text:
I'm browsing through the Berklee Book of Jazz Harmony. For all possible chords, a chord-scale is given. If I understand correctly, the chord scales listed there are really more like these are the basic notes plus all the tensions you could possibly have in the chord, and not really a 'scale' to play over the chords. Would that be at least sort of accurate?
I understand how the main modes fitting over their respective chords works, but where I start to get lost as far as which scale to play over which chords is:
1) when you alter a tension, like a G7b9 in major key. I understand that the b9 is coming from the parallel minor key, but that b9 makes me want to play a Mixolydian mode but while flattening that 9, so not standard Mixolydian.
2) when you have tritone substitutes and secondary dominants going on. There are different chord-scales listed for just about every secondary dominant and tritone substitute. V7/IV has a normal 9 and 13 option, but V7/VI has a b9, #9 and b13 option. The tritone substitutes seem to be the same way (but I need to take a look again...)
The clarify further, I can grasp why we have these tension options -- that's explained pretty well in the book, but I'm still foggy on how to know which scales to play over a chord, or how to go about creating them. It seems like it could just be Mixolydian over all of them with the altered tensions substituting in for the normal diatonic ones, but some of these listed chord-scales have 8 notes in them.
One of my teachers would simply call this a "G7b9 scale". So, you start with a G7 scale (Gmixo) and you add a b9 (Ab).
For secondary dominants, another teacher just taught being aware of the tonal center. Say you have a 36 25 in G. For the E7 you think chord tones and draw extensions from the tonal center. E G# B D and F# G C. E9#5#9 more or less. Want a different sound? Alter the extensions by ear, referring to changes in the 5 and 9, most often. I left out the 11. The 13th can work, but, depending how you use it, that C# may make it sound like you're in the key of A. Of course, it's jazz, so that may or may not be good.
Same approach for the D7. You get D F# A C and then you can add G B E. The notes sound like D13. Handle the G with care.
This isn't quite the same thing as the Berklee book, but I think it's a viable approach. You consider the chord tones, the extensions within the tonal center and then the rest of the notes. A little less nomenclature to learn. But, it's more loosely organized, which can be a disadvantage. If you're looking to end up with scale fingerings for each case, you'd probably be better off Berklee's way.
Suppose a piano player played a big chord with all the 7 notes, then wouldn't any of these 7 notes work in the solo? In fact pretty much any other note is likely to clash with such an explicit chord.
Now imagine 4 out of the 7 notes are played by the comping instrument, then the book is saying that the other 3 notes of the suggested chord scale are implied or at least they are the easiest notes to work with in that context. That naturally applies to note choices in the solo.
Of course there are other choices, but chord scales they suggest are mainly the choices that avoid the clashy b9 interval while preserving the underlying tonality according to the authors and they give justifications for these choices.
Last edited by Tal_175; 11-02-2019 at 01:27 PM.
If you're talking about something like E7b9 in the key of C major, that would be a secondary dominant relationship, but "parallel minor" in this conversation can get confusing fast if we don't have context.
Specifics, like "E7b9 in the key of C major" or "G7b9 in the key of C major" would be really helpful to the conversation.
Are we actually talking about secondary dominants? Borrowing from parallelminor isn't necessarily the same thing as talking about secondary dominant relationships. There are relationships, but w one doesn't necessarily equal the other. I think this conversation is too confusing for the beginning level in which it was asked, and we're not really talking about secondary dominant.
Well, he probably means if he has a secondary dom in, say, a progression like Em7 - A7 - Dm7 - CM7, what does he play over the A7?
To which the quick answer is D harmonic or A alt, etc, because A7 is the V(b9) of Dm.
Same if he had E7 - Am7 - Dm7 - CM7.
A7 - D7 - G7 - C6 might be tricky :-)
III VI II V Ima6 with all b9's
X F G# B E X ..... X C# G Bb E X ..... X Eb F# A D X ..... X B F Ab D X ..... G X E A C X
Great breakdown!
I'd add another approach to thinking about this material.
Each one of the scales implies a chord.
C harmonic minor C D Eb F G Ab B C. That implies, to my way of thinking, G7b9b13
G WH dim. G A Bb C Db Eb F G. G7b5#5#9
G7alt.. G Ab Bb B Db Eb F --- G7#11 #5 b9 #9 (alt means both altered 5ths and both altered 9ths
G wholetone G A B Db Eb F. G7b5#5.
F mel minor F G Ab Bb C D E. G7b9#9.
Bb pentatonic Bb C D F G. G7#9.
etc etc
The point is that each of these scales includes a different permutation of altering the 5s 6s and 9s. Some get their sound by omitting certain notes. The nomenclature is difficult at first, because (it seems to me) you have to get comfortable with completely different scale names to label changes of a single note or just a few notes. And you have to connect those scale names to the individual notes and the sound of the implied chord.
Thinking about scale names can be an advantage though, which is why people do it. For example, a melodic minor scale implies at least 7 different chords -- and, arguably, if you know the scale you get 7 (or more) for 1.
I think different approaches best suit different people based on how they learn/think/play.
So as teacher just for a minute... do I give the information as transmission model education, or do I instead encourage you to become an active learner? Everyone here (including me on most occasions) are on heavy transmit. Problem is, most players agree there's a sharp limit to how much information you can assimilate into actual music.
So I'm going to say this. You won't like it (maybe) the forum might not like it, but I'm going to say it because I think it's the correct information.
Anyway like I said, I respect the question. I went and asked Charlie Parker by listening to his records and almost without exception he and Bud Powell play on the VI7b9 chord.... well that's for me to know and for you to find out. Wouldn't want to give the game away. And wouldn't you rather hear it come out of the horn of a master than this nobody?
These might sound like the words of a complete and utter dick, but it's not meant with malice or arrogance. I simply want to share with you the process of how all the actually good jazz musicians I know learned, including the ones who went to Berklee. Ask yourself, do I want to be a musician or theoretician? If it's the former I say - go away and check out what your favourite players do on a VI7b9 or I7 or III7b9 chord or whatever, and tell me what you find. I'll tell you what I found. Deal?
Also you might not like Charlie Parker that much, and prefer another player or era. And what you are drawn to and not drawn to will shape your approach and sound... Listening is a creative act.
