Review by John K. Adams
Last weekend, Angel City Chorale once again delivered Bring on the Joy, their program of glorious chorale music that was unambiguously and unapologetically Christmas music.
If you have never heard music that was transcendent, you have not heard an ACC concert. I can imagine God listening to them with pleasure and turning to his angelic choir to say, “Listen to them. Sing like them.”
Ranging in material from ancient to contemporary, with three Hanukkah songs included, the program offered a rich variety of selections all dedicated to celebrating God’s love for his creation and especially the birth of our Savior, Jesus.
There were also sing-alongs of traditional carols. The audience sang these beloved songs, joyfully joining artistry with worship. There are so many great Christmas songs available from across the centuries and cultures. ACC sang sublime arrangements from the best.
The concert was ably conducted by ACC founder, Sue Fink, including her personable introductions to each song which emphasized “diversity.” Associate Conductor Dan Barnett lent support on the sing-alongs. The orchestra provided warm accompaniment led by Concertmaster Liliana Filipovic and principal accompanists Mark McCormick and Gordon Glor. The many soloists all sang beautifully and with feeling.
ACC now embarks on their annual Tour of Hope, where the singers take their holiday program on the road, performing concerts for the homeless, the elderly and any who could benefit from an infusion of holiday spirit.
Stay tuned for ACC’s upcoming annual Spring Concert in June 2017. Visit AngelCityChorale.org for updates.
Note: this review appeared originally in the Tolucan Times on December 9th, 2016.


And what a spring it has been so far! Just got back from a wonderful Spring Gathering, maybe the best ever! (I say that every year.) I’ve been diligently rehearsing with friend and pianist Ryan Rogers who will be joining me at 68 Jay St. Bar this Saturday, May 19 for a 40-minute set. I will be opening for my dear friend Myshkin, of whom I am a passionate fan. I have not seen her in years and am delighted to be sharing the stage with her next week. We will, rehearsal time permitting, be doing some tunes together.
This is my last official gig for a good long time, probably until at least the end of the year. I’m taking the summer off of gigging and my next big project (besides helping to produce Roll in the Hay: A Celebration of Harry Hay in September) will be going into the studio (hopefully this fall) to do my first-ever full-length recording as a solo artist. More on this as it develops.
Happy Spring! (And summer just around the corner.)


The Canterbury Trebles Women's Ensemble
Founded in 2005, the Canterbury Trebles Women's Ensemble is a welcoming and accepting ensemble, aspiring to bring music for women’s voices to the Ottawa region and beyond. The choir has an eclectic repertoire ranging from Purcell and Verdi to Hatfield and Daley and often partner with local charities to raise funds. The choir has participated in Choral Canada's National Competition for Canadian Amateur Choirs, and has represented the National Capital Region at the Canadian Music Festival.
The Canterbury Trebles was originally created to offer graduates of the Canterbury High School Vocal Program a welcome place to sing. The ensemble has since been opened to the community and now includes women from a variety of experiences.
James Caswell, Director (2015-present)
James Caswell is the vocal and choral performance teacher at Canterbury High School, a position he has held for 22 years. He is also the Minister of Music at Glebe-St. James United Church. James has a strong passion for exploring choral music of a wide range of styles and he puts particular emphasis on building community and creating safe, collaborative spaces in the ensemble setting.
James has directed the Anglican Chorale of Ottawa, on six performing tours of cathedrals in England, Scotland, Ireland, and Wales. James was the music director of the Canadian Centennial Choir for 15 years, and previously was the music director and organist at First Baptist Church, Ottawa. He has been a guest conductor and clinician for many ensembles in the Ottawa region and is very excited to find renewed opportunities as a collaborative organist/pianist.
Having assumed the role of Artistic Director of the Trebles from founder, Robert Palmai, James is thrilled and honoured to continue his work with the Trebles in this, his eighth season as director, and the choir’s return to post-COVID activities.
Robert Palmai, Founding Director (2005-2015)
Robert has spent all his adult life as a music educator, accompanist and coach, conductor and church musician. He is the founding director of the Amadeus Choir of Greater Toronto, the Cantando Singers of Deep River, and the Canterbury Trebles Women’s Ensemble, which he conducted from 2005 to 2015. From 1993 to 2000, he was the musical Director of the Savoy Society of Ottawa. On Christmas Eve of 2018 he ended his service in church music ministry by retiring as organist and music director at Glebe-St. James U.C (GSJ UC).
After his retirement from teaching at Canterbury High School in 2001, he kept himself active as an accompanist for university auditions and juries, RCM exams and Kiwanis Music competitions. During this time he also served as a volunteer for the local Kiwanis Music Festival.
In March 2019, he assumed the role of co-chair of property and grounds of GSJ UC. Robert and Susan now enjoy some travelling and are actively involved in the lives of their seven grandchildren. The recent purchase of a trailer hitch and a bike rack will enable the couple to enjoy cycling, wherever they go!


Director of Instrumental Studies
Kathy Johnson is in her seventh year at Argyle High School and 27th year of teaching. Her responsibilities include directing the high school Marching Band, Wind Ensemble and Symphonic Band, teaching the beginner flute class and overseeing the instrumental music program in both middle school and high school. Under the direction of Kathy Johnson, the Argyle High School Band earned the honor of performing at the Texas Music Educators Conference as the 3A State Honor Band in 2009, performed at the Midwest International Band and Orchestra Clinic in Chicago in 2007, and is the reigning Texas 3A State Marching Band Champion earning the disticntion in 2008, 2010, & 2012. Both high school concert bands for which Mrs. Johnson is responsible consistently earn Superior ratings at the University Interscholastic League Marching and Concert and Sightreading Contests and Superior and “Best in Class” awards at the various festivals they have attended.
Prior to teaching at Argyle High School, Mrs. Johnson taught in the Lewisville Independent School District for 20 years. During her time in LISD, Mrs. Johnson taught at Griffin Middle School, Arbor Creek Middle School, and McKamy Middle School where her students consistently earned Superior Ratings and “Best in Class” awards. Under her direction, the Griffin Symphonic Band advanced to the State Honor Band finals and placed 5th and 4th respectively in both 1986 and 1988. While she was Director of Bands at McKamy Middle School, Mrs. Johnson has had the distinct honor of conducting the McKamy Honor Winds at the Texas Music Educators Conference as the 2001 Class CC Honor Band and in Chicago at the 2001 Midwest International Band and Orchestra Conference. Mrs. Johnson also served as Fine Arts Department Head for McKamy Middle School.
In addition to teaching, Mrs. Johnson has played flute in the Dallas Wind Symphony for the past 26 years and also performed with the Camerata Chamber Winds. She is an active clinician and adjudicator in the metroplex area and teaches at several summer band camps throughout the state of Texas.
Mrs. Johnson attended The University of North Texas, where she received both her Bachelors and Masters Degrees in Music Education. While there, she studied flute under Dr. George Morey and Dr. Mary Karen Clardy.
Mrs. Johnson’s professional affiliations include Phi Beta Mu, the Texas Music Educators Association, the Texas Bandmasters Association, the Association of Texas Small School Bands, and the Texas Music Adjudicators Association. In addition, she has had the honor or serving on the UIL Technical Advisory Committee and holds offices in several of the aforementioned professional associations. Mrs. Johnson resides in Flower Mound with husband Eric and sons, Matthew and Adam.


The Wind Ensemble is the premiere ensemble of the band program at Willowbrook High School. Designed for students that have achieved the highest level of proficiency on their instrument, Wind Ensemble emphasizes advanced performance skills and musical interpretation and performs the finest available repertoire for the wind band. Students are placed in Wind Ensemble by audition and are expected to make a 100-percent commitment to the group, including attendance of all rehearsals, sectionals, clinics, and performances. Additionally, students enrolled in Wind Ensemble are strongly encouraged to take private lessons and are expected to include daily practice in their lifestyle in order to maintain the necessary level of musical proficiency. Members of Wind Ensemble are required to participate in solo and ensemble as well as marching band and pep band.
Symphonic Band emphasizes the refinement of ensemble skills, musical interpretation, and technical proficiency through the performance of appropriate literature of various periods and styles. In addition to performing at several concerts during the year, Symphonic Band also participates in occasional clinics and festivals. Students are placed in Symphonic Band by audition and are highly encouraged to take private lessons and participate in solo and ensemble. Members of Symphonic Band are required to participate in marching band and pep band.
Concert Band is designed to give students the opportunity to further their musical knowledge and development in an ensemble setting. In addition to performing appropriate literature of various periods and styles, Concert Band emphasizes the development of individual musicianship, ensemble skills, and technical proficiency. Concert Band performs at several concerts during the year, as well as occasional clinics and festivals. Students enrolled in Concert Band are highly encouraged to study privately, particularly if they have not previously taken private lessons, and are required to participate in marching band and pep band.
Perhaps the most visible ensemble of the band program, the Marching Warriors perform at all varsity home football games throughout the fall, as well as the annual Lombard Lilac Parade, the Villa Park 4th of July Parade, and various other events during the year. Membership in the Marching Warriors is required for all students enrolled in Wind Ensemble, Symphonic Band, and Concert Band. Exemptions for fall sports will be considered on an individual basis by the director during the preceding spring semester. Students may also participate in Color Guard or Drumline with the approval of the director.
Jazz Ensembles I & II are extracurricular groups open to students interested in auditioning on saxophone (alto, tenor, and baritone), trumpet, trombone, drums/percussion, piano, bass, and guitar. In addition to performing at school concerts during the year, the Jazz Ensembles participate in several festivals and clinics throughout the Chicagoland area and can also be seen at occasional gigs in the community.
Pep Band performs for varsity home basketball games as well as other school spirit events throughout the year. Enrollment in this ensemble is required for all Wind Ensemble, Symphonic Band, and Concert Band members.


