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|Portable Moving-Picture Multimedia Player and Microphone-type Apparatus for Accompanying Music Video
|November, 2007
|Lee et al.
|September, 2005
|July, 2005
|June, 2009
|January, 2010
|December, 2008
|August, 2007
|Arrangement made to an audio visual device connected to internet
|October, 2002
|Tokuzumi et al.
|Zinistesia: An Apparatus And Method For Teaching, Writing, And Reading Music
|February, 2009
|Wind instrument ligature
|August, 2009
|Method of automatically detecting vibrato in music
|July, 2006
This application claims priority from U.S. provisional patent application 60/709,840, Richard Andrew Schwartz, Chord progression-based techniques and tools for learning to play music, filed Aug. 19, 2005. That application is incorporated by reference in its entirety into the present patent application.
Not applicable.
Not applicable.
1. Field of the invention
The invention relates generally to techniques for gaining facility in the playing of musical instruments and more specifically to techniques for gaining facility in making transitions from a key or mode to another key or mode.
2. Description of related art
Since at least the time of Bach's Well-tempered Clavier, classically-trained musicians have used systematically-constructed sets of exercises to gain proficiency in singing or playing their instruments. One of the kinds of proficiency taught in these exercises was improvisation within the context of classical music. For example, the famous piano virtuoso and etude writer Carl Czerny's Opus 200 (1836) is a set of etudes entitled A systematic introduction to improvisation on the pianoforte. The title of Czemy's work expresses the underlying paradox: improvisation, that seemingly most spontaneous form of musical expression, requires careful and systematic preparation on the part of the musician. As Czemy put it, "When the practicing musician possesses the capability not only of executing at his instrument the ideas that his inventive power, inspiration, or mood have evoked in him at the instant of their conception but of so combining them that the coherence can have the effect on the listener of an actual composition-this is what is called: Improvising or Extemporizing."
While improvisation in the context of classical music is of at most historical interest, jazz improvisation is a living art. Jazz was originally an aural tradition, and improvisation was learned by listening to jam sessions and participating in them. As jazz has grown more complex and traveling big bands and their jam sessions have disappeared, people have begun to teach improvisation in schools. With that has come a large and confusing literature devoted to teaching improvisation.
Jazz improvisation is the spontaneous creation of music in the jazz style. Like traditional composition, jazz improvisation is a craft. It is a conditioning of the mind, body and spirit, brought about by the study of musical principles. This conditioning becomes a necessary prelude to the professional practice of the art, despite the implications of the word spontaneous. Just as spontaneity is combined with conditioning, so is the existing style of jazz combined with original of expression. One is lost without the other, and so we seldom hear an improviser's solo that do not contain melodic fragments or patterns: from the melody of the tune used, from a fellow performer's solo, from an influential player of the time, from a different tune altogether, from material previously improvised, or from patterns (original and borrowed) currently studied in individual practice. Another obvious combination is creation and performance. The jazz improviser pre-hears in his mind the next musical event, and then has the added task of playing it cleanly and with feeling. This is the process of jazz improvisation.
The study of jazz improvisation may be separated into three main areas of study. These areas a facility, linguistics, and interaction.
Facility includes any act which helps the player to gain control of his or her instrument and/or any act contributing to the reading and comprehension of musical information. In regards to the alto saxophone gaining control of the instrument includes but is not limited to coordination between the fingers and tongue, embouchure development, air support, posture, reading notes, chord symbols, articulations, rhythms, dynamics, etc . . . In order to overcome limited facility on one's instrument one may practice long tones, scales, arpeggios, interval patterns, melodic phrases, and other devices In order to develop better reading and comprehension of musical information, one may study musical notation privately or with a teacher.
One must become as proficient as possible on his or her instrument. Any musician is inhibited and limited by the lack of knowledge of the instrument. Musicians who know their instruments we have a better chance of conveying the music that is contained within their mind to the listener. The finest, most successful and well established jazz players not only continue to practice their instruments to maintain technical facility but also are consistently seeking to improve jazz vocabulary.
Like languages with regional accents, jargon, slang terms, and phrases, most music including jazz tends to have its own idiomatic phrases. To exercise jazz linguistics, one may engage in several activities. These include, but are not limited to, repeatedly listening to a multitude of jazz recordings, singing along with jazz recordings or others, transcribing jazz melodies and improvised solos, and practicing idiomatic phrases or patterns found in jazz solos or elsewhere. The most important way to learn the linguistics of jazz is listening to jazz. Virtually every great jazz player has learned the art form in the same manner: through learning the solos of other great players.
When listening to great jazz artists, students may find a particular sequence of notes enjoyable and transfer this melodic pattern of notes to his or her instrument. The idea of learning a pattern and when to play it should not be thought of as uncreative. Because it is impossible to continuously create new meaningful ideas, improvisers at times resort to playing ideas or patterns that have been practiced and mentally logged before hand. This is taking nothing away from the improvised because it is often just as hard to play an idea several times in a row, each time with the same conviction, as it is to create completely new ideas.
The frequent mention of melodic fragments, patterns, and sequences of notes in the foregoing discussion suggests the need for a collection of patterns to be practiced diligently by the serious student of jazz improvisation. After the student has acquired some basic vocabulary, has a good sound, and knows how to properly articulate and inflect, learning to organize (or reorganize) material is the next logical step to master.
Because jazz is multifaceted, interaction, leading to good communication, in performance with other musicians is vital. Jazz is a complex art form combining the talents of individuals together as a collective whole. Therefore the art of improvisation must be taught both individually and collectively. In this fashion ideas may be shared aurally and developed. As essential to students as technical information and counsel is the understanding of jazz acquired directly through performance.
Facility, linguistics, and interaction work collectively to develop a strong sense of comfort in the jazz idiom and jazz improvisation. Many times these defined areas in fact overlap. One such case is the transcribing of a melodic phrase, or "lick," from a solo and practicing it in all keys. Here, both facility and linguistics are used. Facility is employed due to the practice of tongue and finger coordination. Linguistics is utilized due to the practice of phrasing the melodic figure just as one had heard it on the jazz recording.
Another such case of overlapping is partaking in a jam session. Here, interaction is exercised, for the wonderful interplay between jazz musicians. Also, linguistics is implemented due to the "conversation" flowing back and forth between jazz musicians. Again, facility, linguistics, and interaction operate together to develop a strong sense of ease in the performance of jazz improvisation.
In New Concepts in Linear Improvisation, Miami, Fla. CPP/Belwin, Inc., 1976, Ramon Ricker discusses three distinct categories of jazz improvisers: the "head" player, the "ear" player, and the "ideal" player. Each is described. Most important is an explanation of how each type of improviser would improvise.
Ricker describes a "head" player as one who has a good intellectual grasp of improvisation, but whose solos never seem to work. Instead, they seem to lack the emotion or musical sense to make things happen.
An "ear" player is said to be a student who frequently will have no idea of what he is playing, but the performed solos will sound passable. The performer will sound good on blues and other simple chord progressions, but when more difficult tunes are encountered, fails hopelessly.