And this is why, despite all the syllabae and tomes of Berklee, there is no definitive answer. Look at the scale salad posted above. Answer is lots of options! Do you have an idea of their context within style or language? How they sound from this info? No. It's just a list of possiblities.
Probably got all the notes in there save maybe the natural 7 (and that pops up in lines too.) So all 12 notes...
So how to narrow it down? Emancipate yourself as a learner. Own your shit. Then look at the book and see if you think it's toilet paper or not.
Last edited by christianm77; 11-01-2019 at 04:24 PM.
Of course Christians response is where the truth lies. However when you're first getting into jazz, that approach seems a bit slow. At least that's how I felt. When you know there is so much filtered down, generalized information out there by people who have already studied many players and records, doing that myself felt a bit like reinventing the wheel.
Only when you directly go to the source however, you realize all these wonderfully crystallised, ready to consume educational material are bit removed from what really is happening in the music. Somethings get lost in translation. I have to say though they do a good job in preparing you for getting your feet wet. I've been studying jazz for 5 years, only now I feel ready and equipped enough to dive into the records as the main source education from this point on. May be my fears were baseless, I didn't need to study so much before making sense of the real music, but it didn't feel that way at the time.
Anyway another method for finding chord scales is just to focus on the main chord tones and use your own taste and judgement to choose the extensions. Come up with lines while experimenting with different possibilities for the extensions (notes between chord tones). But then I'll be honest, I didn't do this enough. I feared that I would just be inventing a new language, not learning jazz.
Last edited by Tal_175; 11-01-2019 at 09:53 PM.
I gave it some more thought.
Consider a ii V I in Cmajor. Play Dm9, G13, Cmaj7. x5355x 3x345x x3545x.
Best to record a loop of the chords.
Now, nice and slow start at x5xxxx and play an ascending Dm9 arpeggio. Play D F A C E G.
Then, descend with a Gmixo (aka G7 scale).
Do this over and over. Each time, alter the 5s and 9s of the G7 scale. Use every possible permutation. So, variously, use Ab A and Bb for the 9th. Use Db D and Eb for the 5th. For the 6th, play it, or omit it. After you're done with that, you can try raising the 3rd and seeing how that sounds. Then, you can try the descending scale with omitted notes.
Plenty of options, and they all sound a little different.
In the course of doing this, you will play every one of the scale options listed in the Berklee book and some that aren't listed but you may like.
This is what they might call of V/I situation. You can do the same thing with secondary dominants by recording a loop of the chord progression and doing the same thing. Some options may sound like they don't fit that well. The good part is that you're using your own ear to figure out what you like.
Is there a disadvantage? Maybe it's more work? Maybe you're less likely to use the scales that a lot of players have used -- but that might be a feature, not a bug. Ultimately, where you're trying to get to is being able to hear all of that and pick the notes you like on the fly on the bandstand. As we were discussing in another thread, naming things is mainly helpful when the names help you to learn the sounds.
Or you could listen to some music.
Yeah, or you could reference a really good book, see options listed, then experiment/compare the chord scale options in the context of the song in question. Choose the one you like best. It may be Bird's choice, or it may not be.
The correct choice, presuming you wish to be a musician, is always to check out music.
Books can be handy reference material to help you understand what is happening.
I went digging through my books, and lo and behold, most of it is listed in vol.2 of Jazz Theory Resources by Ligon. It lists 9 possible scales to play over them and how they're built. It all depends on where you're resolving to. So that's a good starting point
Yea... good starting point....But it's a little more complicated than just being aware of what's possible.... the simple rule of thumb for somewhat non theory people is to just be aware of whether there is a natural 5th or not in the chord. Generally most use the embellishment theory approach when performing... (that's a joke), but screwing up the 5th will drive good ears or knowledgeable musicians crazy.
The next level of conversation is how you organized the use of...scales and chords and where you use them.
Arrange some tunes or melodies for 7 or 8 voices. Voiceleading and resolving etc... is not theory, it's just personal choices of what one wants to hear. The organization for what note choices one uses is generally from, (tonal and modal) functional harmony.
Common practice which creates "melodic licks" and "chord patterns" still have harmonic organization, they still have functional reference... The approach to becoming aware of and understanding all of this BS is through Analysis. Which takes some time and knowledge to get together... but can be worth the time. How much time is put into memorizing tunes, licks melodies... noodling on your instrument. If you want to get past that starting point.... or just some more rule of thumbs... just ask.
Christians point is very valid.... you can still play and not understand what the hell your doing. Sometimes you'll have problems when performing with.... other musicians, live. But.... I'm a theoretician and I can play and perform with anyone... hell I can burn or play heart felt music...and don't have to know or memorize the music. Just BSing.... I suck. Just letting you know there are other approaches to becoming proficient musician besides the old school approach. (and I'm from the stone age).
Last edited by christianm77; 11-02-2019 at 05:41 PM.
I recently went to hear a guitarist who, apparently, is a master theoretician.
I was curious as to how that would play out on a gig.
What I heard was great time, great chops and a rich vocabulary of classic jazz phrases. I didn't hear anything in his soloing that made me think, "what a great theorist!". Maybe I didn't understand the contribution of theory.
Comping was different -- I heard a lot of great sounding passing chords (which also sounded like classic jazz vocabulary) played with great time feel. Maybe the theory came in there? If you've picked a harmonized scale to use and employ those voicings within a tune as passing chords, that seems like a good application of theory to me.
I recently watched a lesson video by Chico Pinheiro - who has a very distinctive sound to his soloing. On the video he played a single scale all over the neck, all with his characteristic sound. In that case, I thought I heard a real confluence of theory and melodic gift.
I don't think theory has much of a contribution to ones actual playing.
What it may do is provide a framework of ways you can work with material.... but that's what you do in the privacy of your practice room.
Assume harmonic minor (phrygian dominant), when the target chord is minor and mixolydian (or regulardominant) for targeting major chords. That's basically the "functional reference" for secondary dominants.
There are other things used in common practice, but that's a good theoretical jumping-off point.
For the latter, the chord name suggests G B D F Ab Eb
G phrygian dominant is fifth mode CHM. G Ab B C D Eb F. Some of the Berklee materials refer to Mixo b9b13.
