In the age of remixes and recreations, if there’s one artiste who provides us hope, it has to be Amit Trivedi. The reluctant composer has been round for over a decade, and managed to give us music that stays with you. So be it rock fashion or qawwali, love ballads or folk-fusion, his tunes seamlessly discover manner into our system, each time he touches a musical notice.
Amit was to make his musical debut in Bollywood with Dev.D (2009). But due to manufacturing delays, he arrived with Aamir (2008). And then, there was no wanting again. Amit makes music his personal manner. No marvel his creations are uncooked, unique and modern. He’s turned music composer for movies like Wake Up Sid, Aisha, Ishaqzaade, Ek Main Aur Ekk Tu, Kai Po Che, Lootera, Queen, Udta Punjab, Highway, Shaandaar, Dear Zindagi, Manmarziyaan and Andhadhun, to title just a few.
As the gifted music director turns 42 as we speak, we choose his greatest songs through the years that proceed to stay earworms.
Iktara – Wake Up Sid (2009)
London Thumakda – Queen (2014)
Sawaar Loon – Lootera (2013)
Nayan Tarse – Dev.D (2009)
Manjha _ Kai Po Che (2013)
Gulaabo – Shaandaar (2015)
Naina Da Kya Kasoor – Andhadhun (2018)
Gal Mitthi Mitthi – Aisha (2010)
Daryaa – Manmarziyaan (2018)
Love You Zindagi – Dear Zindagi (2016)
Ud-daa Punjab – Udta Punjab (2016)
Paayaliya – Dev.D (2009)
(Because we can’t choose only one track from Dev.D)
Isn’t an Amit Trivedi playlist a go-to assortment for you?


