and first
time I-can-at-last-afford-to-be-a-child attitude,
Shira most of the time pretends to be extremly childish,
to obsessive degrees, with a very self-convincing act.
The educational upshot of this on my part,
is to re-clash Shira's view of reality with mine.
I tried to convey this over time,
by showing that different people have different views of reality,
and so also see different things as constituting imagination.
Little did I know all the while,
that by clashing general views of reality and imagination without adressing specfic views save my own,
the concept of this fine difference was slowly building
into Shira's musical brain.
It is much later that I started the main [[[life/msdbCat/date/1991-04-16|blog]]] at theora.com,
and name it after [[[[www.theora.com/Shira/The M.S. Sessions/2. Ha Hevdel Ha Dak.mp3|The Thin Difference]]]].
[[[[[images/Shira2.jpg]]]]] [[[[[images/Shira0.jpg]]]]] [[[[[images/Shira1.jpg]]]]] [[[[[images/Shira4.jpg]]]]]
[[[[[images/Shira Dottan.jpg|Shira Dottan]]]]]
I do remember however that The Deep Sea
was quite depressing,
like A Dark Street At Night,
and later on, Yom Gashum Ve Afluli,
and the text for Little Bird.
I never thought of Forty minutes the original as sad,
nor the shrink wrapped Deep Sea combo.
Not until, that is, the [[Roland Fantom X|Roland]] came [[[[[images/lassalStudio.jpg|home]]]]].
I bought the Roland mostly because there had been a long discussion with Anna
regarding the replacement of the ancient and several times
breakage history of a Riga piano, the only instrument
Shira could play on.
Synthesizer thechnolgy is advanced,
and the result was a better piano than anything
we could otherwise afford,
and we get the best synth on th planet as a free bonus.
Separately, one can also trick it to record samples
of up to two hours with some memory boosting.
With a few more wires and tiny cheap mixers,
its a studio on its own.
I had the whole apprtment wired up to the Roland,
from guitars to drums to the piano still there of course,
and to voice collecting microphones.
I knew I had to leave Shira alone with the new toy
for a few hours at first.
It was just a feeling, but it worked wonders.
I dropped this huge toy at home,
hooked it up to the stereo,
watched her for a few minutes and disappeared,
only to return in about three hours.
Three hours of magic.
When I came back home Shira immediately jumped at me
from the Roland to the door,
almost as if hiding a secret on the keyboard,
and politely demanded that I fgo to my room
for five minutes, and then come out,
and do I agree?
You have ten, I smiled and disappeared in the bedroom.
Crickets was so joyful it took me serveral times of listening,
several months later,
to nalyse what Shira had already told me,
and what now seems so obvious:
Crickets is just Forty Minutes in disguise.
It is a happy disguise.
But it was not a disguise at all.
It was simply the most joy I heard coming from
her fingers ever.
Shira was truly happy, and she had to tell me,
with obsession, with [[[[www.theora.com/Shira/Crickets/1/1. Crickets II.mp3|Crickets]]]].
It is the saddest that this should the name of
the last musical work she would write.
It is almost a prophecy of doom,
much like some of the paranoid lyrics.
In Waisted Time it is much stressed that
U2s are overcrowding with desperate hope,
the origins of [[[[www.theora.com/Shira/Crickets/2/1. yom gashum veafluli.mp3|Yom Gashum Ve Afluli]]]].
Named after [[A_trick_of_the_tail|A Trick Of The Tail]] by [[Genesis (band)|Genesis]],
Los endos is purely my creation with zero creativity.
It is Shira performing at my request,
albeit I was begging for a month,
a construct of Crickets based on the structure of the
the Genesis epilogue to their own record.
Three minutes of rapid Crickets ending with a [[The_Fifth_Element|big badda boom]].
The most intense guitar challange was [[[[www.theora.com/Shira/Crickets/3/2. Los Endos.mp3|Los Endos]]]].