The only difference is the C note. Arguably, it's an avoid note -- meaning handle with care.
I find it helpful to make sure that I understand the chord name when I try to apply a scale.
Here is the funny thing. Every musician knows some theory. If you know what C major chord is then you know some theory because you know the music theoretical conception for that sound and it's theoretical name.
Yet everyone also believes musicians should know exactly as much theory as they happen to know and not more. Because their theoretical knowledge is right at that magical sweet spot where any more theory would be too much and not useful but any less would be a short coming.
Last edited by Tal_175; 11-03-2019 at 02:42 PM.
man christian... I love your vids... but, it took for ever to get to, The line is just borrowing from parallel minor. Many old school musicians just use basic tonal functional concepts.... like, Borrowing, relative and parallel and then simple subs. Very simple and very effective.
... yea theory is just a tool to help you be able to hear, understand and maybe even verbally have a discussion about as rp said, " great time, great chops and a rich vocabulary of classic jazz phrases".
The other aspect of having an understanding of theory, well harmony, is the ability to hear and recognize where or what other players want to go musically. I perform with way too many vanilla musicians, where... I know some things are just never going to be heard, melodically, harmonically and the worst, rhythmically...and when they do... it's fairly limited. It's cool, I still dig performing, it's just what it is.... but there are many really good musicians that at least have jazz harmony and theory concepts together. Performing can really become fun... which usually is also entertaining.
I think I posted above... or before, being able to make or have an analysis of what ever your playing, really helps. REALLY HELPS... that's not just some memorized versions. It's cool when playing gigs, during breaks... when talking about what we played etc... when something simple, harmonic/ theory BS... opens the door for some players, what they thought was working.... expands, maybe even become a better player. Although... we all have our style... what we like. I'm pretty simple.
I wouldn't disagree with that analysis Reg, and I think it's the simplest, but I was trying to make different points in my video. I could have been talking about any phrase.
The main one is that theory always simplifies what you are looking at. If it didn't it wouldn't be theory. My argument is that is what theory is - taking a quality from a passage of music and hanging a descriptor or name on it. 'Altered scale', '3:2 polyrhythm', 'ii v I' etc
Not every jazz musician would analyse the phrase the way you did for instance. And they wouldn't be wrong per se (although i think your explanation makes the most sense historically speaking) but by abstracting it and simplifying it as a different thing.
So you take that simplified essence of the phrase whatever that is, and then come up with music based on that idea. That's what theory is in a jazz context, because theory has little use to an improviser if it's not anchored in actual practice.
So for you that would coming up with phrases in Bb minor resolving to the Bb major chord, or whatever.
So theory and your own concept is based on the way you hear music. And of course one person can have multiple ways of hearing/looking at phrases.
Yea Christian... sorry if I over simplified. Your points are great. Generally when I make analysis of music, it's not in isolation, it has context and the result is simply the base reference. The starting point for where new relationships are created and developed.
CST uses standard Functional Harmony guidelines and simple common practices of jazz, to realize typical complete note collections, (scales), for secondary dominants, (any V7 going to any Diatonic chord other than I), and the same with Tritone subs.
It gets a little more complicated when we add extended II-'s and implied targets.
A secondary Dom. implies a tonal target... it's temporary, doesn't change the Key of the moment. Key of the moment implies the expectation of a I chord. Secondary dominants generally don't imply modulation. (if you get into Dual function you can open the modulation door).
The Functional harmony aspect could be... like I said, the use of borrowing, (not Modal Interchange), for expanding harmonic and melodic choices with the use of Relative and Parallel relationships. Which like you pointed out was very common during Wes's period... the classic user was Cole Porter standards. ( I dig Wes's approach better, but same thing).
Any way... my point was... sorry if I jumped the gun.
And then maybe extend that list to those eventually interested in more advanced /arranging type harmonic theory. I need to have this saved somewhere for my "someday/possibly" list.
Hey Matt,
Stuart Smith's Jazz Theory is a good basic start, it free all over the web.
Leon Dallin's Techniques and some of his other books are great for blending traditional theory and jazz theory... I was lucky to have some conversations back when I was at UCLA, he was at Cal St Long Beach.
And for some more modern concepts check out this doctoral essy from Jared Hall at Univ. Miami
So how many answers are there, LOL! As much as its important to put time in on theory and practicing scales, it's more important to just play songs. Especially in the style you want to emulate .
George Benson once said it really is just Major,Minor,Dominant,Diminished and Augmented. Sure there are more variables,but really it's a matter of listening and learning the Jazz vocabulary . Just learn songs especially the melody,song form and bass movememt.
Where is the OP, having asked the question? I really hate people who disappear!
The lick in your vid was quite interesting.
The notes over the F7 and BbM7 were straightforward:
F Eb C (1-b7-5 - (passing C#) - D (3rd of Bb).
But the notes Ab-Gb over the Cm7 don't bear much relevance to a Cm7. That might seem confusing to some.
I see that as Wes ignoring the Cm7 and playing the #9-b9 of the F7. A lot of players say just think in terms of the dominant, never mind the ii. I think that was Joe Pass' thing too.
Although, of course, they both played lots of minor stuff over ii chords.
Another angle is to look at that ii chord as a Cm7b5 and therefore an Ab7(9) as I mentioned in the video. The notes fit Ab mix/C locrian until we hit the D... so a backdoor dominant...
Which is also Bb natural minor (reg.)
There is no leading tone in the line (the third of F7, the seventh of the key Bb) so it gives it more of a floating subdominant quality.
Wes often avoids the leading tone resolutions you find in explicit V-I Oktoberfest type revolutions instead playing IV-I plagal sounds (as do gospel choirs, but that's another story, Wes would rather be in church than in the beer hall haha)
Do you see what I mean? Lots of interpretations!
Anyway that #9-b9-1 thing is unbelievably common in jazz lines. Name a jazz musician - not just boppers either.
It crops up in the standards Green Dolphin Street, satin doll, Moonlight in Vermont....
A further riff - Robben Ford sees that sort of thing, and the closely related 1-b9-#9-3 as relating to the F half whole diminished scale. He heard it from Miles Davis.
Anyway, it's almost time for Silent Night again...