First time I check newgrounds in a longass while and boom a Jonus track on the main page. So glad to hear you play again.
I see you've changed style a bit. Do you listen to some "Djent" bands? Periphery much? I swear there are some influences here! Love it!
SOK! Long time man! Yeah I am a BIG fan of Periphery. But not much other "Djent" bands lol. Glad you dig it!
Man your organ and keyboards playing is wonderful. Love it.
Your family is awesome, I hope my children will be musicians when I have children haha, must be great jamming with the boys!
Props to Logan, great sense of melody!
Well you are still young yet...so ...haha. Thanks very much, man. :)\m/
Love it !
You took my song to another level thanks for that! Really pro sound you got there, the lyrics are great too. I listen to it about 5 times a day, I just can't get tired of it :D. I'm looking forward to working again with you. Thanks for all <3
<3. It is always awesome to work with you. I'm sorry I'm slow. Like...shortbus slow...but I really look forward to any projects we do. Thanks dude!
This is beautiful
Whoah... what an intro! This was wonderful, reminds me of metallica's S&M and of Anathema. When the acoustic guitar starts, I immediately though of Porcupine Tree. This plus the vibrato flanger on the electric guitar sounds very much like PT, it's awesome!
The drums sounds good, I like the natural sound it has. Though, it would seems it goes slightly out of beat, sometimes (2:24), especially during the breaks and fills. I assume you were playing the drums on an electronic drum kit? This is not a big problem since you have to listen really carefully to notice this little thing. I have started taking drums lessons this year so I know how hard to play well drums are :). I must say you are a very good drummer.
When the electric guitars kick in with all the layers, it's pure epicness. It's impressive how you managed to arrange a 6 minutes song with a single chord progression without getting boring.
I love it :)
Hey Sonofkirk, thanks for the lengthy review! Yeah this song definitely has PT and Anathema written all over it in terms of layering. Have you checked out Anathema's new album that was produced by Steven Wilson? It's friggin' brilliant, i'm in love with it.
For the drums, I always try to aim for fairly neutral sounding drums in my mix, I don't like to over-process them to much. I just like a natural kit with some nice room ambiance and enough compression to make sure the transients on the snare and kick pop during mixdown. The drums were performed live through a midi kit, though time adjusted later. There was also some additions programmed manually, such as one or two really fast fills that I just can't perform smoothly my self (yet! i'm getting better ;)) I love to drum, i'm just not good enough to do it without major editing afterwards in my music hahaha. This song was fun as hell to drum though with all the cymbal/kick work.
The progression is quite repetitive, it's actually a bad compositional habit I have, which I sometimes try to hide with layering guitar over the backing harmony to create a sort of new melody which becomes quite obvious near the end. It worked for this song, but I am trying to break away from this style of writing because it can get boring for the listener!
Anyways, this is getting long, seems my replies to you always are haha, cheers for the review man!
I'm not much of a "techno" guy, I usually listen to rock or metal music but I was really surprised in a good type of way when I listened to it.
I enjoyed the fusion of the 8-bits sounds and the techno sounds. I must say that anything with 8-bit instrument sounds cool, it reminds me of the old video games, this is priceless :). Though I assume it must have been challenging to mix up those two genre; so kudos you provide us with something very interesting.
I liked the chords progression, especially when the strings play it around 0:45 for example, that's beautiful. The transitions are really smooth, enjoyed how the "transe" synth comes in around 1:05. Nice bass line too! Though I have a complaint about the drums, especially the snare drum. I would have enjoyed something very 8-bit-ish or some something really techno-ish but the snare you used here was kinda in the middle of those two sounds... It sounded too natural to me, I would have expected some highly processed snare here.
As BUCHANKO previously said, the song lacked of energy, you could use some post production plug ins such as Waves MultiMaximizer which is an awesome limiter. You could also work on the bass drum sound and add some distortion and fatness to it :).
Other than that, I enjoyed this song, which is not always the case when it comes to electronic music! :) I fived it.
Hey, thank you so much for the constructive suggestions, Sonofkirk! It'll be a favor to work on all the things you've mentioned. I'm always glad to get helpful reviews like this! :)
What an ambiance!
Dude this is priceless!! It's like I'm listening to some early Porcupine Tree on Newgrounds, when they were really into ambient stuff. I'm digging this song so much.
The first part was beautifully arranged, you have some skills in using synths. That's something I'd like to be able to do and my lack of ability in this field shows on my own songs :P. What plug-ins are you using? those synths sound beautiful. I liked how the bass is playing an ostinato and how the chords over it change, give a enjoyable dark mood to the song.
And wow! I had an eargasm when the drums and guitars kicked in around 3:35! This is just epic. That's a nice guitar tone you got ear, I think I'll try Amplitube someday and do the comparison with guitar rig. Anyway, brilliant tone. Ah I recognize Addictive drums here, I assume you are using a Tama kit? At least the snare is? Anyway, it sounds great I liked how you kept a natural sound to it. Though I would advise you to polish some licks, especially the hi hat hits. For example at 1:49, those 32th notes were too "straight", you should lower the volume of the two first hits to make it sound more realistic. See what I mean? Also nice use of the 3/4!
What can I say? This song is brilliant, nice arrangement and composition. And over all, incredible taste in music, I mean Porcupine Tree was sent by god! ;).
Hey man, thanks for the awesome and lengthy review.
I don't remember 100% but I was either using Atmosphere or Sampletank (might've even been a combination of both). They're really the only two synth vst's I ever use anymore since they seem to cover what I want to do most of the time. But yeah theres nothing fancy with the synth going on in this song, just 2 (or 3) different pads playing single notes with some filter automation, thats it.