B i o g r a p h y
Hailed for his "fresh and resonant voice" (Seen and Heard International),
baritone Gregory Feldmann is a rising artist on opera and recital stages alike. He continues with the International Opera Studio with Opernhaus Zürich for the 2023-24 season, where he will appear in Verdí's Macbeth, Sondheim's Sweeney Todd, and Giordano's Andrea Chenier, as well as the roles of Demetrius in Britten's A Midsummer Night's Dream and Moralès in Bizet's Carmen. Feldmann was a Young Artist with the 2022 Glimmerglass Festival, going on to cover Max Detweiler in The Sound of Music, as well as premiering the roles of Cedric and Matteo in Ken Ludwig's new Rossini pastiche, Tenor Overboard.
On the concert stage, Feldmann appeared in the Tonhalle Orchester Zürich's Matinee Kammermusik Series, singing Beethoven Scottish Folksongs and Schubert lieder with piano trio. He sang the role of Christus in Bach's Johannespassion with the Zürcher Bach Chor and the baritone solos of Fauré's Requiem with the Baseler Münsterkantorei in March 2024 under the baton of Annedore Neufeld. In January 2024, Feldmann appeared with the Ballett Zürich in Timekeepers, singing the bass solo in Stravinsky's Les Noces. He made his Carnegie Hall debut in November 2018 with MasterVoices, singing the Bass I solo in Handel's Israel in Egypt under Ted Sperling.
A passionate recitalist, Feldmann enjoys a "luminous" partnership with pianist Nathaniel LaNasa (Oberon's Grove). Feldmann and LaNasa’s recitals have confronted national narratives and artistic legacies, with recital projects including Degenerate Music, a contrarian reimagining of the 1938 Entartete Musik exhibition in Düsseldorf. Here, Feldmann and LaNasa celebrated and uplifted composers that were censored by the Third Reich and asked questions of who historically has decided the classical canon. The duo presented Degenerate Music in their sold-out Carnegie Hall debut in 2019. Their most recent project, American Icons, partnered with oral historian Cynthia Tobar to explore national monuments and the communities living in their shadows. American Icons saw the premieres of songs by Shawn Chang, Molly Joyce, Matthew Ricketts, and Jorell Williams.
Feldmann and LaNasa have partnered with organizations including the New York Festival of Song (to premiere Iain Bell’s We Two in October 2023), Sparks and Wiry CRIES (to premiere Curtis Stewart’s Do You See the Flag? in 2021), and the Musee d’Orsay and Royaumont Foundation (to produce their first studio release of Faure’s L’horizon chimérique and Ullmann’s Liederbuch des Hafis). The duo took First Prize in the 2021 Gerda Lissner Song/Lieder Competition and the 2019 Joy in Singing International Song Competition.
Feldmann is a frequent collaborator with pianist Steven Blier and the New York Festival of Song. In October 2021, he curated and performed in NYFOS Next: 9 under 34, a concert of composers born after NYFOS' first concert. In January 2018, Feldmann and Blier gave two world premieres of John Corigliano's song literature, performing the cycle Rhymes of the Irreverent and song no comet ever scratched the sky with NYFOS at the Peter Jay Sharp Theatre.
Feldmann was a recipient of the 2021 Richard F. Gold Career Grant through the Shoshana Foundation, and a graduate of the Artist Diploma in Opera Studies program at the Juilliard School, where he studied with Elizabeth Bishop, Randall Scarlata, and Sanford Sylvan.


The viola is the alto voice in the string family. Like the violin, it is held under the chin, resting on the shoulder. Unlike the violin, the viola is slightly larger and is tuned five notes lower. It has a darker and warmer tone quality than the violin, but is not as brilliant.
The viola's tone is thicker and darker than the violin which makes it perfect for providing resonant solo passages in the middle of the orchestral range and the perfect antidote to the penetrating, crystal quality of the violin. It also blends particularly well with the clarinet and bassoon.


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West Coast Swing Dance Classes!
Twin Lion Wellness is partnering with Crossroads Church to bring you dance classes.
Need an opportunity to spark the inner child in yourself? Want to take your partner on a great date? Want to learn the basics of dance that works with all kinds of music? Come join us!
Where: Crossroads Church in NW Loveland
When: April 15th and 29th from 3:00 - 4:30 pm
How much? FREE! Yes - free!
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Welcome & Aloha!
David Lomond, the Hawaiian King, is a uniquely different Elvis tribute artist. The biggest reason why is his VOICE! Make no mistake, when it comes to Elvis, VOICE MATTERS! David made a living as a full time professional singer, entertainer, songwriter and recording artist for ten years before he started his Elvis shows. He is very honored and grateful to be an Elvis Entertainer. He brings a Hawaiian flavor with Aloha, the heart of Elvis, and his amazing VOICE to every show.
Over his amazing career, he has performed all over the U.S.A., including Hawaii, Las Vegas, and Branson, MO. He has done many television and radio shows, as well as, commercials, along with many other great accomplishments and has received numerous awards. But what he treasures more than anything; what is most dear to his heart, is being ordained as a minister of the gospel of Jesus Christ and His Kingdom.
David started his musical and voice training as a child. His talents and charisma were noticed at a young age. He began playing in bands throughout High School. He studied voice and guitar at the University Of Hawaii, while working as a tour guide, perfecting his comedy skills and his uncanny ability to sing like Elvis. Soon, he was performing on Hawaii’s biggest stages.
Famous Hawaiian entertainers, like Don Ho, nicknamed him “the kid that sings.” David has a very powerful voice with excellent pitch and extraordinary control and he possesses a rare range ability as he sings from deep bass to high falsetto.
David is recognized as an extraordinary Elvis tribute artist, a highly esteemed Hawaiian entertainer, and a very inspirational gospel singer and minister. View his video clips, listen to his sound bites and read his reviews. You’ll find he is easy to work with, accommodating, excellent at event planning and a tremendous asset and inspiration to any occasion.


Charlotte Symphony Orchestra Collection, 1931-1997
This collection consists of programs, ASID House booklets, and newspaper clippings. Materials are arranged into four series:
Programs, 1931-1997, consists of loose and bound Charlotte Symphony Orchestra programs (1931-1997) and Oratorio Singers of Charlotte programs (1962-1982).
ASID House, 1974-1984, includes informational booklets on the Charlotte Symphony Orchestra’s ASID House. [The ASID House was built in 1917 on the corner of Coddington and East Morehead Extension by Charles Campbell Coddington. Members of the Carolinas District Chapter, the American Society of Interior Designers (ASID), and Edward H. Springs transformed the Coddington House into the Symphony Designer House in 1976.]
Newspaper Clippings, 1934-1983, contains miscellaneous copies of newspaper clippings relating to the Charlotte Symphony Orchestra.
Manuscripts, c1926, is one manuscript of a play entitled, “The Pageant of Charlotte and Old Mecklenburg,” to celebrate the sesquicentennial of the believed Mecklenburg Declaration of Independence signing in 1776.
Collection materials date 1934-1990 and are in good condition.
- 1931 - 1997
- Charlotte Symphony Orchestra (Organization)
- American Society of Interior Designers (Organization)
- Oratorio Singers of Charlotte (Organization)
Conditions Governing Access
This collection is open to the public without restriction. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material.
Conditions Governing Use
Permission to duplicate or publish material from this collection must be obtained from the Robinson-Spangler Carolina Room, Charlotte Mecklenburg Library.
Biographical / Historical
The Charlotte Symphony Orchestra's current goal is to do more than perform, but to also find a way to serve the community. This manuscript collection describes--through newspaper articles, concert programs, and other items--how the organization has been interwoven with the community from its beginning. Although the Armory-Auditorium was utilized by the Charlotte Symphony Orchestra, the Charlotte Symphony Orchestra used local school auditoriums for their concerts before Ovens Auditorium was built. Those schools included Alexander Graham Junior High School, Myers Park High School, Mineral Springs High School, and Piedmont Junior High School.
Since the Orchestra's conception, the organization and its affiliates have performed at such community locales as Queens College's Dana Auditorium, the United States Naval Hospital, Davidson College, and the University of North Carolina-Charlotte. While the full organization may not have participated, individual Orchestra conductors and orchestral players have been participants in the Brevard Music Festival Orchestra and the Transylvania Music Camp. They have also performed during local church services including those held at Covenant Presbyterian Church, Myers Park Presbyterian Church, and Providence United Methodist Church.
Beyond performing in various locations throughout the region, the Charlotte Symphony Orchestra--as an organization and as individual personnel--participated in collaborative efforts that allowed them to spread music beyond a season's regularly scheduled concerts. The Charlotte Symphony Orchestra collaborated with such artists as Ella Fitzgerald, the Atlanta Ballet Company, and the Carolina Ballet Company. The Orchestra also reached out to other musicians through smaller ensembles such as the Charlotte Symphony Youth Orchestra, the Charlotte Flute Club, the Mint Museum Ensemble, and the Charlotte Chamber Music Players.
3.14 Linear Feet
3.26 Cubic Feet
Language of Materials
The Charlotte Symphony Orchestra was formed in 1932. It is the largest and most active professional performing arts organization in the central Carolinas. The Charlotte Symphony also includes small ensembles of musicians such as the Flute Club and two Youth Orchestras, among others. Some of these small ensembles perform outreach services to local hospitals, and other organizations.
This collection consists of programs, ASID House booklets, and newspaper clippings.
The Oratorio programs are a sub-series of programs but housed in Box 3 after the ASID House series.
Immediate Source of Acquisition
The immediate source and date of acquisition for this collection is unknown.
Charlotte Symphony Orchestra. “Mission & History.” http://www.charlottesymphony.org/files/ba2b0d97-fdcb-4c8b-93a5-593ded77f525--a8609306-7345-4ef8-b12a-b11f3f5f3354/press-kit-missionhistory.pdf
Harry & Bryant Funeral Home. “In Memory of Joseph Little, July 16, 1919-October 13, 2012.” http://obits.dignitymemorial.com/dignity-memorial/obituary.aspx?n=Joseph-Little&lc=2734&pid=160457553&mid=5271450
Materials are in good condition.
The processing, arrangement, and description of this collection was completed by Sydney Carroll, February 2020.
- Business Subject Source: Local sources
- Concert programs Subject Source: Library of Congress Subject Headings
- Concerts Subject Source: Library of Congress Subject Headings
- Programs Subject Source: Library of Congress Subject Headings
- Symphony orchestras Subject Source: Library of Congress Subject Headings
- Theaters and Music Subject Source: Local sources
- Charlotte Symphony Orchestra Collection, 1931-1997
- Sydney Carroll
- Language of description
- Script of description
Part of the Robinson-Spangler Carolina Room, Charlotte Mecklenburg Library Repository
Charlotte Mecklenburg Library-Main
310 N. Tryon Street
Charlotte NC 28202 USA


„Demond Price (born February 16, 1982), better known by his stage name Conway the Machine, is an American rapper from Buffalo, New York.
He is the brother of fellow rapper Westside Gunn and the cousin of Benny the Butcher. Price is signed to Westside Gunn’s record label, Griselda Records,
and has released his entire discography on the label. In 2017, Shady Records signed a distribution deal with Griselda for Westside Gunn and Conway’s work,
making the two the first rappers from Buffalo to achieve major label distribution.
In 2012, Conway was shot in the neck and shoulder; his face was partially paralyzed, giving him a signature slur.
He released his debut studio album, From King to a GOD in 2020, followed by God Don’t Make Mistakes released in 2022.