For instance Parker loved that device, and everyone copied Parker, so everyone played it. Parker himself was drawing form diverse sources - Prez, musical quotations, bits of Dixieland language, Stravinsky, Bizet, all sorts.
To talk about scales and pitch collections is to overlook that side of it I think, which is why it's generally necessary to learn the music by ear to be able to speak the language fluently....


text:
Another band belorizontina, this time the world cultuado sarcophagus, ao vivo, no Peru, in the mid- 90. Although he had always some nerds arguing about what the specific genre of a band or other, and, although I do not want to waste time on technicalities, the band has several songs that combine death / thrash with black.
The recording quality is not the best, but it will enter our site pro.
On fire of darkness
rise a scream of hate
satanas want vomit
on son of god's face
your eyes have wrath
and promiscing a slaughter
the angels of lucifer
are ready to destroy
satanas revenge is started
and the heaven is burning
god angels are deads
and the survivors are praying
the sacred cross is breacked
and demons are smyling
because your lord satanas
raped the mother of false
*Gravada primeiramente na coletânea: Warfare Noise (1986) escrita por Wagner Antichrist, o mestre da heterocedasticidade e do black metal.

subset: commoncrawl


text:
In this Article
Last Updated on
Babies grow up really fast and before you know it, they are ready to eat solid foods. As a mother, you will be sceptical about introducing various kinds of foods to your baby. Potatoes are loved by all and you may think if potatoes can be introduced to babies or not. We all love to eat potatoes and no doubt babies will like it too, but the question is if they are safe enough to be given to babies. In the following article, we shall be discussing various health benefits of potatoes, and we shall also be sharing some quick recipes of potatoes for your little munchkin.
When to Introduce Potatoes in a Baby's Diet
Potatoes are available in almost all parts of the world. They are rich in carbohydrates and provide ample energy to your growing baby. It is one of the safest vegetables that may be introduced as an early food to your baby. However, it is low in nutrition and high in calories, which may make it little difficult to digest if your baby is not moving much. Therefore, ideally, potatoes should be introduced to babies at around 7 to 10 months of age, when they are more active.
Nutritional Value of a Potato
Potatoes are power-packed with nutrition and here's what your baby can get from one medium-sized potato:
|Vitamin C
|19.7 mg
|Vitamin A
|15 ug
|425 mg
|23 mg
|57 mg
|12 mg
|.81 mg
|6 mg
|30 mg
Source: https://www.nutrition-and-you.com/potato.html
The above-mentioned are the approximate values present in one medium-sized potato, and these may vary as per the size and quantity of a potato.
Health Benefits of Potatoes for Babies
Potatoes are good for your baby's health and here are some benefits that your baby may derive from potatoes:
1. Good for a Baby's Gastrointestinal Health
Potatoes help develop the gastrointestinal health of a baby. Potatoes assist in the growth of friendly bacteria. The substantial amounts of alkaline sugars in potatoes keep the acid levels down in your baby's body and thus keep acidity at bay.
2. Lowers the Chance of Infections
Some varieties of potatoes such as red-fleshed potatoes are loaded with anthocyanins. Anthocyanins are a type of biochemical which is proved to have antiviral properties. These help in fighting various infections like influenza. Therefore, adding potatoes to a baby's diet can keep the risks of infections at bay.
3. Good for the Health of Liver
Not only the pulpy potato but the peel of the potato is also effective in protecting your baby from various ailments. Potatoes are good for the health of the liver of a baby and protect it from various kinds of chemical damages too.
4. Heals Insect Bites or Bug Bites
Gently rubbing the slices of a potato on an insect bite or bug bite can reduce the inflammation and can help reduce the symptoms of dermatitis.
5. Good for the Skin
The presence of starch, vitamin C, and various enzymes not only protects the skin but also provides nourishment to your baby's skin.
How to Give Potatoes to an Infant
Potatoes are healthy for a baby. However, you need to note the following points before giving a potato to your baby:
1. Clean and Peel the Potatoes Thoroughly
Potatoes are grown underground, and therefore it is very important that you get rid of all the dirt and pesticides before giving it to your baby. Make sure you peel the skin and wash it nicely too.
2. Start Small
Babies like the taste of potatoes but that does not mean that you give them as much as they like. Potatoes are rich in starch, hence it will be difficult for him to digest if given too much. Therefore, begin by giving a few spoons of mashed potato only.
3. Give Steamed or Baked Potatoes
Give steamed or baked potatoes to your baby. This is because when you boil the potatoes, most of its nutrients are lost. You may steam and mash the potatoes and give it your baby.
Video: How to Make Potato Puree for Babies?
Potato Puree Recipe for a Baby
The best way to give potatoes to a baby is in the pureed form. So, here is the recipe to make potato puree for your baby.
- 2-3 potatoes
- Take the potatoes, wash them thoroughly, and peel off the skin.
- Cut the potatoes into small chunks.
- Take a steamer basket and place the chunks on it. Take water in the saucepan, but not too much.
- Steam the potatoes; keep checking the water. If required, add some more water.
- After this, take it off from the flame and puree them in the mixer. Do not make a paste, keep a nice consistency.
- You may add the leftover water to reach the desired consistency.
- Potatoe puree is ready.
Other Potato Recipes for Infants
Apart from the above-mentioned pure potato puree, you can try some variations too. If you like, you can add various other vegetables along with potato to give some texture and increase the nutritional value. Here are some more potato recipes that you can try for your baby:
1. Broccoli and Potato Puree
This is a mashed potato recipe with a twist and it is definitely a nutritious option for your baby. Here's how you can make it.
- Potatoes
- Broccoli florets
- Take the potatoes, wash, and peel them.
- Take the broccoli florets and wash them nicely.
- Take a steamer and place broccoli florets and potato chunks on it.
- Put some water and steam the vegetables.
- Put steamed vegetables into the mixer to mash them.
- You can add some water for a nice consistency.
- Empty the puree in a bowl and serve warm.
2. Potato and Squash Puree
This recipe is an ideal baby food for babies who are older than 6 months.
- 1 acorn or butternut squash
- 3 to 4 medium-sized potatoes
- Take squash and potatoes, clean them, and cut into small chunks.
- Alternately, you can bake the squash and potatoes in the oven.
- Once done, puree them to form a smooth consistency, and feed your baby.