Ricker describes the "ideal" player as one who has the theoretical knowledge, but doesn't let it get in the way of his or her music. He states, "The marriage of intellect and emotion is a difficult one to consummate, but nevertheless quite possible." Fundamental to becoming an ideal player is that the player must be able to hear an interesting improvisation in his or her head and then be able to immediately play what he or she has heard on his or her instrument. In order to become an ideal player, a student must have an education in improvisation that balances technique and ear. It is an object of the techniques disclosed herein to provide such an education.
The object is achieved by performing a set of exercises. Each exercise is made up primarily of a sequence of patterns. Each pattern begins at an interval from the beginning of the preceding pattern in the sequence that is the same throughout the sequence and the patterns are performed with perpetual motion between the patterns.
In one species of the invention, the patterns are octave scales that have notes of equal duration. The interval for the sequence may be selected from intervals ranging from the half step through the tri tone. The sequence of the patterns may span a predetermined range, with the first pattern of the sequence being at one end of the range and the patterns of the sequence extending to the other end of the range and back to the beginning of the range. The octave patterns may be ascending, descending, or include both ascending and descending patterns. In the patterns that include both ascending and descending patterns, the ascending and descending octaves of the pattern are different by an interval that is half the size of the interval between the patterns. Each octave scale may be played in a single measure in four four time.
Each pattern is articulated in the same fashion. An advantageous mode of articulation is to play the first note of the first pattern in the sequence legato and after that to play the first note of each octave on the downbeat. The following notes of the pattern are played alternatively on the upbeat and the downbeat. The notes of the pattern that are played on the upbeat are slurred to the notes that are played on the downbeat and the last note of each pattern is slurred to the first note of the next pattern. The sequences of patterns include sequences in which the pattern extends over two octaves.
In one species of the exercises, the sequence of patterns is performed in many keys and the patterns for a key are drawn from the major scale for the key and modes that stem from the major scale. In another species, each pattern of the sequence is performed in one of a sequence of keys. The fundamental of each key in the sequence differs from the fundamental of the previous key by an interval which is the same throughout the sequence. The interval may range from the half step through the tri tone.
Other objects and advantages will be apparent to those skilled in the arts to which the invention pertains upon perusal of the following Detailed Description and drawing, wherein:
FIG. 1 is a first example of a preparatory exercise of the method;
FIG. 2 is a second example of a preparatory exercise of the method;
FIG. 3 shows a first species of the patterns used in the method together with the intervals used in the method;
FIG. 4 shows three other species of the patterns used in the method;
FIG. 5 shows a portion of an exercise that employs a two-octave version of the first species;
FIG. 6 shows an exercise in the key of C from the exercises in major and its modes; and
FIG. 7 shows an exercise from the final exercises Reference numbers in the drawing have three or more digits: the two right-hand digits are reference numbers in the drawing indicated by the remaining digits. Thus, an item with the reference number 203 first appears as item 203 in FIG. 2.
Overview of the Technique
Underlying Musical Principles
Jazz instruments fall into two broad classes: instruments which can play a single line of music and instruments which can play chords. The inventor is a saxophone player, and consequently, the preferred embodiment described in the following is for saxophone. The principles of the preferred embodiment may be applied directly to any other instrument which can perform a single line of music, including the human voice, and may also be applied to instruments upon which chords can be played.
Up to the Bebop era, jazz improvisation was based strongly on chord harmonies. Arpeggio-like figures were common. This is what many in jazz call vertical improvisation, inside playing, or vertical approach. Coleman Hawkins and Rex Stewart were seen as musicians who used this approach due to the influence of Louis Armstrong, Bix Beiderbecke, and others. Vertical improvisation, or chordal playing, can be achieved on the saxophone by creating the illusion of playing chords. This effect is acquired on a single line instrument by using arpeggios. This may be the reason why many teachers of improvisation believe that improvisation study should begin with arpeggios. From the Bebop era and on, scalar patterns and melodic contours become routine in jazz improvisations. Many call this approach "horizontal," or linear, improvisation. What is in fact meant by linear improvisation is scalar or modal improvisation. Since the saxophone is a single line instrument, scalar or modal improvisation is the most accessible form of improvisation.
The basis of scalar improvisation is scales. In conventional Western music, all scales are patterns made up almost entirely of half steps and whole steps, with the half step defined as the smallest possible distance between two notes. A half step can also be defined as a semitone. A whole step is equivalent to two half steps. The major scale is constructed from the following step pattern: whole, whole, half, whole, whole, whole, half. This pattern can be moved, or transposed, to start any on note.
Using Scales to Prepare for Jazz Improvisation
In a preferred embodiment, the exercises used to prepare the student for improvisation are based on sequences of scales. The manner in which the scales should be practiced when they are used to prepare the student for improvisation is shown at 101 in FIG. 1, which shows parts of a preliminary exercise in a preferred embodiment of the technique disclosed herein. The scales in the preliminary exercise are played in one octave patterns ascending and descending in consistent eighth notes, as shown at 103, with each new pattern beginning a half tone higher than the preceding pattern and employing the major scale that begins on that note, as shown at 104. The patterns are thus a chromatically ascending sequence of scales. The patterns start with the lowest note that is comfortably playable on the instrument and end with the highest. In order for such a pattern to end rhythmically on beat one with consistent eighth notes in common, or four-four, time, an eighth note must be added, as shown at 107. The added note is a repetition of the seventh scale degree as the added note. That note has been chosen to keep the scale pattern within a one octave range and have it end on beat one. If the scale were to be practiced with a sequence larger than an octave, then the sequence of notes at the top of the instrument would have to be compromised. For instance, the highest written note in the range of the alto saxophone is a written F sharp. If one were to construct major scale exercises up to the ninth, the highest major scale one could practice on the alto saxophone is E major. F sharp is the ninth scale degree in E major. If the scale to be practiced is one octave in length, the practitioner would be able to facilitate not only the E major scale, but also F major and F sharp major.
The one octave scale pattern should not only be practiced ascending leading to descending, but descending leading to ascending. This is shown at 111. The pattern begins with the highest note that is comfortably playable on the instrument. In scale exercises with descending motion first, there is also a repeated eighth note 117. This eighth note is the second scale degree, or "re" in solfeggio terms. In the second half of Preliminary Exercise #1, each statement of the pattern is one half-step lower than the previous. The exercise is a chromatically descending sequence of scales, all having the same pattern. The major scales of the exercise are to be practiced over the full range of the instrument. While ascending harmonically, these scales are played ascending and descending. Then while descending harmonically, these scales are played descending and ascending. The chromatic sequence of scales is chosen simply because it guarantees that the player will play all of the major scales across the complete range of the instrument.