Dermot O’Leary hosts as Britain’s biggest singing competition continues its fourteenth series. Simon Cowell once again heads up the judging panel, alongside seasoned judges and music industry veterans Sharon Osbourne, Louis Walsh and Nicole Scherzinger. As the auditions continue, Dermot will be standing by as always, offering support to the nervous hopefuls as they approach the judges and a shoulder to cry on for those who fail to make it through to the next stage. What weird and wonderful performances are still to come this year?
Size: 395.5 MB


Sample Score or Part Page
Are you really proud of how your music looks on the page? Performers don't want to have to spend half of their rehearsal time just trying to figure out how to read the music in front of them. Demonstrate the cleanness, readability and detailed notation of your score and parts by posting sample pages with your listing. Plus, this will give performers the opportunity to play through a few bars of the music before buying, and the ability to try out a piece before buying it has been rated one of the top features influencing sheet music purchases in an on-going survey conducted by Quest Haven Publishing.
Cost (per year): $1 per page.
Scanning or file conversion services are available for a fee if you are unable to send a ready-to-post digital graphic of your sample page. (PDF files are preferred.)


2nd Saturday Dance Party
Come for a fun evening of English Country Dancing with friends far and near!
Location: McMinnville Grange, 1700 Old Sheridan Road
Time: 6:30-9:30 p.m. The first half hour will be easier dances.
Cost: $5 per person, ages 13 through adult
Dates: 2nd Saturday of every month
Our next Dance Party will be on Saturday, December 8th! Hope to see you there!


Pop star Michael Jackson will launch his comeback with a performance of his hit single "Thriller" at the World Music Awards in London next week.
The World Music Awards will mark the 48-year-old Jackson's first live performance since he was cleared of child molestation charges in California last year, the BBC reported Wednesday.
Jackson will also be receiving the diamond award for his contribution to music at the awards ceremony on Nov. 15.
"It's his first performance in a long time," said a spokeswoman for the World Music awards. "It's something of a comeback if you like."
The World Music Awards gives out prizes based on global record sales.
Hollywood actress Lindsay Lohan will host this year's ceremony, which will feature performances from Beyonce, Katie Melua and Mary J. Blige.
Jackson reportedly plans to recreate the groundbreaking video for "Thriller" on the World Music Awards stage, the BBC said.


Otakar Kraus Music Trust
Music therapy helps children with additional needs
The Axis Foundation’s donation of £8,000 to The Otakar Kraus Music Trust (OKMT) enables seven pupils to attend OK Music School. Here qualified music therapists teach children and young people with physical, learning, mental or neurological disability or illness.
“We are delighted that the Axis Foundation has approved our application to enable seven pupils with disabilities to attend OK Music School for 36 weeks. This will make a huge difference to our music therapy work and allow more children to enjoy the benefits of learning and performing music. Music therapy helps children with disabilities when nothing else can reach them” – Valerie Roy, Fundraising Manager, OKMT
Whilst at the music therapy school, children interact and make friends, reducing isolation. They gain communication skills and become more confident. Improved listening skills and focus help their learning at school. And performing makes them feel happier, proud of their achievements and part of the community. Some children have passed Royal School of Music exams, and some have performed on national radio.
The children say:
- ‘It makes me feel good about myself – I can do something well!’
- “I love music because it gives me confidence and it takes me away from the pressures of real life. I make more friends here than anywhere else”
- “OK Music School has been amazing helping my daughter to gain confidence and improve her memory and listening skills. She is able to verbalise that she is proud of herself.”
- “E has blossomed, she had very low self-esteem when we started as she was unable to attend school due to her severe anxieties. It has been a Godsend for her mental health.”
OKMT Survey Results
OKMT asked parents what difference OK Music School was making to their child. The top survey results were:
- Increased their confidence and self-esteem 100%
- Improved their concentration and ability to follow instructions 79%
- Improved their mental well-being 74%
- Improved their listening skills 68%
The Axis Foundation Trustees additionally agreed a grant of £4,800 towards bursaries for 1-1 music therapy for children and young people and £120 for a new Yamaha Portable Keyboard. Valerie thanked us saying: “We are delighted to get the funding and we will increase our budget for the coming year for bursaries to £6,000. This will help us reach children, young people and families who receive very little regular help.”
OK Music School Case Study
D is 8 and is diagnosed with Autism Spectrum Disorder. He struggles with interacting with people he doesn’t know and with some motor skills. He lacks concentration and has some language and communication difficulties. Therefore it is hard for him to take part in activities where he could enjoy time and space with his peers. D had received speech and language therapy and some music therapy.
But then his mother heard about OKMT through a London Autism group.
D started attending the OKMT Youth Choir, where he was silent for a few months until he finally joined in and started singing along. Then he joined OK Music school where he began to learn to play the piano. He thrived on the stable routine, and playing piano now provides him respite and happiness. His concentration and motor skills have improved, and he is now confident in a group of children and socially more aware of others. He took part in the Christmas concert in 2019 and played Twinkle Twinkle Little Star on the piano which gave him a great sense of achievement. His family were so proud and joyful to watch him playing in the concert in front of a big audience.
D said: “I feel happy and excited to attend my music lessons!”


Being a co-founder and lead instructor at Pole Fit Dubai, Vlada has over 7 years experience in teaching and performing pole dancing and aerial arts.
Vlada is a certified Group Exercise Instructor; Pole Fitness Instructor by Vertical Dance UK (Level 1), recognized by REPs, ACE and PDC.
She is also member of the International Dance Council CID; a PDC Approved 3 star Pole Dance Instructor and a PDC Grading Level 5 Instructor (UK).
Vlada is a professional aerial arts performer and she has worked for the past six years in the UAE.
Pole Fit Dubai co-founder and lead instructor
2016 Pole Sport & Art Russia 1st Place


This four-week long workshop is all about music in improv: singing and the interplay between music and acting. The course was compiled, developed and first held by Alex Seeholzer as part of The Catalyst’s weekly drop-in improv classes, with help from the amazing improv-pianist Samuel Muscinelli.
The full curriculum is available here.
Please feel free to use and distribute the curriculum – if you do, accreditation would be appreciated. If you need more detailed descriptions of some sections, don’t hesitate to contact me. Classes marked by asterisks below (*) will involve singing – this does not mean that you have to be able to sing well, so don’t be afraid to attend. In fact, bad singing in comedy improv can sometimes be more fun to watch than perfect pitch! The only thing that matters is your dedication.


Recently Dave Spaulding was asked to join up with a local band, Vinyl Legion. They play mostly 80’s Rock with a bit of Country added in for good measure. You can see their gigs listed in our events section below.
There is a great article about the band, which you can find at: https://chelmsford.wickedlocal.com/news/20200221/arts-scene—-new-lineup-vision-for-chelmsford-based-band?fbclid=IwAR33nQ8aU1Zx7WKo_EYSEcW9_Ix9C37XlVew4F1QaeVbAaCNrZD8yTHqJAo
Check out Vinyl Legion at Fody’s Tavern in Nashua on March 28th from 9pm to midnight or if you like to do Open Mic’s, the next one they host is Friday, March 20th at 9pm at the Alberton W. Vinyl American Legion in North Chelmsford.


It’s a long way to the top if you want to rock ’n’ roll in 2019.
Gone are the days when a rock album could achieve the No. 1 spot on the Billboard 200 chart on the strength of record sales alone. Instead, rock acts have turned to their tours to get the boost, adding a CD to every ticket sold to help inflate their ranking.
The bundling strategy is particularly effective in rock ’n’ roll, since many rock albums lack viral hit singles whose millions of streams can carry an album to No. 1, like Drake found with “God’s Plan” last year.
Bands such as Vampire Weekend and the Raconteurs have outperformed established rockers like Bruce Springsteen this year thanks in part to the bundle, which can often mean additional fees for concert tickets for consumers and a physical copy of a CD they may never open. But for rockers, handing out CDs with concert tickets can be what they need for a No. 1 album ranking, a distinction that still carries a high premium in the industry. The bragging rights and marketing opportunities that come with the top spot can make a crucial difference.
“The charts are a form of marketing,” said Merck Mercuriadis, a longtime music executive and founder of music investment company Hipgnosis Songs Fund. “If you’re able to say ‘I’m Jack White, and in 2019 I’m still having No. 1 albums,’ that’s a major statement to the industry.”
Rock albums used to dominate the Billboard 200 chart, but now they struggle to hit No. 1. That has led some artists to bundle albums with concert tickets, in hopes to lift their Billboard rankings.
Note: Genre categories are based on a Wall Street Journal analysis of Spotify genres attached to each artist. Sources: Billboard (albums); Spotify (genres)


Christina is a Southern California DJ who has been spinning since 1999. Beginning with house parties and then doing mobile gigs for nearly 10 years, she learned to spin to a variety of crowds. But for as long as she can remember, her true passion was trance. While other genres can be fun to spin, Christina finds her passion in tech, uplifting, and hard driving trance. In addition to having a deep love for spinning, she's also had the desire to create music. Since 2016 she has produced a handful of tracks, which can be found on her SoundCloud as well as on Beatport and other streaming sites, and there are definitely some new works in progress!
Christina is constantly digging, refining, and perfecting her skills as much as as possible. She's had the privilege of performing at Avalon in Hollywood and Garage Gallery in LA. She's worked with Odyssey Productions, May Day Events, as well as with many other talented DJ's and producers. She is also involved in a collaboration with DJ Cipher as DJ duo 'Rogue Vision'. Currently she is a resident DJ at DI.FM where you can hear her show Electronic Agenda every first Thursday (1pm PDT/4pm EDT). For all of her past shows and live sets, you can listen to her on SoundCloud (and for archives, check out MixCloud).
Thanks for stopping by!