Potatoes are generally one of the first foods of babies. You may include this amazing vegetable in your baby's diet. However, it is strictly recommended that you should not give any solid foods to a baby before six months of age. If you wish to include potatoes in your baby's diet, it is suggested that you consult a doctor first. Once your doctor gives you a heads up, you can feed potatoes to your baby in the mashed or pureed form. However, do not feed him too much.
Also Read: Sweet Potatoes for Babies


text:
Something starter/charging system related. If you mean the engine cranks over but won't start, it gets more complicated and requires further testing...more
was wondering if there is any way to reduce the amount of body roll that occurs when turning a corner. Are there any drawbacks to the fix (if there is one)?...more
When the 4hi button is pushed, both 4hi and 4lo lights flash as if the system can't make up its mind. Then when the 4lo button is pushed it will engage...more
The brake pedal travel is too great before actual stopping begins. The truck has 65,000 miles, and it has new brakes on all wheels...more
A/C delays up to 10 minutes before the blower will work. None of the fan speeds will blow. After this delay it starts blowing normally. This only happens about half the time...more
When I let go of the steering wheel on a straight road it pulls significantly to the left. After checking the air pressure and then having the tires rotated, there was no change...more
"Service engine soon" light comes on when driving. My service manual tells me there's an "ACLR module" from which I can jump A to B to receive a code isolating the problem...more
Runs rough under certain conditions; always below 45 degrees and usually after a rain. There's no problem in warm weather, could be carburetor icing...more


text:
By Sujan Dahal
Every human being has a dream of getting into space and enjoying the moment. She also has a dream to be first person to step on the Mars. Meet, Alyssa Carson, a 17-years-old girl who is targeting a 2033 mission to Mars. She was born on March 10,2001 in Hammond, Louisiana, U.S.A.
Carson is an American space enthusiast and public speaker. She has visited several space camps in U.S, Turkey and other countries. In 2013, Cason became the first person to complete the NASA passport program by going to all 14 NASA Visitor Centers in U.S.A. She is also an ambassador for the Mars One private spaceflight project. In 2014, she appeared on famous TV show Steve Harvey and honored as youngest female groundbreaker. She has also featured on BBC, CBS, Independent, NBC Nighty Show, Australian Daily Telegraph etc. In 2016, she became the youngest person to be accepted to the Advance PoSSUM (Polar Suborbital Science in the Upper Mesosphere) Academy. She has even appeared in the movie The Mars Generation.
She will be 32 years old by the time she will step on the red planet. Until then, she is required to get PhD in Astrobiology and complete a professional certificate in applied astronautics. She determined to be first person to step on Mars when she was watching Nickelodean TV show The Backyardigans at the age of 3.


text:
Home > Back to Search Results > Friedrich Engels as a newspaper reporter... The Campaign In The Crimea...
Show image list »
Friedrich Engels as a newspaper reporter... The Campaign In The Crimea...
Item # 653806
November 27, 1854
NEW YORK DAILY TRIBUNE, November 27, 1854 This is an interesting issue, and an opportunity to own an original, 19th century newspaper containing an article written by Friedrich Engels, who along with Karl Marx became the most recognized communist revolutionaries of all time. Prior to becoming known for the political efforts, both men were foreign correspondents for the New York Tribune.
Page 4 has the 2+ column article, "The Campaign In The Crimea," which is credited by "Articles by Marx in New York Daily Tribune" as having been written by Friedrich Engels.
The issue is complete in 8 pages, has news of the day and period advertising throughout, and is in good condition. See images for details.
If additional NY Tribunes with articles by Friedrich Engels are desired, please be in touch.
Background: Both men spent most of their lives in exile, part of which was in London where they joined the Communist League. As noted in the website "The History Guide": "...during the first half of the 1850s the Marx family lived in poverty in a three room flat in the Soho quarter of London. Marx and Jenny already had four children and two more were to follow. Marx's major source of income at this time was Engels who was trying a steadily increasing income from the family business in Manchester. This was supplemented by weekly articles written as a foreign correspondent for the New York Daily Tribune ."
Category: Pre-Civil War
Available Now


text:
Posted by Claire, 2 years ago Technology
Robots are finding their way into many industries and whilst this may spell less jobs, its also spells an exciting time for both industries and leisure time. We are a couple of steps from Robots in the home and whilst they may be the human shape form, they will be an interactive part of your family in just a few years.
2 years ago 1096 Views


text:
My Content
Membership has its privileges! Sign up or sign in to gain full access to both All About Jazz and Jazz Near You. Learn more.
Jane Ira Bloom
Tea Lounge
Brooklyn, NY
June 5, 2009
Unfolding throughout June at Brooklyn's Tea Lounge, the Bloom Festival was conceived by its curators, Tanya Kalmanovitch and Lara Pellegrinelli, as a double homage: to the season of rebirth and to soprano sax innovator Jane Ira Bloom, who headlined the festival's second night (Jun. 5th) in a trio with bassist Mark Helias and drummer Bobby Previte. Bloom is fond of playing not just tunes, but mélanges, improvised epics. And so her first set flowed from the quick, swing-based "Jackson Pollock" to the funky "Unconscious Forces" to the dark ballad "Climb Inside Her Eyes". Much like trumpeter Bill Dixon, Bloom uses two microphones treated with electronic effects to modify her hornnot with echo, but rather a harmonizer that splits her runs into parallel intervals, generating otherworldly surprises. Her rapid physical swoops of the horn, from mic to mic or in wide circles and horizontal lines, also make for a richer sonic experience than the average jazz show. Given this, Bloom's addition of keyboardist Rob Ray for the second medley"Live Sports" into "Vanishing Hat" into "Electro-Chemistry"seemed unnecessary. Ray's sampled voices and washes of synthesized electro-noise called to mind DJ Olive's work with Uri Caine. But there was a feeling of disorganization, not least of all when one of Ray's three keyboards began shrieking horribly and had to be shut off. The trio had a compelling enough rapport to carry the whole show. Why mess with it?