I'd highly suggest amplitube. I was a GR user for a long time too but even GR never sounded real to me as good as it was. If you were to blind test me with amplitube and real amps i'd be hard pressed to tell you which was the real thing! Amp sim tech has come so far..
About the hihats, yeah, I hate those 32nd quick fills too, when I was all in depth mixing and mastering this I had never noticed it, and then a week later when I listened to the song I was like, wtf was I thinking.. Another thing that bugs me is some balance issues between the drums and the bass. But really it doesn't bother me enough to go through the process of editing and re-mastering the whole thing, i'm awesome lazy like that ;).
The drums are indeed Addictive Drums using a custom preset I made which utilizes kit pieces from both the Retro and Jazz adpaks (I think i'm XLN audios best customer, lol). I think the only original piece of kit from stock AD i'm using is the kick drum (tama) otherwise everything else is from an adpak. I hate the stock sound of most of AD's drums if only because they're just so overused these days, ESPECIALLY the presets.. (if I hear that 'startup' preset in one more commercially made song, I might stab somebody).
Anyways, thanks for review man, I appreciate it, hope some of my comments on the vsts has been helpful.
And hell yeah, Porcupine Tree is ear sex.
It was very interesting to listen to this piece, I enjoyed the different parts of it and the way the song was in a constant evolution.
The first part with the acoustic guitar reminded me of the music from those games I used to play when I was younger in which you have to build a city during the Antiquity and stuff, like Civilization as Tadashiini said. I really like it, it would really sound perfect for one of those game. By the way, I assume you didn't play the guitar and you programmed it? If it's the case, it sounds absolutely beautiful and realistic, and I must say the other instruments you used sounded brilliant.
Then comes another part at 1:43. This one sounded epic! The chord progression was pretty simple but the way you arranged it with the low octave played by the piano, the strings and the piano melody made it sound just epic. Though I would have enjoyed a bit more rhythm on it, you know to make it sound more lively.
Another part at 2:17 starts, I think it was my favourite. Loved that bluesy lick played by the flute, I think. I must say I didn't expect that coming but it created a nice element of surprise. And the guitar behind it was rocking, acoustic guitar + rock-ish riff = win. The repeat myself, this part deserved more percussion too but maybe that's my metal guy influences that want that :).
Overall I enjoyed this one very much. Though there were a few thing that I would have expected such as more present drums (percussion) but that's a matter of taste so I won't penalize you for that. Great job on this, keep going :). And check my songs if you have some time ;)
Gave it a 5.
First off, thanks for the awesome review. These are few and far between nowadays it seems. So it is always appreciated when someone gives a lengthy and well thought out reaction to something I've written.
As for the song itself, I'm glad you enjoyed it so much. As you mentioned the piece really begins to gain energy at the 1:43 mark, and doesn't really look back after the 2:17 mark. I really REALLY liked that final section with the flute so I decided it would be perfect to just add one last bridge and then let it repeat itself with a fadeout. It just seemed the most appropriate way to end the song.
Once again I'm glad you enjoyed the tune, and thanks for the wonderful review. :-)
The funny thing is that I used to watch Inspector Gadget when I was a kid... in French obviously, so once again it's cool to see how it does sound in another language.
Nice voice performance, you managed to literally change your voice tone to a dark and deep scary voice, the illusion is perfect - unless it's your regular voice ;P. It was good for a 6 seconds clip, though I expect to hear a bit more material from you next time.
And I won't comment on the equalisation, you know it all.
*Review Request Club*
Yeah, the six second part was a little banter between myself and Bahamut in the Levelup! Lounge. Basically, it culminated with me recording this first thing on a week day morning, so I recorded it and published it straight away. Not the best thing, I'll admit, but this will change when the new Mic arrives :)
Man I dig this shit! I was impressed by the guitar tone from the very first second, it was very precise sharp. And the bass tone is sexy as fuck, one of the best tone I have ever heard, honestly. Overall, it seems you worked more on the tones than in your previous songs, even though it's a rough mix.
The vocals were fucking great, the first verse reminded me of Dream Theater, something from the previous album, when the drummer and Labrie sing together, it's great! The chorus was catchy as hell, I think it's stuck in my head for this day :P. I love the melody of it and your prog-ish type of voice on it.
The solo was enjoyable as well, the tapping part was killer. Then you don't play too many notes but you just play the right ones so it sounds better than any other speed guitar solo. You should have the copyrights on that lick at 3:18, I think you use it in all your solos haha.
I can't really help for the vocals but I promise I'll send you a melody played on the guitar ifI come up with something interresting. That's one of your best song, no doubt.
4.23 / 5.00 (+ 0.014)
You are right about the solos. haha. I always play that...jump up that bit of that scale sounds 80'ish, but it can lead up to a crescendo or bring down from one. Diverse, yet simple. haha.
Glad you dig it. I'm working pretty hard on all the aspects. :D
ANyways dude, always pleases me to have you stop by and leave your review and <3. You are a kick ass artist, and your support is appreciated. :D
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Emphasis is on the sacred arts particularly of Vajrayana Buddhism, and focusing mainly on a style of vajra dance from the Nepalese lineage of Newar Buddhist priests. Dance classes and performance offerings are held regularly at the Newar Buddhist temple of Nritya Mandala Mahavihara. Dance Mandal also offers presentations, workshops, and performances for dharma centers, universities, schools, museums, etc.
M-F, 8am-9am- morning meditation and ritual
Sat., Su- 9am-10am- morning meditation and ritual
Last Sunday of the month, 10:30am-1pm- Mudra Yoga Workshop
First Saturday of the month, 10:30am-1pm- Meditation Movement Workshop
Contact us for information about weekly dance classes, and to be on our
email list for dharma teachings, Sanskrit, music and dance offerings, etc.
Prajwal Ratna Vajracharya
1405 Southeast 40th Avenue Portland Oregon 97214 United States.