The Android market is full of free Apps in the music and audio category. Now you can get an Indian taste in the percussion App segment on the Android. Developer Rodrigo Kolb has introduced a fantastic percussion Android App named as “Tabla”. Drummers, percussionists and music lovers will find the Tabla App pretty interesting and upto their liking. Tabla – The free Percussion Android App; has already found millions of users worldwide and you would also love to play this wonderful instrument app. With Tabla you can really enjoy and have a fabulous new experience altogether.
Tabla is a free finger percussion instrument app for Android users. With Tabla you can be sure to enjoy and have the most fun experience in finger drumming on Android. It is a free to use app and can be installed on Android 2.1 and above. It works perfectly well with all screen resolutions and is suitable for mobiles and tablets as well. It would be better if you have a big mobile screen only to enhance your Tabla playing experience.
The Tabla set in the App is designed on the lines of the Indian Table and have drum pads which generates Indian, Arabian and Latin percussion sounds. The Tabla is Multi touch percussion Android App and is capable of producing 10 different and realistic tabla sounds. You get high quality studio audio sound. It also has the feature of vibrating tabla drums when you touch them. You get various sounds on pressing different areas of the Tabla. If used together with earphones it produces great sound effects too. It also features other instruments like gong, chimes and gungru. So Tabla is really a cool, simple and awesome Android App.
Tabla has been one of the most played and loved instruments in the Indian Musical Traditions. Now with the introduction of Tabla App you can also be the one to enjoy its great sound and love the feeling of playing the fabulous Tabla percussion instrument with your own fingers. You need not be an expert player of Tabla to use Tabla App as it is really easy and simple in use. You only need an Android mobile or Tablet to get started with it. So install Tabla – The Free Percussion Android App; and enjoy this great App.


José Vicente Asuar composer and one of the pioneers in the use of computers for the creation in music, died after a prolific and generous life.
Asuar died at the age of 83 leaving behind him a series of groundbreaking initiatives that inaugurate the creation of electronic music in Chile and South America, influencing a transversal generation of musicians and artists from several fields, always with a mixture of high intelligence and humility, one of his most beloved characteristics.
In 1958 he founds at the Arts Faculty of Universidad de Chile the first Laboratory for Electronic Music in Chile, parallel in time to the huge achievements of masters such as Pierre Boulez, Iannis Xenakis and Karlheinz Stockhausen.
In 1959 he composed "Variaciones Espectrales", one of his most solid masterpieces, composition that also gives the name to the documentary film made to honor his lifetime achievements.
In the Universidad de Chile he shared his knowledge as professor of acoustic and electroacoustic music, founding at the same time the Technology in Sound career.
In 1960 he takes this knowledge to University of Karlsruhe, in Germany, where he found the Electronic Music Lab, and in 1965 he raise the same methodology in Caracas, Venezuela.
With this experience, in 1978 he developed the first computer dedicated for the creation of electronic music in Chile, the COMDASUAR. He declared, in a clear provocation to the dogmatics of the classical and conservative identity of the chilean music scene that "The piano or the violin is as artificial as a computer", making clear his disruptive and irreverent methodologies, condition trespassed to his creations, in a very subtle, poetic and elegant way.
"The Virtuous Computer" from 1973, and " That's how the computer spoke" from 1979, are just two examples of the rigorosity and dedication on the creation of music through experimental instruments that are nowadays massive creation tools, but that in that time, and in a country far away from the international circuit, an epic and huge contribution for the worldwide music and technology history. His thoughts and clarity to defend the creation of experimental music outside the commercial industry, is an inspiration for the chilean and international creative and experimental community.
We will remember his legacy, and put his name in the place that his kind, intelligent and generous humanity deserves.
Chilean Experimental Art and Music Community
© Enrique Rivera & Leonardo/Olats, janvier 2017


It is a privilege for Székesfehérvár to host the International Cello Festival between November 25 and December 2, 2018. Being the Mayor of Székesfehérvár, I welcome the four internationally renowned members of faculty who established the International Cello Festival, as well as all participants and honored guests to this prestigious event. The one-week Festival Program will offer faculty and student recitals, chamber performances, premieres of new compositions, and special youth presentations. As Székesfehérvár is dedicated to music education, it is an honor for our city to have music courses and music literature symposiums taught by highly esteemed professionals during the International Cello Festival.
The International Cello Festival will appear as a new color on the music scene palette at Székesfehérvár. I hope this world-class Festival will establish a tradition of bringing outstanding cellists from around the world to Székesfehervár.
It is my great pleasure to invite professional and non-professional musicians, young and old music enthusiasts at Székesfehérvár to attend the wonderful program of the International Cello Festival. While enjoying exceptional music performances, I also encourage guests to get acquainted with Székesfehérvár, a historic capital of Hungary, so you might be inspired to return here in the near future.
Dr. András Cser-Palkovics
Mayor of Székesfehérvár


|FRIDAY||Traditional Group||Break & Lunchtime|
The band rehearses each Monday after school and performs at Christmas time in Holywood town centre and also at the Spring Concert in the Ulster Hall. Pupils in Years 8-14 are welcome to attend. Last year their highlight was performing Bach’s Toccata and Fugue featuring the Ulster Hall Mulholland Organ.
Junior choir is made up of pupils in Years 8-10 and has around 130 pupils attending on a weekly basis. Their performances include carol singing at Bloomfields shopping centre and the annual Spring Concert in the Ulster Hall. Their repertoire includes Traditional African and Indian pieces as well as popular and rock songs.
This is a group of around 20 pupils in Years 9 & 10 who successfully auditioned to be part of this small choral group. Last year they performed La Cucaracha and The Water of Tyne.
The training choir is made up of pupils in Years 11-14 and meets weekly at lunchtime and is currently rehearsing for Christmas.
This lively swing group play a variety of gigs including the Stormont Hotel and the Black Box Studio in Belfast. Their extensive repertoire includes well known film themes, big band sounds and contemporary Jazz.
The school brass group rehearse each week at breaktime and is open to pupils in Years 8-14. Last year their performances included the school carol service, prize day and the Spring Concert in the Ulster Hall. They have a varied repertoire of well known popular melodies and last year performed an arrangement of the Beatles Maxwell’s Silver Hammer.
This is a senior choir for pupils in Years 11-14 who perform a variety of music for SSA and also SATB. Along with the annual school musical events Sullivan Singers enjoy performing in the wider community including a joint performance with the choir of Holywood Parish. This year they are performing Karl Jenkins’ sacred setting Stabat Mater.
This Irish traditional group has been a popular group in the school for many years. They have recently incorporated Traditional Irish dancers into their performances and performed the lively King of the Fairies in the Ulster Hall. This year the pupils were given the exciting opportunity to travel to Washington to perform at the St. Patrick day celebrations.
The school orchestra is open to pupils in Years 8-14 and meets after school each week on a Thursday. It has around 80 members and performs a mixture of classical, film and popular music. Last year they performed Farandole from L’Arlesienne Suite by Bizet and Highlights from Wicked in the Spring Concert.
There are a number of smaller musical ensembles which meet on a weekly basis. These include string quartets, trios, rock groups and vocal ensembles.
Pupils have the opportunity to attend theory classes at break or lunchtime throughout the week. There are currently three levels to choose from, beginner, intermediate and grades 4/5.