An important characteristic of these scale patterns is the articulation pattern employed in them. It is the same in all of the patterns as is shown at 105. The first eighth note of the pattern is be played legato; the remaining eighth notes in the pattern are to be articulated when the eighth note is played on the upbeat and slurred to the eighth note played on the downbeat.
A characteristic which the scales 101 of preliminary exercise 1 have in common with those generally used in exercise books is that the exercise gives the player time to contemplate the next scale after he or she has finished playing the last scale. As shown, each pattern ends on a half note with a two beat rest filling out the measure. Scales practiced in this manner do not help the jazz musician to improvise musical lines that run seamlessly across harmonic transitions. To prepare the player for such transitions, the next set of preliminary exercises moves directly from the last note of the preceding scale pattern to the first note of the next scale pattern, which of course is in a different key. This is shown in FIG. 2. Four of the scale patterns in the next preliminary exercise are shown at 201. Each of these patterns is like pattern 103 in FIG. 1, and as shown there, each pattern begins ½ step higher than the preceding pattern. However, the patterns no longer end with a half note on the fundamentals of their scales followed by a rest. Instead, the player moves directly from the "re" of pattern 205 to the fundamental 207 of pattern 205, which, however, is only ½ step lower than the "re", rather than the expected full step for the fundamental of pattern 203. The effect of this seamless motion from pattern 203 to pattern 205 is heightened by the fact that the player slurs down to the first note of pattern 205 in exactly the same way that he or she slurs to the notes of pattern 203 that are on the downbeat. Thus, the only note in the sequence of patterns shown in FIG. 2 that is played legato is the first note of the first pattern in the sequence. This kind of seamless motion between patterns appears in classical music in Paginini's Perpetual Motion. In the following, the seamless motion between patterns typified by the sequence of patterns shown in FIG. 2 will be termed perpetual motion.
Exercises for Gaining Facility in Crossing Harmonic Lines
Species of Scale Patterns Used in the Exercises
In the exercises of the training technique proper, four species of scale patterns are employed, one for each exercise, and within an exercise, one of six intervals, ranging from ½ step through the tri-tone (diminished 5th or augmented 4th) separates the note that begins the current pattern from the note that begins the next pattern. The motion from scale pattern to the next is perpetual. FIG. 3 shows at 301 the first species of scale pattern and examples of each of the intervals. The pattern for the first species is shown at 303; it is an ascending octave scale made up of eighth notes in a 4/4 measure. In the next measure, the pattern begins at a note which is a predetermined interval higher; the previously-described articulation is employed and the player slurs from the last note of the current pattern to the first note of the next pattern. The pattern is played in ascending order of the scales from bottom to top of the instruments' range; then it is played in descending order of the scales from top to bottom of the instrument's range. The player plays the entire exercise for each of the intervals. The interval between the beginning note for a pattern 303(i) and a successive pattern 303(i+1) ranges from ½ step through the augmented 4th, as shown at 305 through 315 in FIG. 3. Intervals larger than the augmented fourth are redundant, since they are equivalent to intervals smaller than the augmented 4th in the next octave.
FIG. 4 shows the remaining three species, each with a ½ step interval between the patterns. Species 2 is shown at 401. Pattern 403 for the second species in the first half of exercises using the pattern is a descending one octave major scale. The scale begins an octave above the lowest note of the instrument and, like species one, is sequenced by a given interval in ascending fashion. The second half of the second species employs the same scales as the first half, but these scales follow through a descending sequence. The interval for each of these sequences is the same as for the ascending half of the exercise; articulations throughout are as shown at 109 in FIG. 1.
Species 3 is shown at 405. The first half of an exercise using the third species employs a two measure pattern 407: the first measure contains an ascending major scale pattern and the second measure contains a descending major scale pattern up a given interval. This interval appears in FIG. 4 as interval X 404. The next two measure pattern 407 in the sequence is higher by a second given interval. This interval appears in FIG. 4 as interval Y 406. Interval Y 406 is twice the size of interval X 404. In the half step exercise shown, interval X 404 is a half step and interval Y 406 is a whole step. Other such exercises may of course employ different values for interval X and interval Y, but the ratio between interval X and Y remains the same. The first half of the exercise begins at the bottom of the instrument's range and extends to the top of the range. The second half of an exercise using the third species begins an octave below the highest note on the instrument and also employs a two measure pattern: the first measure contains an ascending major scale pattern and the second measure contains a descending major scale pattern down by interval 404. The next repetition of the two measure pattern is down by interval 406. The second half of the exercise begins at the top of the instrument's range and extends to the bottom. Articulations in both halves are as shown at 109 in FIG. 1.
Species 4 is shown at 409. The first half of an exercise using the fourth species employs a two measure pattern 411: the first measure contains a descending major scale pattern and the second measure contains an ascending major scale pattern up a given interval. This interval appears in FIG. 4 as interval X 404. The next two measure pattern 411 is higher by another given interval. This interval appears as interval Y 406. Interval Y 406 is twice the size of interval X 404 for all values of interval X. The first half of the exercise begins at the bottom of the instrument's range and extends to the top of the range. The second half of an exercise using the fourth species also employs a two measure pattern: the first measure contains a descending major scale pattern and the second measure contains an ascending major scale pattern down by interval 404. The next repetition of the two measure pattern is down by interval 406. Articulations in both halves are as shown at 109 in FIG. 1. Experience has shown that the order of difficulty of the species is 1 through 4. Students are generally more comfortable with exercises in which the set of scales is played in ascending order and the key is kept consistent. It is also easier for them to deal with the harmonic transition from a pattern to a following pattern if the pattern they are playing consists only of ascending scales.
A Method of Gaining Facility in Playing Instruments of the Type that Play a Single Line of Music
The four species just set forth are the foundations of a complete method of gaining facility in playing instruments that play a single line of music. All of the exercises use the articulation shown at 109 in FIG. 1. The method includes the following exercises:
The above method encompasses all major scales, descending and ascending, in all harmonic possibilities on the alto saxophone. The use of the four species and of an interval for each exercise that may range from the half tone through the augmented fourth ensure that the player gains experience in all harmonic possibilities in the major key. While not essential to the method, the order of the species from 1 to 4 has been tested and has been found to be valuable, as has the order of harmonic progressions.
Further Details of the Method
The Two-Octave Exercises: FIG. 5
One of these exercises is shown in its entirety at 501 in FIG. 5. The exercise is in the key of C. It employs a two-octave version 503 of pattern 1 which takes up two measures. Pattern 503 has a first octave scale 505 and a second octave scale 507. Because the pattern is pattern 1, both are ascending. Interval 509 between first octave scale 505 and second octave scale 507 has a value X; here it is a half step. Interval 511 between the start of the last pattern 503 and the start of the next pattern 503 has a value Y which is twice value X. Thus, in exercise 501, the interval is a whole step. The ratio between interval X and interval Y remains the same for all values of interval X. As with the species, the values of interval X range from a half step through the augmented 4th.
There are similar exercises for two-octave versions of the other species. In the two-octave species 2, the pattern is a first octave scale followed by a second octave scale. The second octave scale begins at an interval X lower than the last note of the first octave scale. The next two-octave pattern begins at an interval Y=2X lower than the preceding two-octave pattern. The same interval X is used throughout a given exercise.