Not a [[[guitar|day]]] goes [[[[theora.com/guitar/wiwa3/ohadOnGuitar.mp3|Bye]]]]?
[[[[[images/Shira Dottan.jpg|Shira Dottan]]]]]
Sinit was really the first, not A Dark Street At Night.
It came with a sense of harmony,
always otherwise so dearly missed in this home.
Shira gave mom Tally some notes to sing, just wordless voice.
My memories of Tally singing were some a the few
it felt like a true home and made me very proud.
In time, Sinit was nearly lost.
Tally stopped singing long before
the recording equipment came home,
and with it my only true joyful memory of her.
Sinit got blended with the tadream piece.
I think to this day only I know which parts originated where.
Playing a Piano is like riding a bicycle,
only one piece at the time.
This much I knew.
It appears in much detail
in [[[[theora.com/Shira/Crickets/1/5. Bells.mp3|bells]]]] and a bit also in [[[[theora.com/Shira/Crickets/2/2. Waisted Time.mp3|waisted time]]]].
When the [[[[[images/rolandStudio.jpg|Roland]]]]] came,
and recordings started flowing,
and I started begging,
I managed to get one last recording of a
violin pick version of [[[[www.theora.com/Shira/Crickets/1/2. Sinit Beprita Al Kinor.mp3|Ha Sinit Ha Ktana]]]].
This one was too complicated for Anna.
Shira took to the drums during those times
for her hate of music and the Piano.
But the force of the piano is strong
and it kept pulling her back,
hiding from everyone,
so that we don't notice they still have a secret bond.
When Shira was three, she was hugging the loudspeaker, dancing with it.
There were [[[RI|sane]]] people inside.
Then I asked Shira to play Dark Street At Night for Anna.
I was very curious to know what this professional
musician from the toughest of schools from [[Moscow|Moscow]] had to say.
She was speechless, only saying one word: Complicated.
I knew that day that Shira was already much more
of a musician than Anna will ever be,
and also much more than Anna had possibly dreamt
of making her.
The time was approaching. It was inevitable.
We had to thank Anna with extreme grace and honor
for her contribution.
These two souls must go separate ways henceforward.
Thank you Anna.
The lack of grace was unintended.
You are a superb educator.
I just hope it will survive Shira's bigger hardships.
I will always remember you as the part creator of [[[[www.theora.com/Shira/Crickets/1/3. Dark Street at Night.mp3|A Dark Street at Night]]]].
This was during the drums season mostly.
I remember shira was so proud she could
just sit by the piano and music flows
for a whole length of forty minutes.
Little did she know how so impressed I was
with every bit of creative note, as short as it may be.
Little did I know, until I started playing the guitar myself,
what joy it is to discover you can play this long
for the first time,
and that Shira was not trying to impress me at all.
She was just herself impressed with the discovery
of her own skill and creativity.
She had also created In The Deep Sea separately.
Only Shira would know how to tell them appart today.
They blended together, ending with
only about twelve minutes of this one [[[[www.theora.com/Shira/Crickets/1/4. Forty Minutes.mp3|work]]]]
When Shira was still under eleven years old,
I had her wake up each morning to the sound of the single
record that is the most to my liking yet in my view disco like
and simple enough to be catchy.
It was [[Tangram (album)|Tangram]] by [[Tangerine Dream|Tangerine Dream]],
of which a few pieces were used widely in the 80s
for some radio shows and weather reporting backgrounds.
From [[Stratosfear|Stratosfear]], I had known the one
sequence I can actually sort of play on the piano
for some years.
Shira had heard me do this once or twice
and quickly implanted the Stratosfear sequence
in her works.
Examples of Tangerine Dream influences,
and specifically Tangram and this one four measure
Stratosfear sequence, are all over the place.
It started with Ha Sinit.
Nicer collections are in Crickets III and [[[[www.theora.com/Shira/Crickets/1/5. Bells.mp3|bells]]]].