When the Portuguese first came to Hawaii, they brought with them a couple of small wood bodied plucked instruments that immediately caught the attention of the islanders. The Machete was strung as a lead/melody instrument in an open style very close to a linear alignment, while the larger 5-string Rajao was the rhythm instrument. The Hawaiians main interest was in song, not in the sort of parlour instrumental arrangements the Portuguese had composed for their string duos and trios (with guitar in the latter). But the Hawaiians also favoured the smaller Machete and its brighter tone. An adaptation quickly took place, resulting in what we now know as the Ukulele.The Rajão tuning, one that worked beautifully for vocal accompaniment, was moved to the smaller Machete/Ukulele. The 5th string went away, and the 4 strings left served as what we have known ever since as a uniquely Ukulele form of reentrant tuning. The notes are aligned in 4ths, but unlike in a traditional linear arrangement, the 4th string goes up an octave.Plain string material, first gut and later nylon were used in the beginning; fluorocarbon is now probably used more than anything. Regardless of the material, however, all these sets have one thing in common: a tendency toward an imbalance in tone and response among the strings; one that grows more pronounced as the gauges get heavier. It’s an inevitable consequence of a plain string single material set in the Ukulele Reentrant form.What happens is that there are two high bright notes – the thinnest strings - on the outsides, an intermediate tone 2nd string, and a heavy, somewhat dull 3rd string. We address that problem with our “Mixed Materials” approach (see the Our Materials page for more). Strings of varying higher density in the middle produce much more balanced tone. For the Ukulele’s common use, rhythm accompaniment for vocals, we feel this mixed material plain string approach produces the finest traditional Ukulele sets available. And yet reentrant tunings are wonderful options for somewhat non-traditional use as well. Instrumental playing, both single note and chord melody are excellent with reentrant tunings. But in these styles a player more often goes up the neck, and in those higher positions, even our higher density centre strings begin to lose clarity. One common solution is to add a wound 3rd string. In the past we have tried to compromise, by offering sets with an option for a plain or wound 3rd string; sets where the transitions from either 3rd string wouldn’t be too jarring. Offering this sort of 3rd string option is obviously an economical approach. And yet with a bit of reflection you realize that strings which transition well to and from a plain 3rd, won’t transition as well with a wound 3rd. As a matter of fact, a “set” of strings is ideally matched as a whole. Changing one component, when the sound is as different as it is in this instance, is simply too much of a compromise, even with all the materials we have to pick from. And one thing we have come to realize is that compromise based on economy is what other string companies do with the Ukulele – that’s not really us.So in the end, in spite of considerable inventory and management cost, we now offer not two, but three distinct types of strings for the Medium and Heavy Gauge Ukulele sets along with the two formulae we have always had for the Medium and Light Gauges. The all plain sets will be balanced around their 3rd string, while the wound sets will be balanced around the wound 3rd. Sets may share one, possibly even two strings between them, but in the majority of cases, all 4 strings in, for example, a Light Medium NW (no wound) set will be different than those in an Light Medium W3 (wound 3rd) set. In spite of our best efforts, we have come to the conclusion that simply slapping a wound 3rd string into a plain string set is often just as bad as slapping a wound 4th onto a group of reentrant strings to create a linear set-up.So Wound 3rd sets are now offered from Light Medium Gauges upward. And while Light and Extra Light Gauges have no need of wound strings, the warmer sounding “Soft” sets continue from Medium Gauges on down. Finally, we’ve added another uniquely Ukulele reentrant form to the mix. This is what we call Lili’u tuning. It gives the advantages of a reentrant form (it’s double reentrant) for strumming and chord melody, while providing the deep tone of a linear set-up. *************************************But before going into the differences to expect among these three groups we want to make a few remarks on a common error in string set selection. Folks have the idea that smaller instruments should have lighter gauge sets. There is very slight justification for that belief from two factors. First, a string needs a bit more tension to maintain its height above the fretboard as scale length increases. This is a relatively minor factor, however. Secondly, a smaller soundboard needs less energy to drive it than a larger one. This deserves a bit more consideration, but Ukulele players have distorted that idea way out of all proportion.There is no reason strings for a Soprano can’t have a relatively high tension (on a normally constructed modern instrument) or that strings on a lightly built Tenor can’t be low tension. The idea that the opposite should be true comes partially from the factors above, but more specifically from the recent practice of tuning all Ukuleles to the Key of C. The most blatant example of poor tuning comes on the Soprano. There, for years, the most commonly used sets have been “combination” Soprano/Concert sets – strings long enough to be used on either instrument. But these sets were never meant to be tuned to C on both instruments. Throughout most of its history, the Soprano was commonly in D tuning. Take a Soprano/Concert set – tune it to C on the Concert, then to D on the Soprano, and the tensions are now similar. As such, a combination set was both more economical for the string companies and their customers, and served its function well for both instruments.You can see at this point that if for some reason you needed to tune both instruments to the same tuning, then to maintain similar tension, the shorter scaled instrument would actually need heavier strings than the longer one. Yet for the last 30 years, as a result of a new, lower pitched modern Soprano tuning without change in the old string set designs, people have been stringing Sopranos at the very low end of acceptable tension. The idea has developed that companies like Martin must know what is appropriate, and influenced by this unintended tuning practice, the latest group of Ukulele players have become accustomed to the feel of Sopranos at the very bottom end of acceptable tension. Martin does know what is appropriate, but in their adherence to a tradition now abandoned by current players, their original intent has been completely lost. The resulting mistuned instruments give performance that is far less than ideal, and has played a major role in the Sopranos recent decline. The same sorts of distortions are found throughout the various sized Ukuleles when C tuning is always used. Tenors, for example can sometimes have more tension than necessary and Baritones are seldom strung well. We’ll deal with some of the specifics as we discuss individual sets or groups of sets below, but while there will always be some experimentation with a new instrument, your best bet is to rely on the Tension and Tuning charts that are outlined on the Strings Setspage, not the common distortions of what sort of tensions are appropriate on what sized instruments. Remember that while materials play an undeniable part in string set soundtension is usually even more important when it comes to bringing out the best in your instrument. This is why we stand almost alone in offering the sort of selection in tension that can mesh your preference in feel with your instruments best response. More specific discussion of our Tension ratings, and some tricks on how to get the best out of the ratings system can be found here:Southcoast Tension Ratings w/ String Selection TipsAnd also remember, you can also avoid these contortions in tension and tone most effectively on instruments that are for solo play, where after all sound is most important. Simply use traditional tuning practice. The Tuning Your Ukulele series shows the ins and outs of that in detail. Click here:Tuning Your UkuleleWhile specifics will be dealt with in individual reviews below, let’s now talk in a general way about the differences in the three Ukulele reentrant groups - the sorts of differences that will lead you to the string group best suited to your style of play.*************************************First, the NW series. These “no wound” sets are the traditional way to string the Ukulele - they incorporate no wound material. With the introduction of these three series of reentrant strings, the NW sets have been tweaked to do what a no wound set can do best: offer a powerful, full, rich sound. However, our sets are non-traditional in that we use mixed materials to accomplish this with better balance in tone and tension than can ever be obtained with the single material approach used by everyone else. For more details on our “mixed materials” approach, click here:Our MaterialsIn addition to this, in some of the lighter gauges, where sometimes on certain instruments, sets can give too bright and assertive a sound, you have a choice of two NW formulae, our standard formula, giving clear bright sound, or our “Soft” formula, giving a warmer sound and thicker feel to these light gauge sets and high tunings. More detail on those differences can be found here:NW String Sets - Standard or Soft*************************************Next, the W3, or “wound 3rd” series. These sets offer a sound profile the Ukulele has never seen before, and we are very proud to present them. In the past, sets of this nature were put together with a traditional wound material 3rd string simply swapped for the 3rd string in a plain set. That practice results in a far less than ideal set-up. With our W3 series, we present a polished low density 3rd string that gives a feel not that much different than a plain 3rd. First, it’s polished, so it’s not nearly as noisy as the older wound 3rd sets, and second, the low density means it’s much thicker than a traditional higher density wound 3rd would be. As a matter of fact, one slight bonus to using this set is that no alteration in set-up should be necessary when switching from a plain set - the low density 3rd has practically the exact same diameter as a plain 3rd string would have (please avoid the misinformation of online “string scientists” with their generalizations about string diameters).The resulting sound is something new as well. The problem heard in varying degrees with wound 3rd sets is the same problem that comes from the common practice of simply slapping a wound 4th into a reentrant set to create linear set-ups. The wound 4th tends to dominate the sound, droning over the other three strings. While this is less noticeable in a wound 3rd reentrant set, where the wound 3rd is the root of most chords, the problem is the same. But this low density 3rd doesn’t have much more volume or sustain than a plain 3rd, so the balance is tremendously better.Then we match the three plain strings to this low density wound 3rd string. Occasionally two of these strings will be different than those used in an NW set. More often all three will be different. They are selected not for the volume and power we look for in the NW sets, but for clarity. As such, in traditional strumming, do not look for what some people have come to expect from wound 3rd sets. Don’t look for much more sustain. In traditional strumming there’s a little difference - not much. Don’t look for much more emphasis on the bottom end. An NW set might actually have a bit more. Don’t look for more volume. The NW sets will have a slight advantage there as well.So why would anyone want a set with a touch lower volume and not much difference in the bass or in sustain? Take the NW and W3 Medium Gauge sets and start to play up the neck and the main difference immediately jumps out at you. The weakness of NW sets is when you start to go up the neck. With the shorter scaled Ukuleles there is the famous “plinkiness” in the sound. And with the longer scaled Ukuleles the sound up the neck is not so much plinky as dead. These W3 sets maintain much of the same clarity they have in 1st position chords when you start to move up the scale.And this is also where we’d point out that projection and volume are two different things. Where an NW set will have more volume in 1st position strums, up the fretboard, the W3 sets produce much greater projection, as NW sets start to go dead. And our W3 sets, in contrast to what you may have experienced before, do all this without any droning from the wound string - they pull this off with picture perfect balance.With the Heavy Gauge sets you may even want a W3 set for 1st position strums, as with heavier gauges, the plain strings start to lose their advantage even in standard strumming. So choosing between these two sets is a matter of picking the series that is best suited to your style of play or in some cases, your taste in sound. For 1st position strumming in medium to high pitch tunings, the NW series, with their smooth power will be the favourite for most. In heavier gauges, it will often come down to what sounds best on a given instrument, or the players preference in sound. But for those players picking notes or playing chord melody up the neck the W3s should always be a prime consideration. *************************************And then we have the Lili’u series. If what you had hoped for in a wound 3rd set was actually what the W3s don’t emphasize - long sustain and more bass, well, don’t despair. We’ve got you covered there as well. For that sort of sound profile our last Ukulele reentrant series, the Lili’u Series really delivers. Once again, you’ll hear something you’ve likely never experienced from an Ukulele before. This is what is called a double reentrant set. Compared to a Linear set, the 4th string goes up an octave, becoming a “high reentrant” string as is the case with traditional Ukulele sets. But with Lili’u tuning now the 1st string also drops an octave, making it a “low reentrant” string.This set-up is best known in it’s 4 course 6-string form, the tuning invented by none other than Sam Kamaka Junior. But it is played with 4 strings as well, most prominently by Dr. Byron Yasui. With these set-ups, we have double wound sets; the low density wound material we use in the W3 sets predominate in the two Medium Gauge sets, and higher density material is used exclusively in the two Heavy Gauges. We mentioned that these typical higher density strings cause an imbalance in a traditional wound 3rd set, but with a Lili’u set, the 1st string, being an octave down, now requires wound material for best sound as well. And so, as is so often the case with Linear strings, a double wound reentrant set does away with the overbearing drone of a traditional single wound reentrant set. The comparison to a double wound Linear set is apt in another respect as well. A Lili’u set gives reentrant tuning much of the same character as a double wound linear set. There is just as much sustain, the same sort of clarity, if not more, and if tuned to to same key, the 1st string will be only one note higher than a Linear 4th, meaning it will have much of the same depth as well.But with the deep note on the 1st string, there are important differences between a Lili’u set and a Linear set where the deep note is on the 4th. The most important of these is in 1st position strumming. Whereas a Linear set-up often sounds awkward in this setting, a Lili’u set up gives much better sounding 1st position strums. While the deepest note is only one step higher, putting it on the 1st string means your ear won’t “hear” it as the bass note, as is the case with a Linear strum. In other words, the awkward sounding inverted chords of Linear tuning go away. You still hear the 3rd string as your “root” as it should be. For more on this see Part 7 of the Tuning Your Ukulele series linked above. The other advantage is that the typical weakness of a Linear set - a 1st string that is either weak or overly tense is gone, and the set has a smoother, more focused sound. There’s always some sort of trade-off, however, and in the case of Lili’u tuning it comes with using it for melody playing. The low 1st string means that typical melody picking, while not impossible, would require dedicated practice. On the other hand, chord melody will require no adjustment at all; this is what Byron Yasui uses it for. And clawhammer and bass/strum work, while needing some slight adjustment in technique, are excellent with this arrangement as well.So 1st position chords from a Lili’u set-up have the same sweet sounds that traditional Ukulele reentrant chords have always given, while producing them with almost as much depth and just as much sustain as a Linear arrangement. It is a wonderfully effective set-up for those for those looking for greater depth for traditional Ukulele playing, and one that we are very pleased to present.Therefore the 4-string Lili’u set-ups should be prime consideration traditional playing styles where you want a sound with much of the depth of a Linear set-up and all the sustain. We can almost hear the sigh of relief from players who have been looking for 1st position strumming with sweet sounding chords, a deep tone and long, lingering notes.*************************************But what now if you’re just in love with the deeper Lili’u reentrant sound and while you mainly play traditional styles, you do some picking as well. Isn’t there a way to pull this off without a major adjustment in your picking patterns? Fortunately, the answer is yes! But the answer also involves buying a new Ukulele, one that accommodates 6 strings.The 6-string Ukulele was invented for just this sort of all around playing. In 1959, Hawaii was on the verge on becoming the 50th state, and the Islanders were in a celebratory mood. Sam Kamaka Junior was then in charge of the Kamaka Ukulele enterprise, having taken over from his father, Sam Sr. The elder Kamaka had started building Ukuleles almost from the creation of the instrument itself, and thus Sam Jr. learned the history of its inception from his father. He had the idea to create a unique design in honour of Hawaii’s statehood, and looked back to that early history for inspiration. The result was the modern 6-string Ukulele.The first models were apparently closer in size to the Rajão or Taropatch Fiddle, but rapidly grew to a body size more in line with a modern Tenor. Most manufacturers today simply add two strings to their existing Tenor bodies. But the tuning was something entirely new. The 4th course was single, the 3rd course was doubled in octaves with the variant being an octave higher than standard, the 2nd course was again single and the 1st course was again doubled in octaves, this time with the variant being an octave down. While D tuning was prominent on the Sopranos at that time, the 6-string took its cue from the old Rajão, and has always been formally tuned in C : g’ c’c” e’ a’a.Sam Junior called it the “Lili’u’” model, in honour of Hawaii’s last monarch, Queen Lili’uokalani. The name was an apt one, as the Queen was not only a renowned player of the Ukulele, but one of its foremost composers as well. She had penned “Aloha Oe”, a song many interpret as a farewell to Hawaiian independence, while imprisoned in ‘Iolani Palace following the overthrow of the monarchy. The result was spectacular. The 6-string Ukulele is probably the finest instrument in the Ukulele family when it comes to vocal accompaniment, having a full, rich chime which displays both depth from its octave 1st course, while keeping the flavour of the Ukulele reentrant sound and the advantages that arrangement gives in first position chords and strumming.And once again, folks like Sam Jr. and Byron Yasui understood that the choice of notes on any given set-up, and how the ear will interpret them are two different things. We mentioned above that the 4-string Lili’u set-up doesn’t display the sort of 1st position improper chord inversions one hears from a Linear set because the 1st string note, even though only one step off from a linear 4th, is not “heard” as a bass note. The same sort of effect comes into play with a 6-string. Picking a 4-string Lili’u set-up does leave you with a low 1st string that falls outside of traditional picking patterns. But with the 6-string, that low 1st is now paired with another 1st string an octave higher - one in the traditional octave. And when picked together, the ear “hears” the higher, 1st in the common octave as the dominant note. The low octave is simply “background depth”. You can hear it illustrated here on this demo from Peter Moss. You create your 6-string sets from the Lili’u page simply by using the Add-On option in the drop-down menu. The high octave 1st and 3rd strings are added to the 4-string Lili’u set, then packed and shipped together.*************************************And so with this background, let’s now go on to the reviews and tips for usage on specific sets.