The two-measure octave ascending and descending patterns of species 3 and 4 become four-measure patterns where the ascending and descending scales are two octaves long. Each octave scale of the pattern is higher or lower by an interval X than the preceding octave scale of the pattern and each four-measure pattern is higher or lower by an interval Y=4X than the preceding four measure pattern. Interval X differs for each exercise and ranges from the half tone through the diminished 4th.
The Exercises in Each Key Area: The Major Scale and its Modes: FIG. 6
These exercises adapt exercises for practicing modes found in Ramon Ricker's New concepts in linear improvisation, cited above, to the general techniques employed in the method disclosed herein. Like the exercises already presented, these exercises utilize four established species. Please note that species three and four have been slightly altered. This was done to keep the direction of the scales consistent, whether ascending or descending.
When a particular scale is introduced in a particular register of the saxophone it consistently appears in the same direction until the end of the exercise. In a given key, the next sequence of scales begins on the next diatonic note of the key. As regards of the order in which the keys are to be introduced, since written B flat is the lowest note on the alto saxophone, this series of exercises will begin on B flat. It is of no consequence which key area is presented first or even which order the series of exercises are practiced. Because it may be easiest for users to remember what key they are practicing, this set of exercises in the preferred embodiment progresses by half steps: the first exercise is in B flat, the second in B, the third in C, and so on.
FIG. 6 shows a portion of an exercise in the key of C for the first species. The first ascending scale begins at the lowest note in the key of C for the alto saxophone, namely B. The next ascending scale begins at the next diatonic note of the key of C, as shown at 603, and the pattern continues until the highest note in the key in the instrument's range is reached. The next ascending scale then begins at the next lower diatonic note of the key of C, and the pattern continues until the lowest note in the key of C is again reached.
The Final Exercises: FIG. 7
This set of exercises is intended to liberate an improviser from having to worry about harmonic changes or the constraints imposed by his or her instrument and allow him or her to focus on melodic content. The final set of exercises utilizes the facility gained from all of the previous sets of exercises. The final set of exercises employs:
In each of the final exercises, a scale pattern is written as it appears in at least one of a sequence of keys. The exercise then specifies the sequence of keys and the player plays the scale pattern for each of the keys in the sequence. Each of the keys in the sequence is specified by its major chord symbol. In the sequence for each exercise, the fundamentals of the keys in the sequence are separated by a given interval; as before, the intervals range from the half step through the tri tone. The player is thus comfortably introduced to reading chord symbols. The user has knowledge of all major scales and all modes stemming from theses major scales. Two innovations in these final exercises are the perpetual motion from the scale pattern in one key in the sequence to the scale pattern in the next key of the sequence and the requirement that the player read the major chord symbols.
FIG. 7 shows an example at 701 of these exercises. The scale pattern used in the exercise is shown at 703 and the sequence of keys at 704; as shown at 705, in this case, the interval between the fundamentals of the keys in the sequence is an augmented second or, enharmonically spelled, a minor third.
Innovations in the Method
Innovations in the method include:
This method takes a systematic approach. It completely explores the possibilities of harmonic motion of a particular type of chord, in this case, major chords. In each exercise, the harmonic motion is dictated by a specific interval. Using major chords and intervals in the manner of the method, one can explore all possibilities. The techniques described above for major chords may 30 also be applied to other chord qualities (such as minor, augmented, diminished, and half-diminished) and other scales (such as minor, octotonic, whole-tone, be-bop dominant, be-bop major, pentatonic, and so forth. The techniques may also be applied to musical structures other than scales, including, but not limited to arpeggios, intervals, melodic phrases, formulas, "licks" or "riffs," duets, songs, play along recordings, etc . . . The techniques thus represent the beginning of a thorough and systematic approach to providing the technical foundations for jazz improvisation. The techniques are particularly adapted to helping classically trained musicians cross over into the jazz idiom.
Recordings Used as Instructional Aids with the Method
Jazz melodies are played with a rhythmic accompaniment of chords. The accompanying musicians select their chords from a set of chords which sound "good" with the notes of the scale for the key of the melody. In jazz, the set of chords belongs to what is termed the ii V I chord progression. In the notation used to specify the chord progression, each interval of the scale is assigned a Roman number, beginning with I for first and ending with VII for the seventh. If the chord based on the interval is a major chord, the roman number is capitalized; if the chord is a minor chord, the roman number is not capitalized. When this notation is used to describe the chords of a major key, the I and IV chords are major, the ii, iii, and vi chords are minor, the V is dominant, and the vii is half-diminished. Thus, for the key area of C major, the ii V I chord progression, the ii chord is a D-minor chord, the V chord is a G dominant, and the I chord is C major. When a jazz musician is accompanying a melody in C major, he or she will tend to employ chords from the ii V I progression for that key area. Because these chords can be substituted for each other, the set of chords belonging to the ii V I progression are termed chord substitutions for the ii V I chord progression of the C major key area. Other chord progressions for the C major key area similarly define chord substitutions, as do chord progressions for other key areas.
A compact disc is provided with the method to give the player training in playing with a rhythmic accompaniment that provides chords from the chord substitutions for the key area of an exercise of the method. Each compact disc will contain several recordings. On these recordings one will hear a jazz rhythm section comprised of drum set, bass, and piano and/or guitar. The rhythm section may or may not be joined by one or more melodic instruments. The rhythm section may or may not be synthesized. The recording of the rhythm section for a particular exercise may include versions that are played at different tempos, for example, slow, medium, and fast.
Most important, however, is that this rhythm section performs chords which accompany the final set of exercises of the type shown in FIG. 7. The chords which accompany each key area in the sequence of key areas specified for the exercises are taken from the chords belonging to the chord substitution for the key area. In addition to using the accompaniment to practice the exercises of the method, the player can also use it as a framework for his or her own solos or ensemble work with other melodic instruments.
In the foregoing Detailed Description, the inventor has shown those skilled in the arts of musical performance how to make and use his exercises and has also disclosed the best mode presently known to the inventor of making the exercises. As is pointed out in the Detailed Description, however, many variations are possible. The sequences of patterns may be included with other material in an exercise, patterns other than scales may be employed, key areas other than the major key areas may be employed, and intervals other than those disclosed herein may be employed. In a preferred embodiment, the exercises are for solo melodic instrument with a possible recorded accompaniment, but versions may be made for solo voice or for ensembles, with the accompaniment being provided by part of the ensemble and the patterns being made for one or more melodic instruments or voice. By following the principles of the invention, a recorded accompaniment may be made for any sequence of patterns. For all of the foregoing reasons, the Detailed Description is to be regarded as being in all respects exemplary and not restrictive, and the breadth of the invention disclosed here in is to be determined not from the Detailed Description, but rather from the claims as interpreted with the full breadth permitted by the patent laws.