The Advantages of Buying a Digital Piano and How the Roland Digital Piano Meets Your Needs
Digital pianos have revolutionized the music industry by offering a convenient and cost-effective alternative to traditional acoustic pianos. There are several advantages to choosing a digital piano over an acoustic one, including affordability, portability, versatility, and advanced features. Roland, a leading manufacturer of musical instruments, has distinguished itself in the digital piano market by consistently delivering high-quality instruments that cater to the needs of musicians at all levels.
Space and Portability
Unlike their acoustic counterparts, digital pianos are known for their compactness and portability. They are an ideal choice for smaller living spaces or for musicians who need to transport their instrument regularly. Roland digital pianos take this a step further with sleek designs that can fit into any room aesthetic.
Generally, digital pianos are more affordable than acoustic pianos. They offer beginners and budget-conscious individuals a more accessible entry point into the world of piano playing. Roland, in particular, provides a range of options that cater to different price points without compromising on quality.
Digital pianos require minimal maintenance compared to acoustic pianos, which need regular tuning and can be affected by environmental factors like humidity. With a Roland digital piano, you get the added benefit of durability and long-term reliability.
Variety of Sounds and Features
Digital pianos come equipped with a range of sounds and features that expand the player’s musical palette. Roland digital pianos are renowned for their rich library of sounds, including various piano tones, which mimic some of the finest grand and upright pianos.
Volume Control and Headphone Option
For those practicing in shared spaces or apartments, the ability to control volume and use headphones is a significant advantage. Roland pianos excel in this aspect, offering high-quality sound even at lower volumes or through headphones.
Why Roland Digital Pianos Stand Out
Roland digital pianos boast cutting-edge technology, exemplified by their SuperNATURAL sound engine, setting a new standard for realism in piano sound. This advanced engine meticulously reproduces the nuances of acoustic pianos, offering players an authentic and immersive playing experience. With Roland’s commitment to innovation, musicians can enjoy unparalleled sound quality and expression, making their digital pianos a top choice for discerning players worldwide.
Build Quality and Design
Roland prioritizes both aesthetics and durability in their digital pianos. With sleek, modern designs, their instruments are visually appealing and built to withstand the rigors of regular use, ensuring longevity for musicians seeking reliability without sacrificing style. Roland offers digital pianos tailored to every skill level and requirement, ensuring both beginners and professionals find an instrument that meets their specific needs and abilities.
Whether you are making your first foray into piano playing or looking to upgrade your current instrument, consider the myriad benefits of a digital piano. With a Roland digital piano, you’re not just purchasing an instrument; you’re investing in an experience that combines tradition with technology, ensuring that every note you play resonates with quality and inspiration. The Advantages of Buying a Digital Piano and How the Roland Digital Piano Meets Your Needs