Complete Collection of ABCmouse Songs Now Available on Major Music Platforms!
Music has always been a big part of ABCmouse Early Learning Academy, which offers more than 175 songs that help bring learning to life for children. Now, for the first time, our complete collection of ABCmouse music is available on major music platforms worldwide, including Spotify, Apple Music, Amazon Music, Pandora, and Google Play. With a listener base of more than 300 million people in more than 100 countries, these platforms expand the reach of ABCmouse to many more families around the world.
The ABCmouse music collection features dozens of original compositions, including a song for each letter of the alphabet, songs that teach about numbers, shapes, colors, geography, and much more. The collection also includes many new arrangements of classic children’s songs. We produce and record all our songs in our on-site recording studios in our headquarters in Los Angeles.
“Listening and singing along to music is a wonderful way for children to learn about the world around them and build rich vocabularies, particularly for young children who are not yet able to read,” said Dr. Rebecca Palacios, a Senior Curriculum Advisor and Curriculum Board Member at Age of Learning. “These ABCmouse songs will delight kids while developing important pre-literacy and literacy skills, and at the same time introduce young listeners to a wide range of musical styles.”
Families can find our music under ABCmouse on Spotify, Apple Music, Amazon Music, Tidal, Google Play, Pandora, and several other music platforms. Happy listening!


Posted by Clayton On November 9, 2015
We are excited to present our first Lindy Hop workshop. Clay and Cullen will be teaching a 3-hour workshop on Saturday, November 21st at the University of Nevada Reno from 1-4 PM. This workshop will benefit UNR’s Wolf Pack Swing Dance Club, and will be followed by social dancing until 7 PM. The workshop will be held in the Rotunda at the Knowledge Center on campus.
The workshop is open to the general public in addition to students – reserve your spot and purchase your workshop pass HERE. Please don’t hesitate to contact us with any questions at firstname.lastname@example.org
Here is a short bio on the teachers, Clay and Cullen:
Products of the swing revival of the late 1990’s, Clay & Cullen Mitchell met (officially) on the dance floor in late 2000, and started teaching together shortly thereafter. They have traveled throughout North America, dancing socially and honing their skills. They have taught regular group classes, private lessons and workshops in Northern California. They moved to the Reno area almost 2 years ago, and are excited to share their passion for Lindy Hop, their favorite partner dance.
Lindy Hop is an energetic, engaging and most of all fun partner dance that was incubated in the ballrooms of Harlem to the sound of some of the premier swing bands of the early 1930’s. Lindy Hop underwent a revival in the early 1990’s when small, dedicated groups of Swedish and American dancers searched for, and found, some of the original professional swing dancers and convinced them to share the dance. Vintage swing dancing, and especially lindy hop, now exists in cities throughout the US and is also popular across Europe, Asia and the rest of the world.
This is a dance for everyone, there’s no need to have any previous dance experience and people of all ages, shapes and walks of life are part of the lindy hop community. The Wolf Pack Swing Dance Club and lindy hop scenes around the world focus on inclusivity, providing a fun, safe space for socializing and dancing, and on having fun while connecting with another dancer for about three to four minutes (the typical length of a swing tune)!
We hope to see you at the workshop – if you’re coming, wear comfy clothes, bring a water bottle and shoes that have some slip to them.
Posted by Clayton On July 14, 2015
You have found a dedicated and growing group of swing dancers in the Reno/Tahoe/Carson City area.
We are bringing Vintage Swing Dancing (Lindy Hop, Jitterbug, Charleston, Shag, Balboa) to the Reno area. We are also a resource for information about West Coast Swing Dancing and Blues and Fusion Dancing.
We are just getting the website up and running, so bear with us. We are active on our Facebook page, and are starting to flesh out our calendar of dancing opportunities.


— Watch at Home —
*Purchases not made on this site
“West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City.
West Side Story
|| Drama • Musical || 2021 || 156′
Release Date (U.S.A.) ► December 10, 2021
Rating ► [PG-13] Some strong violence, strong language, thematic content, suggestive material and brief smoking.
Ansel Elgort; Rachel Zegler; Ariana DeBose; David Alvarez; Mike Faist; Josh Andrés Rivera; Ana Isabelle; Corey Stoll; Brian d’Arcy James; Rita Moreno.
Adapted for the screen from the original 1957 Broadway show, with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.
Leonard Bernstein (Original Music Composer)


Release Date: 01/07/2023
The debut release of London-based Dutch bass player Casper Hoedemaekers, Heim is an intimate duo of double bass and piano, an inviting, after-hours meditation on the idea of home.
In the five original compositions, there are themes of European identity, lockdown, displacement running through the five original compositions on this album. They show a tangle with tradition, drawing on jazz in its European and American vernacular. The minimal instrumentation of the music allows the rich sonority of the double bass to sound through, revealing the delicate counterpoint of its melodic lines with the piano.
Please get in touch if you’d like a review copy


Great news for Billy Andrusco fans! Although it has been awhile since Billy has been
in the studio, upon hearing the vocal rendition of Augusta, the theme song for The
Masters golf tournament, he was inspired. Leonard Cohen's Hallelujah was another
song he had always wanted to record, and so, spontaneously, the process of building
out an album's worth of material continued. This collection of songs tells a story that
takes the listener on a journey of memorable tunes from decades gone by. A must
have for Billy fans! Click on "Order Form" to get your copy now!


"This an incredible historic spot for Jazz. The venue is tiny, with a real personal vibe and all good seats with a concert most Sunday afternoons."
"Wow, I'm kicking myself for not coming before. Saw Kendrick Scott Oracle this weekend and the show was incredible."
Half Moon Bay, CA
"The best venue in the SF Bay Area to see world class jazz in an intimate setting.The most lovely people attend the concerts so it's good vibes all the way around."
Pete transformed a tiny beach-side shack into one of the most intimate
and vibrant jazz venues in the world. Through the years, our concert
hall has come alive with a long list of jazz legends, including Betty
Carter, Bill Evans, Dexter Gordon, Stan Getz, Max Roach, McCoy Tyner,
Bobby Hutcherson, Art Blakey, Etta James, Milt Jackson, and Eliane
Elias, to name just a few. It’s no wonder that the Bach has been listed
as a DownBeat magazine “Great Jazz Venue” for several years running.
And beyond jazz, we have featured classic notables including the Kronos
Quartet and Mariano Cordoba. Pete’s vision and spirit live on at the
Bach through his daughters, as they carry on with a unique mix of
quality local, upcoming, and world class programming.
Interview with Pete Douglas
Visit our Gallery for more historical musical moments!Visit Gallery


