the piece that i'm rehearsing with the silk road ensemble is called "blue as turquoise night of neyshabur." i wrote the piece because i was, uh, commissioned to write the piece for the silk road ensemble. that was one of the pieces that got, uh, i would say most played uh, you know, in--in--in tours, and during the concerts, and things like that. i think that it was, uh, in 1999 that, uh, you know, met yo-yo. he was interested to know about kamancheh and my music, and i shared a concerto with him, and this relationship, um, turned into a friendship, and--and, you know, it goes on until today. and what--what we're doing musically, uh, i think everybody in the ensemble, whatever they do, whatever they play, i think that interaction that we had changed our perception, and it helps us to--to create music with probably more sensitivity. >> it--it--it's actually very simple. when you think, "oh, it should be out of tune," you're not in the music, but if you start to say, "this is beautiful," you are actually in the music, right? that's--that's--and i've always played out of tune, so this came v