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subset: commoncrawl


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The Indispensable Craft Of The Politician
Last updated 4/9/2018 at 4pm
For the most part, we Americans value expertise. We want our physicians to possess knowledge and experience. We want our lawyers to know the law inside out. We want our clergymen, our engineers, our farmers to bring the kind of proficiency and skill to their work that comes only with familiarity and practice.
So here's a question. Why is it that the more expertise politicians' gain in their field, the more we deride them?
I've been involved in politics, in one way or another, for most of my life. That makes me a politician. And I've had more than a few people refuse to shake my ha...
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Organised Visits
Farm visits for schools, clubs, societies or any group of 6 or more, the visits are funded by the government stewardship scheme and tailored to suit age and interests. Children welcome with adult/group leaders. Full public liability insurance. Teachers pack supplied.
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Welcome to SAMHSA's Publications site. In the future, you may be asked to respond to a CAPTCHA to access the site for added security.
January 2019
This planning guide and resource calendar helps communities plan and implement their National Prevention Week (NPW) 2019 activities. In addition to information on health observances and SAMHSA resources, the guide includes quarterly checklists, planning tips, and introductions to NPW's federal partners. This year's calendar also features Augmented Reality (AR), so the calendar can come alive for users after they download a free app for their mobile device.
November 2015
This advisory for behavioral health practitioners provides a brief overview of complementary health approaches. It describes the practices and products that are considered complementary, and explains how practitioners can help patients understand the benefits and risks.
October 2013
This advisory reviews diabetes and how it relates to mental illness, stress, and substance use disorders. It highlights ways to integrate diabetes care into behavioral health treatment, such as screening and intake, staff education, integrated care, and counseling support.
Millions of Americans have a substance use disorder. Find a treatment facility near you.
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Current refinement(s):
Check title to add to marked list
Aggregation and organic matter in subarctic Andosols under different grassland management
Lehtinen, T. ; Gisladottir, G. ; Lair, G.J. ; Leeuwen, J.P. van; Blum, W.E.H. ; Bloem, J. ; Steffens, M. ; Ragnarsdottir, K.V. - \ 2015
Acta Agriculturae Scandinavica Section B-Soil and Plant Science 65 (2015)3. - ISSN 0906-4710 - p. 246 - 263.
c-13 nmr-spectroscopy - soil microbial biomass - mediterranean conditions - structural stability - cultivated soils - farming systems - volcanic soils - carbon stocks - land-use - tillage
Quantity and quality of soil organic matter (SOM) affect physical, chemical, and biological soil properties, and are pivotal to productive and healthy grasslands. Thus, we analyzed the distribution of soil aggregates and assessed quality, quantity, and distribution of SOM in two unimproved and improved (two organic and two conventional) grasslands in subarctic Iceland, in Haplic and Histic Andosols. We also evaluated principal physicochemical and biological soil properties, which influence soil aggregation and SOM dynamics. Macroaggregates (>250 µm) in topsoils were most prominent in unimproved (62–77%) and organically (58–69%) managed sites, whereas 20–250 µm aggregates were the most prominent in conventionally managed sites (51–53%). Macroaggregate stability in topsoils, measured as mean weight diameter, was approximately twice as high in organically managed (12–20 mm) compared with the conventionally managed (5–8 mm) sites, possibly due to higher organic inputs (e.g., manure, compost, and cattle urine). In unimproved grasslands and one organic site, macroaggregates contributed between 40% and 70% of soil organic carbon (SOC) and nitrogen to bulk soil, whereas in high SOM concentration sites free particulate organic matter contributed up to 70% of the SOC and nitrogen to bulk soil. Aggregate hierarchy in Haplic Andosols was confirmed by different stabilizing mechanisms of micro- and macroaggregates, however, somewhat diminished by oxides (pyrophosphate-, oxalate-, and dithionite-extractable Fe, Al, and Mn) acting as binding agents for macroaggregates. In Histic Andosols, no aggregate hierarchy was observed. The higher macroaggregate stability in organic farming practice compared with conventional farming is of interest due to the importance of macroaggregates in protecting SOM and soils from erosion, which is a prerequisite for soil functions in grasslands that are envisaged for food production in the future.
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Serialized Fiction and Story Arcs
We're coming to the end of the fifth story arc of Rumors of War, and I'm working on "To Catch A Goat" to serve as a parallel. One of the thoughts that's gone through my mind is how to have them coincide — which events happen "in world" and affect both stories, in a ripple-effect sort of way. The two stories currently have little overlap, but to keep things straightforward (and relevant) I ought to have the two share some things, right?
So, that's where this thought came from — I began TCAG rather spontaneously, with little planning beyond, well — there were some plans I made initially about a year ago that never came to fruition … I'd originally intended the TCAG cast to be at the center of the spin-off Gaia's Revenge. I've decided to push that story back a year or two, probably starting in the Spring of 2013. Of course, that's assuming I haven't started another huge project by that point, pushing it back farther.
Eh, I'm not worried. All in good time, and all that. I thought, "stagger RoW and TCAG so that their story cycles don't begin and end at the same time, it'll be better for site traffic." The thought continued on something about making sure that we're always in the middle of something here, so anyone who comes in at random can find something at the beginning, middle, or end of a story, depending on their preference.
Then again, I'm freakin' insane. I'm over here writing until my hands bleed. *shrug*


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Havelock island @ Andaman Nicobar – Home to best beach in Asia
Can you believe it?
The best beach in Asia was once attributed to this island in India and not Maldives.
Infact, I have people who traveled to Mauritius, Maldives and Havelock telling me that they found Havelock much better in comparison.
This island in Andaman and Nicobar is host to one of world's famous beaches viz. Kala Patthar and Radhanagar Beach.
Radhanagar beach was awarded the best beach award in Asia 10 years back.
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Just make sure you are nice to the sparse tribal population who are more than happy with food items being offered on demand.
Last updated: October 14, 2014 at 15:39 pm


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Things grow tense until a stage hypnotist helps Belle express her true nature.Sara takes advantage but it becomes a twisted game of cat and mouse.After a long and harrowing week apart, Shelley and her Master plan to spend some quite time together, reconnecting and simply enjoying each other.Alas, you know what they say about the Best Laid Plans of Mice and Men...The Integration Movement has come, and its momentum will not be stopped, only stalled.It will continue until everyone has become part of it.
During the season of giving you'd better lock up your girlfriends and wives, because everyone's doing their best to get on the naughty list! Only at your own peril in a Perfect World during this special hole-e-day !!!Betsy was keen on doing primary research, but how much research was too much? Betsy's revenge on Heather seems complete, or was it.Has she again been manipulated by Dr Choi and Heather as they test new drugs and formulas that may add to her growing depravity and lead to her finally becoming Heather's Pet? There she meets some new projects of Heather: Colin, Trish and Emily.Linda was bored with her life at an advertising agency. A college student has explosive secrets he tries to keep from his new roommate.But when his secret is exposed, it uncovers a truth about the second roommate that surprises both of them.
Betsy knows she is missing something, but is there something else going on she is unaware of at the moment?


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Chocolate of the Day:
4 cookies
Mary's Gone Crackers
Chocolate Chip Love Cookies
Good ++ - Very Good
Weight: .9 oz. (26 g.)/ 5.5 oz. (155 g.) total box
Calories: 260 calories
Cost: $ lost info
Purchased from: Andronicos, Palo Alto, CA (closed now)
Today was Day #4 of Chocolate and Gluten-Free Cookie Theme Week.
These Organic, Wheat-Free and Gluten-Free Chocolate Chip Cookies from Mary's Gone Crackers (based in Gridley, CA) were crunchy and satisfying. When I opened the inner wrapping (for one of two individually-wrapped bags), I thought I smelled and tasted molasses, and then a faint flavor of sweet coconut.
Mary's also offers a line of gluten-free crackers that are made from whole grains and seeds and that have a very hearty taste and texture that I've enjoyed with cheeses. Like the crackers, I felt like I was enjoying cookies that were healthy, without any compromise in taste, and without the pasty mouth-feel that sometimes accompanies gluten-free flour substitute mixes.