David R. Adler
Jacob Garchik
Brooklyn, NY
June 6, 2009
Trombonist Jacob Garchik's trio is a book not to be judged by its cover. The leader's compositions are quizzically satisfying. "Medium," for example, is complex and knotty, with tightly scored changes. The gently loping "Waltz" is graceful but hardly metered. And, at least on Jun. 6th, when they appeared at I-Beam, "Duo" was played by all three members. The trio (with Jacob Sacks on piano and Dan Weiss on drums) has been playing together for several years and it showed in the ways they approached Garchik's smart compositions, which often felt strangely tempo-less but were never quite still. The changes were sometimes sudden, although in familiar hands never felt abrupt. All three played quite beautifully, somewhere between together and apart, but just as there weren't overt themes there was rarely lead or support. And while the pieces hardly seemed imbued with momentum, they were still filled with lots of little rhythms; Sacks and Weiss were meticulously relentless in creating fractals around the shifting themes. Together the group managed to strike a similar balance to the Alex von Schlippenbach trio, structuring the spontaneity of European free improvisation into compositions that flow from the genuinely serene to a disjointed swing. The close confines of I-Beam, a studio on the industrial side of Park Slope in Brooklyn about big enough for 20 chairs and a baby grand, seem to demand close attention, something that befitted what the trio had to present.
Humanization 4tet
Downtown Music Gallery
New York, NY
June 8, 2009
The Portuguese guitarist Luis Lopes has tricks up his sleeve. As evidenced on his new Clean Feed CD What is When, he is an adept player of noise and feedback (as opposed to simply a maker, Lopes is the rare guitarist who can use it quite tastefully). But such is not the stuff of his Humanization 4tet. On their self-titled CD from last year and appearing at Downtown Music Gallery on Jun. 8th (the last stop on an America tour that took them along the Eastern Seaboard and down to the rhythm section's Texan homeland), Lopes takes a cleaner, more melodic approach. The group seems to play Lopes' compositions inside-out, beginning in a freer vein, moving slowly until Lopes or saxophonist Rodrigo Amado (or sometimes both players in tandem) rise slowly, unexpectedly, to state a theme. The restraint shown on the melody instruments is also surprising given the powerful backline (bassist Aaron and drummer Stefan Gonzalez, sons and regular bandmates of incendiary trumpeter Dennis Gonzalez). Amado is fully capable of gritty tenor playing and Lopes' battery of effect pedals gave him the foundation to break free of the bright, clean tone of his hollowbody, but their measured approach was subtly rewarding. It wasn't until two final group improvisations, during which Daniel Carter joined them on trumpet and alto saxophone, that they traipsed rockier terrain, Lopes pushing his axe in more directions. But even his string scrapings proved to be thoughtful and musical.
Kurt Gottschalk
Miles Okazaki
Jazz Gallery
New York, NY
June 12, 2009
Composer/guitarist/illustrator Miles Okazaki brought his group to Jazz Gallery on Jun. 12th-13th to premiere Generations, his second album as a leader. Saturday's early set reenacted the album in its entirety, performed live just as it was recorded: in order, in one continuous take. The first-rate band included alto saxophonists Miguel Zenon, Christof Knoche and David Binney, vocalist Jen Shyu, bassist Hans Glawischnig (covering for Jon Flaugher) and drummer Dan Weiss. Beginning with the accelerating pulses of "Overture," answered a full hour later by the slowly decelerating "Moon," Okazaki's music continually engaged the audience's perceptions of time and tonality by chain-linking remotely related chords in quick succession and superimposing beat groupings and accent patterns to create compound shapes and phrases. In spite of this density, the music evolved organically, inevitably, helped in large part by fine soloing all around. Okazaki, playing at a low volume with a light touch, was subtle yet assertive, his comping tastefully apropos. Zenón was relentlessly intense, sounding both lyrical and aggressive on "Waves" and "Generations". Shyu's voice added warmth to the blend, easily matching the horns over the tricky, unpredictable compositions. Binney, Knoche and Glawischnig all had fine moments as well, but the MVP award properly belongs to Weiss, whose irrepressible beat and mercurial creativity provided both the spark and the glue.
Abdullah Ibrahim
Jazz Standard
New York, NU
June 10, 2009
South African pianist Abdullah Ibrahim, the artist-formerly-known-as-Dollar Brand, was at Jazz Standard for a week-long residencythree nights solo followed by three with his group Ekaya. Wednesday's (Jun. 10th) early set was subdued and intimate, a non-stop, stream-of-conscious musical meditation that, like Duke Ellington's suites, coursed through a series of impressionistic vignettes, each with its own color scheme, gently flowing from one hue to the next. With no band behind him, Ibrahim was free to follow the dictates of his imagination, drawing on songs and musical textures he has played over the years, ideas that by now have become second nature. His style, encompassing Cape Town grooves, gospel hymns, Ellington-Strayhorn compositions, the melodic contours of swing and bop, as well the angularity of Thelonious Monk, is nevertheless uniquely his own, shaded with delicate dissonances and, at its core, infused with a folksy earthiness and directness of delivery that is never overshadowed by intellectual complexity. Ibrahim's rhythms, relaxed in the manner of swing, hewed closer to the lilt of township jive than to jazz; his improvisations, typically anchored to a mode or key area, gently resisted tonality with subtle chromaticism or stark melodic leaps. Approaching target tones from below, he often delayed their resolution for dramatic effect. As the spell of the music deepened, Ibrahim rocked back and forth on his stool, an enchanter enchanted.
Tom Greenland
Oliver Lake
Sweet Rhythm
New York City
June 5, 2009
One of the most soulful voices to emerge out of the '70s avant-garde, Oliver Lake evinces a musical vision that is both expansive and inclusive, drawing freely from myriad traditions to create a consistently forward-looking body of work that stands out for its inventiveness and originality. Leading his Organ Quartet at Sweet Rhythm (Jun. 5th) the iconoclastic altoist propelled the popular '50s "soul jazz" format into the future with a sound that was raucous and relaxing at the same time. Lake's frontline partner trumpeter Freddie Hendrix, whose experiences range from Rufus Reid's quintet to the J.B.'s Reunion Band, proved to be the perfect foil for the leader, their strong individual tones melding in dissonant harmony to create a walloping whole with a powerful punch even stronger than the sum of its four-fisted parts. Jared Gold's central role in the group contributed greatly to its distinctive sound, drawing judiciously from the Hammond organ's popular vocabulary but avoiding the trite clichés that forced the instrument out of favor. Drummer Bill McClellan provided the freewheeling rhythmic force that helped drive Lake and Hendrix' extroverted conversations into new territory in a program of original compositions by the leader. The opening "Backup" had a storytelling quality that emphasized the voicelike attributes of Lake's horn that remained evident throughout the set, which ended with a stirring reading of the gospel classic "I Want to Walk with Jesus".