Music Is The Backbone Of Bollywood Industry:
Bollywood industry revolves around songs. You will not see a single movie that has not given us a hit song. So like that we have so many hit songs from old movies. But there are some tracks that are still alive in our hearts and will always lead the hit list. In this article we have given you some evergreen top Indian songs.
Top 10 Evergreen Indian Songs :
1. Baharon Phool Barsao:
The 1966 movie ‘Suraj’ had this beautiful song in its track list which is still remembered and hummed by many of us. The song was filmed on Vyjayanthimala and Rajendra Kumar and lyrics were given by Shailendra and Hasrat Jaipuri. The song was sung by Mohammad Rafi. The music director of the song was Shankar and Jaikishan.
2. Mera Kuch Samaan:
A song filled with emotions was beautifully sung by Asha Bhosle. ‘Mera kuch samaan’ track is from the movie ‘Ijaazat’ released in 1987. Gulzar gave lyrics to the song and R D Burman composed it. Anuradha Patel and Nassrudin Shah enacted the song. Meaning of the song will fill you with tears.
3. Aap Ki Aankhon Mein Kuch:
This melody was sung by Kishore Kumar and Lata Mangeshkar. The song that was composed by R D Burman was from the film ‘Ghar’. Vinod Mehra and Rekha superbly enacted the song. This song reflects a feeling of compassion, love and care for each other.
4. Chalte Chalte:
From the movie ‘Pakeeza,’ with the voice of Lata Mangeshkar, the lyrics of Kaifi Azmi and the music composition by Ghulam Mohammad, this song is a perfect blend of magnificence. It has all the necessary requirements for being a hit song. Hazrat Meena Kumari,Raj Kumar and Ashoke Kumar enacted the song very well.
5. Yeh Dosti Hum Nai Todenge:
This song from the blockbuster movie ‘Sholay’ starring Amitabh Bachchan and Dharmendra is one of the most admired friendship songs even today. Manna Dey and Kishore Kumar gave voice to the song. Music was given by R D Burman and lyrics were given by Anand Bakshi.
6. Kabhi Kabhi Mere Dil Mein:
This is one of the most excellent creations of Khayyam, the composer and was sung by Mukesh in the film ‘Kabhi Kabhi’. Lyrics of this track are penned by Sahir Ludhianvi. The movie starred Amitabh Bachchan and Rakhee as the lead actors. The song is believed to be one of the best songs of all time.
7. Jab Pyar Kiya Toh Darna Kya:
An evergreen song from the significant movie ‘Mugh-le-Azam’ enacted by Madhubala – Dilip Kumar and sung by Lata Mangeshkar which helped her attain the title of the best singer of all time. Naushad composed the song and the lyrics were written by Shakeel Badayuni.
8. Rim Jhim Gire Saavan:
This song sung by Kishore Kumar is from the movie Manzil. Amitabh Bachchan and Moushumi Chatterjee are starring in this melodious song. R D Burman composed the song and Yogesh Gaur filled song with love with his pen.
9. Tere Bina Zindagi Se Koi:
Sanjeev Kumar and Suchitra Sen are starring in this song. The song is having a long lasting effect because of the emotions and lyrics, given by Gulzar. The voices of Lata Mangeshkar and Kishore Kumar made the song even more melodious. The music is given by R D Burman.
10. Lag Jaa Gale:
This song was and is and will always be loved and remembered by all of us because of its lyrics. Raja Mehdi Ali Khan penned this love song and Madan Mohan Kohli gave music to it. The voice was given by Lata Mangeshkar. This song from the movie ‘Kaun Thi Who’ was enacted by Sadhna and Dilip Kumar.