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Moving Again
Hopefully, a week from now I'll get up at my Aunt and Uncle's in East Lansing, Michigan and start out to the border with Canada. Hopefully, later that day, Sarah and I will move into an apartment in Kitchener and start setting up a new life there for a few years.
Chicago has been a rough nine months. I pushed for moving here because it seemed like I was going nowhere in New York. I had gotten work at two colleges there as a lab assistant in shitty conditions with decent pay and then with great coworkers and very little pay. I was at the end of my rope and thought there was nothing more for me there, that I could never afford to live there and would be back in a parents house or living off of Sarah forever. Then I moved to Chicago, where nobody was interested in hiring me for anything more than one tutoring gig that lasted about two months.
Financially, it would seem, I moved to Chicago to burn money.
Luckily, though, there were a number of upsides. I got to meet a lot of nice people mostly Northwestern students but a bunch of great people from Roger's Park community organizations like Food not Bombs, who are doing awesome things in kitchens and gardens and on the streets!
It's given me some hope that I can still make new friends and try new things, and I'm hoping to bring those feelings with me to Kitchener and my new job and my new school.
Here's hoping I see everyone again soon.


text: H hdx 120 New Member Messages 36 Reaction score 0 Location OC. Calif Nov 28, 2006 #1 Heard the e 9 are boats and that the 2000 c is a better track car. Alot lighter and aglie it only has a four but it wont push big like the e-9 to much weight up there What do u think?


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Provided by: wmifinfo_0.09-5_amd64
wmifinfo - dockapp for showing basic network info for all available interfaces
wmifinfo [-lh][-iinterface] This manual page documents briefly the wmifinfo command. This manual page was written for the Debian distribution because the original program does not have a manual page. Instead, it has documentation in the GNU Info format; see below. wmifinfo is is a simple applet showing basic network info for all available interfaces. It shows IP address, netmask, gateway and MAC address. A bit like ifconfig. Left-button click moves to the next interface, right-button click calls ifup/ifdown scripts. Please report bugs if you find any.
A summary of options is included below. -h Show summary of options. -v Show version of program. -d <cmd> Command to exec for iface-down -i <interface> Start with given interface, if available -l LCD display mode -u Command to exec for iface-up
This manual page was written by Søren Boll Overgaard <email@example.com>, for the Debian GNU/Linux system (but may be used by others). June 7, 2002 WMIFINFO(1)


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I started to think about this last night. I generally formulate a few thoughts in my brain before I spew forth onto the wide web. It got me wondering who it is that I consider to be "my family". Certainly the first thing that came to mind was my own family – my partner, our five kids and our pets. Then I thought about my family of origin, my parents and my siblings. This morphed easily into the extensions of these families now –my brothers-in- law and sisters –in-law, my nieces and nephews. I have a half sister that I have never met who is technically family, though I know nothing about her at all other than her name and age. Then there are the foster kids who have come to us and left us, but who I will always consider my children.
Which of these are my family? What about the people who I am not related to through blood but who offer me emotional support and "know me" better than some of the people I am related to? What about the cousins and the second-cousins, or the aunts and uncles and grandparents I have an affinity with?
I guess all of them are family, though all different levels of family, and I am grateful for all of them. I can see here though that my "gratitude" has many levels – as many levels as there are different individuals. I suppose I could do 52 weeks of gratitude for family alone. I certainly have that many people that I could classify in this way.
Since I have a lot of weeks left and lots of opportunities to show how I am grateful for many of these people I am going to focus - for the purpose of this post - on my immediate family. I'll start with my spouse. I posted a bit about her yesterday but I will add here that I am grateful for her because without her there would be no family at all. I would not have ventured into the world of parenting without her by my side. I happen to think we are a pretty cool family, though I know others disagree with me. There are lots of people "out there" who don't consider us a family at all since we are a same-sex couple, but nothing could be further from the truth.
I am grateful for my oldest boy. My miracle Max. I have blogged about him before, but not so much recently. He is now eight years old and this post is a good reminder to me to show him more gratitude. I am grateful for his persistence and his work ethic. I have not, and doubt I will ever, meet a harder working kid. People have commented that he is likely "going through a phase" but I know better. Last year he helped me volunteer in the community shovelling the driveways for seniors who could not do it themselves. He will work longer and harder than any other kid. I heard last week he was helping the teacher put away the skis and boots from cross country skiing day, and I know from his grade one teacher that he would offer to help when other kids didn't even think about it. He has a sweetness to him that few people see. He is a great older brother (who often forgets he is just a brother and not a parent). I am grateful for the opportunity I have to parent this amazing guy – he gives me lots of practise!
I am grateful for my baby Ceejer. What a character this kid is. His imagination never ceases to amaze me – he lives in his fantasy world more hours of the day than not, and it is not in any way connected to the "time" in which the rest of us dwell. He is charming and fun – his whole world revolves around fun - which makes him fun to be with. He is our spiritual connector. He has an affinity for the creator and the world around him that he maintains close contact with. Driving home at night he will be the one to point out the beautiful moon and starts, or the sunset we should be grateful for. He reminds us to give prayers of gratitude each day in our home and for this I am truly grateful.
Our third. Mike. Unassuming, quiet, sensitive Mike. He has had a hard journey in his short life and it has touched him deeply. He has great manners and is SO sweet with his little sisters, but he is right in the middle of all the action, don't think for a minute he isn't! I have to be careful with this little soul that I am not "too" loud, or "too" boisterous, and that I don't overwhelm him in all my bluster. He told me the other day he thinks I am the prettiest and also the bossiest, but I had to sit down and listen to get the message. I generally move too fast. I am grateful for this guy who needs me to slow down.
My bird. As a side note to the gratitude idea – all my life I wanted to parent – but I never wanted to parent girls! There was something about parenting girls that intimidated me and I had NO desire whatsoever to have girls of my own. I love my sisters and my nieces, but there was no way I was going to be a mother to a female! So much for that plan. This little girl stole my heart. She is feisty and fierce and I dread her teenage years already and she is only three! I am grateful that she came to my life and taught me that I have more love than I thought I was capable of. I do. I have. I'm grateful.
Our bean. ZED. THE END. Shel always thought there was another soul meant for our family. I moved too fast to get that message from the universe – but I trusted her ( and hoped she was getting some miscommunication!) Zed came to us and truly our family is complete. I cannot imagine our family without her. She is like glue – our little spider web that connects us all. She loves EVERYONE in our not-so-little family and they all love her. I have love for ANOTHER GIRL! I am grateful for the completeness she brings to us.