Welcome to experience the week-long, wildly abundant dramaturgic offering of Side Step 2020! Our line-up is full of intense trips of varying duration from the peaks of party mountains to fever dream valleys and back again.
The programme of this year's Side Step was born out of a desire to create a whole that focuses on the plurality of the making of art and the diversity of artistic vision, power of expression, artistic practice and artist personalities. It resists easy summarisation under one title, slogan or demand.
We want to make Side Step 2020 a celebration of multiple ways of inviting the audience to the worlds of the performances by the sometimes very different artists, of different ways of offering these experiences and the meanings that arise from them. The performances in this year’s line-up are both overabundant and subtle yet powerful. The programme also features works that tune into the act of performance with a very delicate touch — but still, or perhaps exactly because of it, with great impact.
Even though the themes of the performances are difficult to bundle together, the art of performance, the personalities of the performers and strong choreographic vision are the primary factors that fascinate us and attract our attention. We want to give the stage to works that exhibit energy, aesthetic qualities and attitudes rarely experienced here, works in which the personal sphere and certain idiosyncratic extravaganza come together in exhilarating and amazing ways to tickle the inner worlds of the audience quietly — or sometimes brazenly.
We have also wanted to invite young Finnish artists to the festival, to give a platform for them to showcase their work as an essential part of the international line-up, and to support their relationship with the audience, their artistic thinking and their work as performers.
Side Step 2020 wants to celebrate the diversity and the richness of today’s dance and performance art. The festival is also a place of coming together that enables us to speak about art also in the coming years in different places, deliberately yet in surprising ways. And what is best, this edition of the festival comes with three fabulous festival clubs that we can enjoy together. The heart of the festival is the Side Bar that opens in Zodiak’s lobby for the festival week – one hour before the first performance every day of the festival and all night for the festival clubs.
Art makes fissures to existing ideals for light to shine through. We invite the audience of Side Step to explore these cracks and to surrender to the new ideas and observations that emerge through them. Let us celebrate the full beauty and roughness of art. La Vie En Rose!
Side Step Tickets 2020
60 € incl. service fee
Festival pass holder is entitled to collect performance tickets to all festival performances with entrance fee (1 ticket per show).
Festival pass holders are advised to reserve their seats to the desired performances by collecting the performance tickets in advance while purchasing the festival pass. NB. The festival pass does not serve as a ticket and does not guarantee a seat in the performances.
Festival passes can be purchased from Tiketti and Zodiak. The most convenient way to buy the pass is via the Tiketti website. Remember to reserve seats for the individual performances at the same time.
Please show the festival pass, together with your individual performance ticket, at the entrance. Both the festival pass and any performance tickets collected with it are personal.
There is a limited amount of festival passes available.
Performances at the Cable Factory: 30,50/24,50/16,50 €
Prices via Tiketti (incl. service fees)
Performances at Stoa: 31,00/25,00/16,50 €.
Prices via Lippu.fi (incl. service fees)
Reduced price applies for students, retired, unemployed, and theatre and dance professionals with a valid certificate.
- Zodiak’s season and serial tickets are not valid for festival performances.
- Purchased tickets cannot be returned or exchanged.
- Ticket reservations cannot be made by e-mail or text messages.


There will be a Rehoboth contra dance on Friday, October 12, at 8:00 p.m. at Goff Memorial Hall, 124 Bay State Road, Rehoboth, MA 02769. All dances will be taught by caller Lisa Greenleaf. Music will be performed by Stomp Rocket, with Dave Langford, Glen Loper, and Bethany Waickman. Beginners welcome. Partners not necessary. $10; $8 students. For information, call 508-252-6375; http://www.contradancelinks.com/rehoboth.html.


Our great selection of live entertainment are guaranteed to provide the perfect early evening atmosphere or get the party started, the choice is yours.
We offer from just a single vocalist with an acoustic guitar, all the way to a full on rock concert! We can even provide a covers karaoke band where YOU will be the star of the show, belting out the hits to your crowd of adoring fans!
Our hand picked live entertainers can provide a real mixture of classical, jazz, soul, funk, indie and rock covers, ensuring every Esteemed Event goes with a real swing.
Let us entertain you!


Last September, 2016, the CAA was awarded a grant through the Arts and Cultural Collaborative, Waterbury Region, to deliver a program that introduced the accordion to band students at Wolcott High School. This is one of many outreach activities that are taking place locally as well as on a national level. The program in Connecticut involved classroom instruction about the accordion, opportunities for the students to learn the rudiments of the instrument as well as hear guest artists in solo and ensemble format. The program will allow the students to join the CAA orchestra on their own instruments in concert on May 21 at the Mattatuck Museum. They will also perform for their own student body at Wolcott High School on May 24.


Just when you though the music game craze was over and done with, Ubisoft is back with the first and only game that lets you plug in any real guitar.
If you’re ready to hang up your plastic peripherals in music games like Guitar Hero and Rock Band, you’ll have a blast rocking out with Ubisoft’s Rocksmith.
While the game might be a bit intimidating for non-musicians, Rocksmith is worth the price of admission for its engaging gameplay, great music and perhaps most importantly, real-world applications, as you can really learn how to play guitar in a fun and interactive manner.
If you already own a six-string, Rocksmith costs $79.99 for the game and a “patch cord” converter cable that has a quarter-inch jack on one end (to plug into your guitar) and a USB connection on the other end (to plug into a PlayStation 3, Xbox 360 or Windows PC). If you don’t already own an electric guitar you might opt for the $199.99 bundle, which includes a Gibson Epiphone Les Paul Junior guitar, as well as the game and cable. The Epiphone is an “entry level” guitar, my musician friends tell me, but two bandmates who came over to play said they were impressed with the quality of the guitar after holding and strumming it.
Similar to previous music games, you’re tasked with jamming along to popular rock songs from today and yesterday. But instead of pressing buttons on a plastic peripheral with large colourful buttons that trigger samples, you’re really playing notes or chords to rack up points. Think of your television as a guitar amplifier as what you play can be heard through the speakers. The game offers some helpful tools to get started, such as an easy-to-follow string tuner and a way to adjust guitar latency (the lag between hitting the strings and hearing the sound). There is no paper manual in the box, but the in-game tutorials will help newbies nicely.
The game includes more than 50 rock songs on the disc, including The Rolling Stones’ “(I Can’t Get No) Satisfaction,” David Bowie’s “Rebel Rebel,” Lenny Kravitz’s “Are You Gonna Go My Way,” Nirvana’s “In Bloom” and The White Stripes’ “Icky Thump,” to name a few — many of which need to be unlocked by performing well. Each of these tunes feature the real lead, rhythm and combo guitar licks, but Rocksmith automatically adjusts to your skill level; the game gets easier if you’re having trouble (slowing down and switching to single notes instead of chords) or it will get more difficult if you’re breezing through the tracks and racking up a lot of points.
While not tested for the purposes of this review, the game includes a split-screen multiplayer option to play with friends or family. There’s also a variety of in-game effects or “pedals” to tweak the sound – such as distortion or reverb – and you can unlock and play various mini-games to hone your skills, such as racing, action and puzzle diversions.
Visually speaking, the game isn’t too impressive – the dark environments and lackluster audience aren’t much to look at – but this is more acceptable for a music-focused game. Plus, there’s no support for other instruments (drums, bass, vocals, synthesizer, etc.), so those expecting a complete Rock Band-like experience might be disappointed.
So, who is it for, exactly? I’d argue the game is ideal for those who’ve always wanted to learn how to play guitar — and likes rock music — but it’s also a “game,” too, therefore fans of Rock Band and Guitar Hero who want a deeper and more challenging experience will also find this a sound investment. You’ll save a bundle if you already own a guitar, of course, but $200 for an electric guitar, cables and a 50-song game isn’t a bad deal either.
Also, here’s a trailer to the game:


Adult Ballet Classes Melbourne – Would you like to have longer, leaner muscles and improved coordination? If so, an adult ballet barre classes may be perfect for you and offer a refreshing alternative to the typical gym experience. At Dance Dynamics, you can discover how Ballet fitness in Melbourne can help you reap these benefits and much more.
How Ballet Can Improve Your Fitness Level
There are many reasons to dance, whether as a challenge, to have fun, or as a form of exercise. When considering a new dance class, it may be helpful first to figure out where your interests lie. If you’re looking to improve your overall fitness, you may be surprised at how effective ballet can be.
In recent years, ballet has become a popular fitness trend, yet some misconceptions remain around this classic dance style. For example, many people think you need to have a petite “dancer’s build” to do ballet. This couldn’t be further from the truth! Ballet is a perfect way to get in shape, no matter your body type or whether you are age 15 or 75.
The idea of starting a ballet class may sound intimidating, but you can rest assured that our professional dance instructors will work with you at your level to ensure you are comfortable each step and plié along the way. Our ballet dance classes in Melbourne focus on both the exercise and fun aspects of this dance form. Our group classes can help you tone up and burn fat, all while having a more socially engaging experience than you likely would with your usual workout routine.
If you’ve never considered ballet to be a cardio experience, taking a ballet dance class at one our Melbourne studios may just change your mind. Our ballet barre classes, for example, provide a high-energy workout inspired by the classic movements and forms of ballet for a continuous fat-burning routine. Over time, both traditional ballet and barre workouts have the potential to get you in the best shape of your life. Not only that, you may find that ballet is the best way to de-stress and get some much-needed ‘me’ time, where the rest of your cares can wait while you focus on your moves.
Where to Find a Great Ballet Dance Class in Melbourne
At Dance Dynamics, we offer ballet barre classes for all ages, including adults and kids, as well as nearly 20 other dance styles for dancers and movers of all types. Even seniors and those with special needs can benefit from our dance-based fitness classes. With over 180 classes per week, you are sure to find something to match your interests and requirements. All our classes focus not only on physical fitness but improving mental health as well, helping you to feel great about yourself and your abilities. Each class is also an excellent way to meet new people and make supportive friends along the way who share your interest in dance.
If you’d like to know more about how you can benefit from ballet fitness in Melbourne, be sure to visit one of our studios or check our timetable for upcoming classes before signing up for a membership with Dance Dynamics.


|Welcome to the Wraith family music site. I am the author of this site, William Wraith, IV. I love to play classical guitar and have put my recordings on this site. My dad, William Wraith, III sings and plays guitar. I have included some recordings of his, as well. My guitar teacher in Lima, Peru, Humberto Pimentel Fonseca, got me started, and I've played continuously since then. My dad recorded him and a friend of his Fernando Rodriguez playing guitar in 1969 and 1970. Enjoy the content on the site. If you want to get in touch after visiting the site, email me: bwraith (at) wraiths (.) com. The address is garbled to confound email harvesting programs, but you can figure out how to redo that address.


I have recorded hundreds of songs and released several albums under the artist name Motherhalo. These are some of my recordings that I would like to share with you here. There are a lot of genres represented, so feel free to browse through my albums.
- Peripheral Hallucinations II LP (Electronic, 2017)
- Illuminator (Instrumental Piano, 2009)
- Motherhalo LIvE + (Singer-songwriter, 2012)
- 23 Plus Signs (Experimental-industrial, 2012)
If you would like to hear even more of my music, visit my Bandcamp Artist Page HERE.
Updates and recent recordings can be found on my Soundcloud page HERE.