|Name: Christopher Meister||
|Department: Music (Visual and Performing Arts Division)|
|Title: Instructor, Music: Theory and Class Piano|
|Phone Number: (704) 330-6315|
|Fax Number: (704) 330-6438|
|Email Address: Chris.Meister@cpcc.edu
Note: If you email a CPCC employee and themessage bounces-back or is undeliverable, please try to contact the individual by telephone, in person, or by other means.


I changed my persona from Kantisunflower to K_anti because I didn’t want to go by someone I was not anymore. Producers would approach me with a very particular style of music but I’m a versatile person, I want to explore everything. Before music, I wanted to be a director, before that an astronaut, before that a cheerleader. But we’re taught we can only pursue one dream. Fuck that! I want to pursue and do anything; the space in-between is the space for me to do and be anything I want. Music should be as fluid as any other type of artistic expression, and this is what I intend to explore as K_anti.


Junyoung Jung is a composer who writes music for film, television and commercials.
Junyoung was born in Seoul, South Korea and majored in Music Composition at Seoul Institute of Arts. He worked in the Korean film and television industries as a film composer for 7 years and as a orchestrator for the Korean Police Band for 2 years. Since the start of his professional career in 2010, he has composed numerous original soundtracks for movies, TV series, animated features and documentaries.
As a musician, Junyoung plays the piano, electronic synthesizers and the violin. He creates and performs various genres of music but is proficient in producing pop, modern, acoustic, electronic, and orchestral music. Music is the one universal language, and Junyoung speaks it fluently, traveling around the world in search of new people and amazing sounds.
Junyoung lives in Los Angeles with his wife, pianist Kyungbin Woo and graduated Film Scoring certificate program at UCLA Extension.


A Baltimore based cover artist singing and playing guitar and other instruments, sometimes with special guests. Available to play at bars, parties, and all other events. Playing an eclectic mix of classic rock, 90s rock, country, and even some rap and modern hits. Heavily influenced by Bruce Springsteen, Bob Dylan and others, you can be sure that you won't be hearing your "average bar songs" with Jon.
Fully employed in the healthcare technology industry. Music is my hobby and my "out" from real life. I have been playing guitar and singing for most of my life and get the most enjoyment out of making people sing, drink and just have a good time. I never take myself too seriously.


Shemekia Copeland & Christone “Kingfish” Ingram Join Buddy Guy On Austin City Limits Broadcast
Alligator Records artists Shemekia Copeland and Christone “Kingfish” Ingram will join blues icon Buddy Guy in an all-star concert event as he celebrates his Austin City Limits Hall Of Fame induction. PBS Television will nationally broadcast the program on Saturday, December 28.
Relix Premieres Blues-Rocker Tinsley Ellis' "Last One To Know"
On Friday, November 22, Relix.com premieres Last One To Know, the blistering new song from world-renowned Atlanta-based blues-rock guitar virtuoso, soulful singer and prolific songwriter Tinsley Ellis.


Listen to Learn:
Stephen Wirges is a piano tuner, technician, and owner of Steinway Piano Gallery Little Rock, LLC. He tunes for numerous private individuals, churches, schools, studios, piano teachers, professional pianists, and performing art centers. “I’ve been working on pianos for about eighteen years and I started as an apprentice and did about an eight-year apprenticeship and started a service company where I just service pianos, tune pianos, rebuilt pianos,” Wirges said.
He has been the exclusive technician for the music department at the University of Central Arkansas since 2015, for the University of Arkansas at Little Rock since 2014, and the Arkansas Symphony Orchestra since 2012.
After serving area universities and the Arkansas Symphony Orchestra, he trained at the Steinway factory in New York. “Steinway approached me and asked me if I wanted to partner with them and open a Steinway Gallery for Arkansas, and it was overwhelming to be able to have that opportunity, so I couldn’t say no to that. I definitely just wanted to do it,” Wirges said.
“There’s about 60 Steinway Galleries across the entire world. There’s only 200 dealers,” Wirges said.


Professional keyboardist/composer Bradley Joseph performed with multi-platinum artists Yanni and Sheena Easton for over a decade.
Bradley was a featured keyboardist on Yanni's Ethnicity 2003 World Tour, which was ranked the fourth largest tour of the year by Billboard Magazine. He has worked alongside Yanni for over six years and performed on the multi-platinum selling CD, Yanni - Live At The Acropolis. It’s follow up video (titled the same), was viewed by over 500 million people in 65 countries, and is the second best-selling music video of all time behind Michael Jackson's video for Thriller.
Bradley also worked with various artists under RCA, Epic, Warner Brothers, and Polygram. He toured with Sheena Easton for five years as her co-musical director, and appeared on "The Tonight Show with Jay Leno".
His latest solo CD, Paint The Sky, was nominated for Best Neo-Classical album in the 10th annual ZMR awards. His CD One Deep Breath held a position in NAV's Top 100 radio chart for over six months. His song Fridays Child was included on the CD The Weather Channel: Smooth Jazz II, and appeared on Billboards Smooth Jazz Charts for 25 weeks. Bradley’s CD, Nature Sounds with Music, also went to #3 on Billboards New Age charts. ReviewsNewAge.com listed his song, The Glen, as one of the "50 Best Piano Songs of All Time".
Bradley owns Robbins Island Music. He produces, performs and distributes his own compositions including numerous CDs and piano books, worldwide. In 2005, he was named one of the "Ten Outstanding Young Minnesotans" of the year.