Warren Smith
Minton's Playhouse
New York, NY
June 13, 2009
Multi-instrumentalist Warren Smith demonstrated his much-heralded versatility from the very outset of his first set at Minton's (Jun. 13th), sitting behind the legendary club's drum kit to kick off the evening, drafting a young pianist from the audience to join him and bassist Leon Dorsey while waiting for the rest of his band to arrive from an earlier engagement. The trio jammed on a couple of standards prior to Smith's calling up another drummer from the audience so that he could take his place at the vibraphone to swing a version of Milt Jackson's "Bags Groove," the evening's one piece in the spirit of its billing as a Tribute to the MJQ. The appearance of drummer Eli Fountain (himself a flexible vibraphonist-percussionist in the Smith tradition) and pianist Alva Nelson moved the band into a more energized mode with a pulsating reading of "Afro Blue" that began with the former's chanted introduction and was marked by the latter's powerful percussive Tyner-ish chords. Smith's lyrical modality on the vibes here demonstrated his admitted affection for the style of Bobby Hutcherson, although on "In A Sentimental Mood" and "Sonnymoon For Two" the influence of Jackson was equally evident. The addition of the Last Poets' Don Eaton on djembe added to the contemporary flavor of the second set which included lively versions of War's "The World Is A Ghetto" and Stevie Wonder's "Overjoyed," proving that there's still plenty of swinging jazz to be mined from the pop and R&B music catalogues.
Russ Musto
Recommended New Listening:
* Kevin Hays TrioYou've Got a Friend (Jazz Eyes)
* Ron HortonIt's a Gadget World (ABEAT)
* Tony MalabyPaloma Recio (New World)
* Tim Posgate HornbandBanjo Hockey (Black Hen)
* Alan Sondheim & Myk FreedmanJulu Twine (Porter)
* EJ StricklandIn This Day (Strick Muzik)
David Adler NY@Night Columnist, AllAboutJazz.com
Start your music shopping from All About Jazz and you'll support us in the process. Learn how.


text:
Airfare to Edmonton from Los Angeles
If it's airfare to Edmonton from Los Angeles you're seeking, you can turn to WestJet. We operate flights to more than 150 exciting destinations in North America, Central America, the Caribbean and Europe — which includes flights into Edmonton International Airport — so you can rest assured that we're the airline that gets you where you want to be. Beyond our convenient routes, we believe in giving our passengers an outstanding experience from start to finish, which means you can expect air travel that's swift, safe, comfortable and affordable. So, when service and value are important factors for your next trip, choose WestJet.
Low fare finder
Don't see what you're looking for? Find all of our great low fares in one place.
Your trip to the City of Champions begins with WestJet
Airport Details: To YEG, Edmonton International Airport From LAX, Los Angeles International Airport
Edmonton takes pride in housing the longest stretch of connected urban parkland in North America — so no matter where you are in the city, you can delight in the fact that a stroll in the park is always within reach. Those more at home indoors are also catered for with the world-renowned, record-breaking West Edmonton Mall and the cultural melting pot of the Art Gallery of Alberta. Best of all, you can enjoy the city's great outdoor and indoor attractions any season you please with year-round flights from WestJet.
Isn't it about time you took a trip? Book airfare today through WestJet and your dream trip to verdant, action-packed Edmonton will quickly become a reality. Whether you're gearing up to enjoy coveted attractions like the Royal Alberta Museum, historical Whyte Avenue and Elk Island National Park or you're just taking a business trip, you can get there with WestJet. Fly to Edmonton from Los Angeles and see how far you can go with WestJet.


text:
"Que Sera, Sera"
Post 1430
que sera, sera
(Spanish phrase)
Part of Speech: noun
Definition: whatever will be will be
Synonyns: whatever happens, whatever may happen
Part of Speech: adjective
Definition: condemned, hopeless
Synonyns: bedeviled, bewitched, convicted, cursed, cut down, damned, dead duck, destroyed, done, done for, fated, fey, foreordained, ill-fated, ill-omened, in the cards, kiss of death, lost, luckless, menaced, overthrown, overwhelmed, predestined, reprobate, ruined, sentenced, star-crossed, sunk, suppressed, threatened, thrown down, undone, unfortunate, unredeemed, wrecked
Antonyms: hopeful, lucky
"The Waking"
I wake to sleep, and take my waking slow.
I feel my fate in what I cannot fear.
I learn by going where I have to go.
We think by feeling. What is there to know?
I hear my being dance from ear to ear.
I wake to sleep, and take my waking slow.
Of those so close beside me, which are you?
God bless the Ground! I shall walk softly there,
And learn by going where I have to go.
Light takes the Tree; but who can tell us how?
The lowly worm climbs up a winding stair;
I wake to sleep, and take my waking slow.
Great Nature has another thing to do
To you and me, so take the lively air,
And, lovely, learn by going where to go.
This shaking keeps me steady. I should know.
What falls away is always. And is near.
I wake to sleep, and take my waking slow.
I learn by going where I have to go.
Theodore Roethke
"The Collected Poems"
I remember as a child being mesmerized by the voice of Doris Day! Actually, everything about her was mesmerizing! Her looks, her manner, her acting skill and even her humanity when it came to causes, was fascinating to me and provided proof that no matter how fortunate you are, it is the qualities of your heart and what you give back to the rest of the world that matters. You see, even if the situation might seem hopeless, it need not make one feel hopeless or act hopelessly! And therein lies the proof that the words in the title of this post, made famous in a song written by Jay Livingston and Ray Evans, and which was introduced in the 1956 Alfred Hitchcock movie starring Miss Day, "The Man Who Knew Too Much", are really pure bunk! It is NEVER what will be but rather, it is what we choose to make, that measures our lives.