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SALON 010: Ibrahim El-Salahi: Pain Relief
Presented by
Vigo Gallery
7 June - 13 August 2019
When Ibrahim El-Salahi is drawing he gets lost in his work and has temporary respite from his chronic back problems. At 88 the 'Godfather of African Modernism' says it is the only time he has let up from the pain.
For the last two years he has created an extraordinary body of work from the comfort of an armchair, refusing to let physical restriction limit his ambition. He makes around 180 miniature drawings in pen and ink on the back of medicine packets and envelopes after consuming their contents.
These are drawings in their own right but they are also seeds for a very ambitious project. He wants to make larger scale work within his constraints and achieves this by using the drawings as a source or nucleus from which to create large unique mono-print paintings transferred by screen. The image is impressed onto strong woven linen canvas many times over until a thick inky texture is achieved, amplifying the character of the marks. Limited by his physical constraint this method allows him to do something that otherwise would have not been possible.
This approach of playing with scale and ways of engaging the viewer is not without precedent. Throughout his career he has returned to the nucleus versus the whole and the organic opening up of an image.
When he was in prison in the 1970s he drew on small scraps of cement casings, which he would join together whilst the guards were not watching to create a whole. Thereafter all his black and white works were expansive in nature, such as starting with the nucleus and adding pieces of paper, letting the work grow organically, or in series within notebooks.*
As far back as the 1950s Ibrahim was contemplating how to engage people's attention, hence his first forays into what became known as the School of Khartoum. Disappointed by the lack of attention from his fellow countrymen and women when he showed his Slade work at the Grand Hotel in Khartoum in the late 1950s, he noted that by writing in Arabic calligraphy on the drawings it attracted interest and people paused to read. From there the words and letters slowly evolved as he explored the pictorial qualities and hidden shapes within calligraphic forms. It was a practical means to an end, a way into the work and a communication. The pain relief imagery now also includes a nod to these early works, as he makes use of the pictorial possibilities of braille on the medicine packets.
This body of work made despite and because of circumstance allows the viewer to delve into the mind of the artist and experience his memories of a long and fruitful life. Since completion of this project the artist has been inspired re-entering his new studio for the first time in over two years.
Born in Sudan in 1930, Ibrahim El-Salahi is one of the most important living African artists and a key figure in the development of African Modernism. El-Salahi grew up in Omdurman, Sudan and studied at the Slade School in London. On his return to Sudan in 1957, he established a new visual vocabulary, which arose from his own pioneering integration of Sudanese, Islamic, African, Arab and Western artistic traditions. In 2013 Ibrahim El-Salahi became the first African artist to be given a full retrospective at Tate Modern. His work is included in the permanent collections of the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Art Institute of Chicago; The Smithsonian Institute, Washington DC; The British Museum, London; Tate Modern, London; The Guggenheim Museum, Abu Dhabi; The Ashmoleum Museum, Oxford, Sharjah Art Foundation, UAE; The National Gallery, Berlin, and many others.
* The Guggenheim this January purchased a notebook of 83 drawings completed in the run up to his solo retrospective at Tate Modern in 2013. His prison diary was also purchased last year by MOMA and has just been co-published in Arabic and English editions with the Sharjah Art Foundation. The way he diligently set about producing this most recent body of work echoes the approach applied to these landmark works. It serves as a record of memory and contemporary experience fused with ambition to communicate.
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With a résumé that contains names such as Rockpool, Billy Kwong, ester and Bodega, Chef Nic Wong has clearly pursued a skill set across a broad portfolio of cuisines and styles. This diverse culinary background is apparent on the menu, where an authentic Japanese baseline is skilfully executed with an innovative Australian approach.The bright, welcoming space has a minimal and industrial feel that is softened with light wood and white stone walls.The menu covers all the bases, and includes some inventive adaptations of Japanese classics. The pumpkin and shiitake okonomiyaki is soft, rich, intense and satisfying. Showing a lighter and more deft hand, the raw Petuna ocean trout is well handled and served with crisp daikon and a thin sauce of light soy and wasabi. It arrives at the perfect temperature, and the balanced sauce allows the fish to be accentuated rather than suppressed. The rice-stuffed calamari with yuzukosho has just the right amount of give in the flesh, and the rice stuffing is an umami bomb whose richness surpasses expectations.PSST! Cho Cho San has a well-crafted sake selection that allows for flights, so start exploring …Reviewed for the 2019 Guide


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How to Get SSDI Payments for Diabetes?
Although the Social Security Disability Insurance (SSDI) and Supplemental Security Income (SSI) programs are designed to help everyday people who are unable to work, the process of obtaining benefits can be extremely complex and difficult for most people.
What Is Needed to Qualify For Social Security With Diabetes
To qualify for benefits, you need to be "disabled." The Social Security Administration (SSA) has detailed standards as to what constitutes "disabled," and establishing disability to the SSA's satisfaction can be complicated.
To establish disability and receive Social Security benefits for diabetes, the SSA accepts diabetes mellitus (classified as an endocrine system disorder) with at least one of the following:
- Neuropathy (nerve damage) demonstrated by disorganization of motor functions in two extremities that results in hindrance of movements, gait or station
- Acidosis that occurs at least once every two months, with supporting documentation of appropriate blood chemical tests
- Retinitis proliferans with loss of visual acuity, contraction of the visual field or loss of visual efficiency
The standards are complicated medically, and the procedures are complicated legally. Without extensive experience, it is easy to get overwhelmed by the technical language and requirements that go into the Social Security process.
The Social Security lawyers of the law firm of the Adler Firm, PLLC, know how to get SSDI payments for diabetes. We have been helping disabled clients through this process for more than 30 years. We understand the medical language and how to use it in the application, the hearings and the appeals stages of the Social Security process. Let us help you obtain the benefits you need.
Call Adler Firm, PLLC, For a Free Consultation
We have more than 30 years of experience handling Michigan diabetes disability benefits claims for clients in Detroit and the greater tricounty area. With offices in Detroit and Traverse City, we serve clients throughout the state. To speak with a diabetes disability benefits lawyer from the firm, call or contact us online.


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Denomination: Erbaluce di Caluso DOCG
Classification: Still White Wine
Grape variety: 100% Erbaluce
Location of Vineyards: Misobolo vineyard, Piedmont
Age of Vineyards: 1970
Exposure: South | South-west
Altitude: 320 metri above sea level
Soil: Moraine soils with sand and stones
Cultivation system: Pergola
Plant density: /
HA yield : /
Harvest period: November
Winemaking: The grapes, once destemmed, are cold macerated for 24-36 hours. After soft pressing, the must is cold fermented. The wine then ages in big untoasted wooden casks for a period of six months
Refining: In bottle for 6 to 8 months
Alcohol: 13,5 % vol
Longevity: 3-5 years
Decanting time: Unnecessary
Serving temperature: 10°C
Appearance: Full straw colour with white gold tinges
Smell: Intense, long lasting; the varietal herbaceous and floral notes are persuasive and reach the expectations
Taste: Full, long lasting and harmonious. A big white wine
Food matching: White meat and vegetables, fish and fresh cheese.


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Storytelling - Moving People to Act
DSIL VC Workshop A | TUESDAY | 6 October @ 1pm Bangkok
Registered Participants: access the password at pax.dsilglobal.com.
Featured Speaker: Robert Wolfe, Faculty, THNK School of Creative Leadership
Stories that move to act
In this session Robert Wolfe will show participants how to use stories from their own life and the world of their audience to inspire action. This interactive session will cover the mechanics of crafting a compelling message that inspires a call to action. Be sure to read the articles below and watch the Obama video to be ready!
101 - Introduction
- Storytelling - Have Made Your Call a Gift?; Robert Wolfe
- Telling Your Public Story; Marshall Ganz
201- Intermediate
- Public Narrative and Story of Self; Marshall Ganz, Harvard University
- Storytelling Strong Enough to be Weak; Robert Wolfe
- See minutes 7 -15 of Obama's 2004 DNC speech (below)
Your Next Steps!
Speaker Profile
Robert Wolfe, Faculty, THNK School of Creative Leadership
Robert Wolfe loves helping people to risk a little more than they would otherwise, to get them out of their comfort zone and try new behaviour. Robert enjoys turning complicated concepts into simple stories that helps everyone understand. His background is in management training, leadership coaching, improvisation acting and writing (children's novels) and he has brought these strands of his life all together and now helps leaders use storytelling as a way of moving others into action.
Robert is a leadership coach, storytelling trainer and innovation facilitator at THNK, the Amsterdam School of Creative Leadership. He was born in Australia and educated in Holland where he studied business at Nijenrode and International Politics at the UvA; since then he has also lived in London where he published a book on corporate strategy, and worked as a management trainer in Sydney.