DJ Cooper Smith acknowledges the Traditional Custodians of the land that he lives, works and plays, the Boon Wurrung People. He pays respect to their Elders, past & present.
"Melbourne based DJ and producer, Cooper Smith is an 18 year old with cerebral palsy who as a DJ artist brings high energy and passion to his performances. He loves producing music with an emotional vibe and dreams of playing at international festivals showcasing his own music."
Triple J Unearthed, 2023
"Cooper Smith is a Melbourne DJ who has a love of afro house, disco, melodic techno and progressive house music.
Cooper loves being able to communicate through his music and entertain people across live community events, on radio and in clubs. He comes to gigs with a great amount of energy and an emotional and upbeat vibe.
He dreams of playing at international music festivals."
Ability Fest, 2023
Born to DJ - A young DJ Cooper Smith, pictured here at the spritely age of 5, spinning tunes on his first deck in 2010.
With thanks to the Dylan Alcott Foundation, Cooper was gifted his new deck in 2021, and an invitation to play his first music festival, Ability Fest 2023 in Melbourne, Australia.
For all bookings and enquires please contact DJ Cooper's management here.


“Hallelujah” a Myrtle Beach, South Carolina registered Sweet Adeline International barbershop quartet has a total of 95 years singing experience and started out singing mid November of 2007. In late 2014 the quartet’s lead – Sue Myers – switched back to singing tenor.
In 2015, Susan Parrotta graciously accepted Hallelujah’s invitation to be their newest lead. Susan has definitely been a huge asset to the quartet.
Hallelujah welcomes performances and Birthday, Anniversary, Valentine singing telegrams. Hallelujah’s past performances include the Eastern Star, the NARFE, Myrtle Beach Estates, Agape, the Garden City Manor, Eagle Crest, Christmas performances, anniversary and birthday telegrams, private parties, and more than 600 Valentine recipients.
Contact person: Edye Papp email@example.com
Edye Papp sings Bass.
Born in El Paso, Texas, Edye was a service brat until her senior year in high school when her father retired from the Coast Guard. Guess that is why she is such a chatter box! Singing barbershop only happened later in her life. But as they say “Once you sing barbershop, you are hooked for life “Thirty plus years later” and after performing in four International contests (8th place her chorus’s best) she is still going strong loving every minute. Edye loves playing golf with her husband, Joe, and boasts a 17 handicap. This Christmas two of her three sons, and her two young grandsons, 18 and 17 years old, played. What an experience – not the playing golf part, but the grandkids driving the carts. Whew! Edye sang in the Robed Choir in high school and has sung for many church choirs. Retired in 1997 from Electrical Design, Edye now owns her own Real Estate company “One on One Realty’.
Diane Kane sings Baritone
Born in Oak Park, Il in 1930, Diane lived for 68 years in Illinois and moved to South Carolina in 2000 to care for her uncle. She married in 1949 and moved 17 times in 17 years between IL, IA, and WI. Diane had five sons. Her parents, grandparents, aunts , uncles and their friends all loved, played and sang music of all kinds. No wonder she has been singing since a toddler, both solo and with school choruses, church choirs, even for a short time with a band. Introduced to Sweet Adelines and barbershop harmony in 1973, she joined in 1974. (40+ years in this wonderful organization)
Diane is now singing baritone although has tried lead and bass. Retired from Care Giving, ( her SC career) Diane now lives in Myrtle Beach. For a while she lived with her grandson, his wife, their new baby and their cat, Ozzie. “Diane says she is proud to be the Baritone of Hallelujah Quartet.”
Susan Parrotta sings Lead
Susan considers music and singing to be one of her life’s greatest blessings. One of her earliest memories is of singing herself to sleep at night as a child. She has sung in school and church choirs since the 6th grade, and was in a Southern Gospel Ensemble at her church for several years. With sing alongs and a community chorus, Susan incorporates music and singing everyday in her work with seniors as a wellness director at a senior living community. Her first introduction to singing barbershop was with the Sweet Adalines in 2010. Susan is fairly new to singing acapella, but is enjoying every moment of learning the ins and outs of barbershop harmony.
Sue Myers sings Tenor
Sue began singing barbershop in 1985 after a friend invited her to a Sweet Adeline chorus rehearsal in Pennsylvania. She began her barbershop career as a lead, but switched to tenor upon finding out she enjoyed the harmony part of the music. She sang with three choruses in Pennsylvania, including the Sounds of Pittsburgh chorus, Region 17 champions, 2009. She has helped charter three chapters, two in North Carolina and one in Pennsylvania. Sue filled in on tenor with Hallelujah for Christmas several years ago and was delighted to be asked to sing with them full time. In addition to singing with Hallelujah, Sue is active in church choir, praise team and the Trinity Ringers at Trinity United Methodist church in Conway, SC. She and husband Randy are retired background investigators.