Now I am not so naive as to believe that we accomplish these things alone. Nor do I think that their outline is not already part of God's plan for us. But the execution and incorporation of them as an integral part of the way we live our lives, is wholly and entirely up to us to implement. Just look at the above list of Synonyms for this phrase. I defy you to read them and think, " Yep… these are attributes I want to embrace and adopt as a motto for living!" 1 Corinthians 3:8-10 NIV (UK) reminds us that it is our choices that reap our rewards in this life….AND in the next! "The one who plants and the one who waters have one purpose, and they will each be rewarded according to their own labour. For we are fellow workers in God's service; you are God's field, God's building. By the grace God has given me, I laid a foundation as a wise builder, and someone else is building on it. But each one should build with care."
God sets the wheels of our lives in motion. In fact, He opens doors for us to walk through and they are doors that Satan can not shut in our faces! But the doors are many and the choice of which one to pass through is solely ours to make. He will be by our side as we choose but he is there only as our guide and perhaps even our moral compass. He does NOT dictate the choice for us but instead, relies on our using the attributes He has programmed each of us with, such as our capacity to think, decide and choose for ourselves! The consequences of those choices we will reap, whether we choose life or death, love or hate, darkness or light, sin or virtue! After all, do we not appreciate and embrace more fully when we get the things we want, especially if we also need them? God is the same way. Think about it this way…..would He WANT you, if you did not want Him? Here is a verse that reinforces this fact! 1 Corinthians 15:10 NIV, " But by the grace of God I am what I am, and his grace to me was not without effect. No, I worked harder than all of them—yet not I, but the grace of God that was with me."
But someone will say, "You have faith and I have works." Show me your faith apart from your works, and I will show you my faith by my works.
James 2:18 ESV
Copyright © 2011-2015 "MandysPath" Ministry


text:
The phrase "DNA nanotechnology" has a thoroughly futuristic ring. It sounds like something from a science-fiction novel, but what does it actually mean? Nanotechnology just means manipulating stuff on the scale of atoms and molecules. DNA nanotechnology is an approach that harnesses the self-organizing properties of DNA. The idea is to use DNA to precisely position things or build structures and machines, ideally in a way that's cheaper or more efficient than other techniques.
View original post 527 more words


text:
Enhance Your Home with Top Quality Balustrades
At Timbacore, you can get access to top quality wooden balustrades to suit all tastes and designs.
Wooden balustrades provide an unrivaled level of elegance, while also adding value to your deck or home.
Choose from an extensive range of options from Timbacore, while we also offer complete flexibility when it comes to installation. We can manufacture balustrades and install them at your property, or you can fit them yourself. Alternatively, we can provide you with the materials needed and you can do it all in your own time.
Wooden balustrades are highly decorative and often used to enhance fine architecture, while the wooden look is something that doesn't get old.
Wooden balustrades will require some maintenance to ensure that they remain in the best condition, but the warmth and natural appearance is perfect for home interiors – where they are not constantly battling tough weather conditions.
Our balustrades are manufactured to the highest standards, to ensure that they last for years to come without cracking and chipping.
We also take pride in providing the highest level of service, with our skilled staff able to provide neat and efficient installations that met the set deadlines.
If you would like to find out more about the wooden balustrades at Timbacore, contact a consultant today.


text:
Your shopping cart is empty
Visit the shop
A super smokey, sweet full flavour JD bbq sauce infused with our lean boneless pork leg during a 14 hour slow cooking process...result....a 500 gram pot of ready to eat or use and in a microwave pot. Use it with rice, salads, fajita wraps and baps, top your baked potatoes and burgers or simply warm it through and add to a buffet or bbq.
Portion: 500 grams
Price: £4.50
Natural Game is proudly powered by WordPress


text:
Glad we escaped with a win but (with the exception of a few plays like the pick six) this one was NOT fun to watch at all!
BAD officiating and lack of discipline is never a good combo.
Glad we escaped with a win but (with the exception of a few plays like the pick six) this one was NOT fun to watch at all!
BAD officiating and lack of discipline is never a good combo.
Doesn't matter if we win by an inch or a mile winning is winning
Denver Broncos linebacker Danny Trevathan suffered a left knee injury Sunday against the New York Jets and will not return.
Trevathan, who had just returned to the lineup last week against the Arizona Cardinals after suffering a fracture at the top of his left tibia in training camp, was injured on the Broncos' defense's second play from scrimmage in the game.
Trevathan stayed on the ground following a 15-yard completion from Geno Smith to Eric Decker. The Broncos medical staff briefly examined Trevathan's left knee on the field and took him to the locker room.
Trevathan was the team's leading tackler last season did not play in the preseason and missed the Broncos first three games before returning to the lineup in the Broncos' 41-20 victory over the Cardinals last Sunday.
Good, solid win against a desperate football team on the road. There's a lot to clean up though, glad we got the bye week out of the way early so we can establish some momentum.
I love a W regardless because winners get...
The Bronco fan pledge;
I am a Broncos Fan and I believe
I believe in Mile High Magic and bleed Orange and Blue.
I celebrate the Orange Crush, The Drive, and the Mile High Salute.
I create the THUNDER, share the common dream, and will forever be a proud citizen of
Bronco's Country.
***Adopt a Bronco is Chris Harris, Jr.***
Adopt a Poster AZ Snake Fan & SecondsAway131
Odd, they aren't showing the chargers raisers game locally. guess i'll watch it online and the seahawks cowboys.
More balanced on offense this time, but give credit to the Jets D-line: they hurried, sacked, and hit Manning a lot. Clady was a chump out there, routinely getting beat and/or surrendering holding penalties. The defense continues to look decent. The offense milked 5:00 off the clock at the end, and the pick to seal the deal was great.
This team is finishing games with big plays. The Jets gave the Broncos everything, and still lost by 14 at home.
Anyone comparing it to the game the Jets played against the Chargers need to remember it's the NFL, and no two weeks are the same. Plus, San Diego lost to Arizona, who Denver clobbered. Apples to toilet brushes.
We beat 2 teams today the NYJets were the easy team the officials were tougher!
We should get 2 W's today!
Worst officiated game all year. Worst announcing all year. Dan Fouts is ever the Broncos hater. I'm glad we got out with a W. Great job by our team fighting through adversity on the road!