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Appearance: Very clean and bright with a medium depth mahogany yellow, light density and rich free-run juice.
Nose: Very intense aroma of hazelnut and walnut combined with sweet tones of raisins and figs, with a floral and medicinal plant background, and notes of coffee and vanilla emerge at the end due to the cask ageing process.
Taste: It is sweet on impact with a structured taste and a dry finish leaving a pleasant and lasting aftertaste. Hints of wood also emerge due to it being aged in casks.
ROBERTINI vermouth undergoes an ageing process in 250 and 300 litre oak casks for a minimum period of 14 months and these casks are topped up with vermouth when the contents have decreased from being in contact with the wood.
In these conditions, the wine is transformed by exclusively physicochemical phenomena. Each type of phenomenon is listed below:
Physical Phenomenon
Chemical Phenomenon
Physicochemical Processes
Biochemical Processes
For the ROBERTINI vermouth we use the system used for sherry, the solera and criadera ageing system, which means we remove 50% of the contents of our casks and we refill them with new vermouth. The filling process is called rocío [sprinkling] and the removal and rocío processes are called "running the scale". The aim is to obtain uniform wines and keep a brand with constant quality on the market, which does not have quality fluctuations and, of course, does not depend on the qualities or defects of a specific harvest.
After emptying 50% of the barrels, our ROBERTINI vermouth is kept in a stainless steel container for 5 months, which ensures the uniform quality of our product.
Once it has been tasted we add a small amount of amontillado white wine. This process has a very positive effect because the ROBERTINI vermouth is kept in casks for a long time and a very strong wooden aroma is produced; this process must be closely controlled in order to obtain our ROBERTINI vermouth.


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When you have concerns about the annoying signals that interrupt you so much when you are in public areas, or when you need a quiet condition, or if you care about your privacy so much, or if you have such concerns about your own thought about get a soft life. Or when you don't want others using cell phone or any devices that bother you so much, then you can come to have a look at this 4G Signal Jammer, you will appreciate it.
Cellphone Signal Jammer
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Cellphone Signal Jammer
Cell phone and wifi jammer from jammerinthebox got good quality and suitable price. Anyone in need? Please contact us.
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Sales Have Ended
Sales Have Ended
Rock out to great music at Naper Settlement's Naper Nights Community Concert Series and dance the night away on our beautiful 12-acre grounds. Bring your lawn chair or blanket, your family and friends for a summertime tradition that features cold drinks and great food and fabulous music!
Online ticket sales will end at NOON on Thursday, July 18. Tickets will also be available at the door.
Gates Open at 5 p.m.
Friday, July 19, 2019 LINE-UP INCLUDES (all performances are included with ticket):
School of Rock - 5-5:40 PM
Local music school, School of Rock, will be showcasing their top students during this rock n' roll set featuring songs we all know and love!
Simply Billy - 6:00–7:30 PM (Billy Joel Tribute)
Witness the incredible songwriting, vocals and pianistic virtuosity of Billy Joel on stage, as the musical virtuoso Brian Harris weaves together meticulously styled Billy Joel vocals, concert pianist "chops" and endless energy in a show that will leave you dazzled!
The Belfast Cowboys - 8–10 PM (Van Morrison Tribute)
The Belfast Cowboys are a nine-piece band that specializes in the music of Van Morrison. Powered by a four-piece horn section, the Cowboys have risen to the top of the renowned Minnesota music scene, and have consistently packed houses and wowed crowds since 2002.
Can I bring in my own food? Will food be available? One factory sealed bottle of unflavored water or empty container (no glass) per attendee is permitted. Water refilling stations are available. There will be numerous food vendors onsite for the duration fo the event. Please check our event website to see a complete list of vendors.
Is there anything I am not permitted to bring to the event? Please do not bring any of the following items:
- Outside food or beverages, including, but not limited to coolers, picnic baskets.
- Bicycles, scooters, or inline skates
- Pets/Animals (Service Dogs ONLY are permitted)
- Tents, umbrellas over six feet in diameter, canopies of any size,
- Anything that needs to be staked into the ground.
- Weapons. Laser Pointers, Drones
- Signs larger than 8.5 X 11
Is your site ADA Accessible?
- Yes, Naper Settlement makes every effort to offer you a variety of accessibility options in which to participate in the museum and event experience. While navigation of the grounds is available on paved pathways, some event elements are set up on grassy areas. For each special event, there are designated ADA viewing areas. Where possible, we request that patrons who require ADA accommodations contact us at least 2 weeks before a special event, so we can ensure the best overall experience.
Are dogs/animals allowed at the event? Only Service Dogs are permitted.
Things I should know about the event?
- All items brought into the grounds (including bags, backpacks, purses, strollers, etc.) are subject
to search upon entry or re-entry.
- Some performances may include haze, aromatics, strobe lights and/or other special effects.
- All programs and artists are subject to cancellation or change without notice.
What are my parking options for the event? There is no-fee parking available in several locations around Naper Settlement, including on-street, parking garages at the northeast corner of Aurora Avenue & Webster Street, and the corner of South Webster Street and Porter Avenue.
How can I contact the organizer with any questions? Please contact Naper Settlement at 630.420.6010 or firstname.lastname@example.com for more information about the Naper Nights concert event and tickets.
What's the refund policy? Naper Nights Concerts are an outdoor, all-weather event. All ticket sales are final, no refunds, exchanges or rain checks. Dated tickets may not be exchanged.
Do I have to bring my printed ticket to the event? Yes. Please bring your tickets.
Are there ATMs onsite? There will be an ATM onsite for all special events.
Is smoking permitted? Smoking is only permitted in designated smoking areas.


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Dalhousie Community Association
Dalhousie Community Association
Website: http://www.ottawadalhousie.ca/
The Dalhousie Community Association - DCA - represents residents of the former City of Ottawa's Dalhousie Ward, in the area bounded by:
- Bay Street to the east;
- Bayview Station / O-Train line to the west;
- the Ottawa River to the north;
- Highway 417 to the south (east of Booth); and
- Carling Avenue to the south (west of Booth).
This area was Dalhousie Ward before it was joined to Wellington Ward in 1994, which combined became the Somerset Ward.
The association is made up of volunteers. Meetings are once a month, on the first Wednesday night, at the Dalhousie Community Centre - DCC - 755 Somerset West (at Empress). Free Parking, Number 2 bus route. You are welcome to come!
The DCA was founded 30 years ago in 1984.
Dear Councillor, I am writing to you in support of a motion to amend the Preston-Carling Secondary... more
July 4, 2014
LIttle Italy
urban planning
Norman St. Preston St. Dalhousie Community Association
Strategic Directions Report
Secondary Plan
City of Ottawa policy
City of Ottawa