With my 40+ years of performing experience, my professional musicianship will provide you with top-quality music for your special event. Whether it be a funeral, wedding, birthday party, graduation, corporate event, or golf tournament, my bagpiping will be a memorable experience for you and your guests. Serving the greater San Francisco Bay Area, I offer Irish and Scottish, patriotic, and hymnal music for your selection and perform in full highland dress with Campbell tartan.
I’ve performed at over 350 weddings and 700 funerals. Some of my past performances include playing with six-time Grammy-winners The Chieftains, leading the Oscar award for “Brave” into the Pixar studio headquarters, performing for the cast and crew of “Star Trek Into Darkness”, playing for the Mayor of San Francisco, and being part of a group that played for the Queen of England on her visit to San Francisco. In addition, I have been featured on Live 105 radio station, a TV commercial for Tennent's Scottish beer, Channel 11 KNTV morning news, and the Raiders playoff half time show.
I studied under World Champion Pipe Major Donald Shaw Ramsay, B.E.M. I have played in numerous pipe bands, including The San Francisco Irish, Alameda County Sheriffs, Dunvegan, The Seattle Clansmen and The Diablo Highlanders.
If interested, I can supplement my performance with drummers, Scottish Highland dancers, and Irish step dancers for added entertainment value. I’ll be happy to discuss your needs and make arrangements.


Marta Mateo Music and Translations
The translation of musical texts – or music-linked translation, in Harai Golomb's terms (2005: 121-162) – has only recently started to receive attention from translation researchers. One reason for this may be the methodological challenges that its study entails, for it redraws traditional boundaries such as those between 'translation'*, 'adaptation'*or 'rewriting', it questions essential concepts such as 'authorship' or 'source-text' and it clearly calls for a multidisciplinary approach (Susam-Sarajeva 2008: 188-9). Two monographic publications have now joined the small group of articles so far devoted to Music and Translation: Gorlée 2005 and Susam-Sarajeva 2008, which show that the translation of musical texts goes well beyond opera,takingmultiple forms – from the (literal) translations of CD inserts or printed libretti to sung translation, the rewriting of song lyrics, surtitling, subtitling* or dubbing*. This entry will present an overview of the field, focusing mainly on the translation of opera in its various forms – as it has attracted most attention–, and that of songs and musicals.


LIVE MUSIC AT SMITHS
with Jeremy Sassoon and Guests
Hear some of the region's finest musicians play jazz and lots more !
Meals and drinks at menu prices - the music comes free !!
7.15pm ….. Music from 7.30pm
LIVE MUSIC AT SMITHS IN SEPTEMBER
Tuesday 5th Zoe Kyoti ( vocals / guitar )
Tuesday 12th Ellis Davies ( vocals / guitar )
Tuesday 19th Jeremy Sassoon ( vocals / piano )
Tuesday 26th Paul Bytheway ( vocals / guitar )
US ON 0161 788 7343 to book your table !!


Alpe Di Siusi
Jazz in the mountain huts, soul on the slopes and traditional tunes in the restaurants in the evenings: From 13.03.-15.03.2024 and from 20.03.-22.03.2024, musicians from all over the Alpine region will be bringing musical cheer to the Dolomites Region Seiser Alm at the Swing on Snow festival from morning to night. Bands and singers will be getting old and young, winter sports visitors and music lovers alike, into the party mood. The modern interpretation of traditional folk music with jazz, soul and pop reflects the musical culture of the Alps; listeners can swerve in time to the beats and rhythms, and weave their way downhill to the sounds of the tuba, bass, dulcimer and accordion. Renowned musicians such as the exceptional South Tyrolean guitarist Manuel Randi or the renowned wind ensemble Federspiel await you.
Concerts will be played at the valley station of the cable way Seiser Alm and the slopes of the Seiser Alm in the mornings and afternoons in the huts and evenings in the villages of Kastelruth, Seis am Schlern, Völs am Schlern and Tiers am Rosengarten.


Janet Yieh serves as Associate Organist at Trinity Church, Wall Street in New York City. An innovative concert recitalist and sacred music specialist, Janet was named one of ’20 under 30’ to watch by The Diapason magazine in 2017. She has performed concert tours throughout the United States and across the globe, with highlights including New York’s Alice Tully Hall, Washington’s National Cathedral, Yale University’s Woolsey Hall, Taipei’s St. John’s Cathedral and Japan’s Momoyama St. Andrew’s University Chapel. She has collaborated with the Paul Winter Consort, the Washington Chorus at the Kennedy Center, and Trinity’s NOVUS NY orchestra at Carnegie Hall. She regularly premieres new works for the organ, and has been featured on the national radio show Pipedreams, New York’s WQXR, New Jersey’s WWFM, Connecticut’s WMNR, and two CD recordings. A native of Alexandria, Virginia, Janet’s former teachers include Thomas Murray, Paul Jacobs, John Walker, Wayne Earnest and Victoria Shields. She holds a Master’s of Musical Arts Degree and Master’s Degree in Organ Performance from the Yale School of Music and Yale Institute of Sacred Music and a Bachelor of Music from the Juilliard School. Janet has served as Organ Scholar at Christ Church and Trinity Church on the Green in New Haven, and Director of Music for Berkeley Divinity School at Yale. She is a Colleague of the AGO, co-chair of the Northeast AGO Young Organists Board and a member of the Association of Anglican Musicians.
Categories: Class of 2022, Current Board Members


The Children's Choirs
of the Berliner Konzert Chor
The encouragement and promotion of singing from an early age is one of our fundamental goals. For more than forty years the Berliner Konzert children’s choirs have been providing children from five to fourteen years of age the opportunity to participate not only in their own concerts but also in those of the main choir.
The regular rehearsals take place once a week under the direction of Olga Kisseleva and also include voice training. Additional choir activities take place on the outskirts of Berlin, including the occasional mini-concert tour. Information about the concert dates of our young “Spatzen” (“sparrows”) is included below.
For children ages fourteen and older there is our youth choir, the Berliner Konzert Jugendchor. The training and experience received in the children's choirs makes for an easy transition to the youth choir.
Give us a call for more information, if your child would like to sing with our “Spatzen”.
Sunday, 2 December 2018
THE FIRST NÖEL - Christmas concert in the Fellowship Hall of the Evangelical Church Alt-Schmargendorf, Kirchstraße 15, 14199 Berlin | 4:00 p.m.
Sunday, 9 December 2018
Christmas Concert of the Potsdam Men's Choir, Potsdam Nikolaisaal, Wilhelm-Staab-Str. 11 | 3:00, 6:30 p.m.(Große Spatzen)
Sunday, 16 December 2018
At the Christmas Market at Gendarmenmarkt | 1:00 p.m.


Dipsticks Music by Talking Tables, Sing the first line of a song for your friends and family to sing the next line.
Bonus points for guessing the song title and artist.
Contains 80 double sided sticks.
Recommended for ages 7+.
Suitable for 2+ players.
- Packaged height: 18.0cm;
- Packaged width: 5.5cm;
- Packaged depth: 5.5cm;
- Packaged weight: 0.133kg.


SABATON @ Rock Am Härtsfeldsee – Dischingen, Germany – 25. 06. 2011 *R
SABATON official website: http://www.sabaton.net/
This entry was posted on July 8, 2011 by Veronika Nyssa. It was filed under Rock am Härtsfeldsee 2011, Sabaton and was tagged with 2011, am, band, Brodén, Daniel, dischingen, Falun, Festival, germany, haertsfeldsee, Härtsfeldsee, Joakim, June, metal, Montelius, Mullback, music, Musik, Myhr, Oskar, Pär, power, RAH, Rikard, rock, Sabaton, Sundén, Sundström, Sweden.


Doja Cat, a true musical maverick, has etched her name in the annals of the music industry by seamlessly blending diversity and innovation into her craft. This article delves into the multifaceted dimensions of Doja Cat’s musical prowess, exploring the diverse genres she effortlessly traverses and the innovative approaches that define her unique sound.
**Eclectic Soundscapes: A Genre-Defying Journey**
One of the standout features of Doja Cat’s music is its genre-fluid nature. From the hip-hop-infused beats of “Juicy” to the disco-inspired rhythms of “Say So” and the R&B sensibilities in “Streets,” Doja Cat defies categorization. Her ability to fluidly move between genres showcases a true mastery of sound and an openness to experimentation that captivates audiences across the musical spectrum.
**Lyrical Wit and Versatility: Crafting Sonic Narratives**
Doja Cat’s lyrical prowess is equally diverse, with each song telling a unique story. Whether delivering playful and catchy verses or delving into more introspective themes, her lyrics resonate with authenticity. This versatility in storytelling contributes to the relatability of her music, connecting with listeners on a personal level.
**Innovative Production Techniques: Pushing Sonic Boundaries**
At the heart of Doja Cat’s innovation lies her approach to production. Her tracks often feature unconventional beats, unexpected instrumentals, and intricate arrangements that challenge traditional norms. This commitment to pushing sonic boundaries results in music that feels both fresh and unpredictable, creating an immersive experience for the listener.
**The TikTok Phenomenon: Social Media as a Catalyst**
Doja Cat’s awareness of digital trends and her embrace of platforms like TikTok have played a pivotal role in propelling her music to viral success. Songs like “Say So” became anthems for dance challenges, showcasing the symbiotic relationship between her innovative sound and the ever-evolving landscape of social media.
**Visual Storytelling: Music Videos as Artistic Canvases**
In addition to her sonic creativity, Doja Cat’s music videos serve as visual masterpieces that complement and enhance the narrative of her songs. Each video is a carefully crafted piece of visual storytelling, featuring bold aesthetics, imaginative concepts, and an undeniable flair for artistic expression.
**Fashion Forwardness: A Visual Extension of Creativity**
Doja Cat’s innovation extends beyond music and visuals to the realm of fashion. Her bold and eclectic fashion choices not only contribute to her overall persona but also serve as an extension of her creative expression. From red carpet appearances to music video ensembles, she consistently showcases a fearless and trendsetting approach to style.
**Global Collaborations: Bridging Cultures and Sounds**
The diversity in Doja Cat’s music is further enriched by her collaborations with artists from around the world. Engaging with diverse voices and styles, she transcends geographical boundaries, creating a global fusion of sounds that resonates with audiences internationally.
**Conclusion: A Sonic Visionary**
In conclusion, Doja Cat’s music is a testament to her status as a sonic visionary. Her ability to seamlessly blend diverse genres, coupled with innovative production techniques and a keen understanding of digital trends, places her at the forefront of modern music. As she continues to evolve and experiment, Doja Cat’s impact on the musical landscape will undoubtedly continue to shape and redefine the industry.