All songs written by Alan Ibell.
Songs prior to 2017 arranged and recorded by The Alan Ibell Band.
The Alan Ibell Band are:
Alan Ibell: Vocals, guitar, harmonica, percussion
Jeremy Clark: Keys, backing vocals, guitar
Logan Valentine: Guitars, backing vocals
Stu Harwood: Drums
Guest Musicians :
Anji Sami: Backing Vocals on "The Room" and "Shaker house"
Matthew Jordan: Violins on "My Lenore", "Sad Orchestra", and "The Needle and the Poison"
Alex Barker: Cello on "My Lenore"
All songs recorded in 2008 over several months in Alan's bedroom, except for "Zoo Song" and "Girl Of My Dreams" which were recorded in 2007 at Albany Street Studios by Stu Harwood.
If Bird Or Devil Mixed by D J Champion + Mastered by Dale Cotton.
Album art by Alan Ibell.
© All rights reserved.


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Discovery Green - Anheuser-Busch Stage (map)
Blues & Burgers Fall 2012 Free Admission
Presented by the Houston Blues Museum
Co-sponsored by KTSU-FM
Wednesdays, New Time 11:30 am – 1 pm
Enjoy this popular lunchtime concert series showcasing blues music.
Oct. 10 Duke Peacock Revue* hits from 1956 - 1960
Oct. 17 Duke Peacocl Revue*
Oct. 24 Duke Peacock Revue* hits from 1961-1965
Oct. 31 Duke Peacock Revue* hits from 1966 - 1973
*The Duke Peacock Revue showcases the living legends who recorded on this historic Houston blues and gospel label, featuring performers who reside and perform in Houston. The Duke Peacock Review is organized by the Houston Blues Museum with musicologist Art Dietz.


Ishq FM - India's 1st Romantic Radio Station. The frequency to tune in is 104.8 FM.
From DDLJ to Devdas; from Qayamat Se Qayamat Tak to Jab We Met; from Lamhe to Ramleela and from Hum Dil De Chuke Sanam to ADHM the biggest Bollywood blockbusters have been from the romantic genre. Not by chance! The experience and the feeling of being in love is universal and knows no boundaries. Love is one emotion that binds us all!
Ishq 104.8 FM brings you this “emotion of love" in a beautiful package on air! The streets, the homes, the offices of Delhi, Mumbai and Kolkata can now relax 24x7 listening to India's first and only radio station based on the theme of love.
Ishq 104.8 FM plays era-agnostic romantic songs throughout the day. The songs on this premium melody station are complemented by light-hearted, non-intrusive content that adds value to your lives.
The station’s beautiful, catchy jingle "DO THE ISHQ, Baby” has been composed by Sachin-Jigar. You are surely going to sing and hum along when it plays on Ishq! So tune in to 104.8 FM, experience India's 1st premium romantic radio station, enjoy songs and “DO THE ISHQ, Baby”
Terms and Conditions
402, Trade Avenue Tower
Dr. Suren Road
Tel: +91 22 40201048
52, J. L. Nehru Road
Kolkata - 700071,
Tel: +91 33 22825398/22827726


Music has an extraordinary ability to heighten sensory experiences, and when it comes to intimacy, it can play a powerful role in enhancing arousal. The rhythm, melody, and emotional resonance of music can sync with the rhythm of physical activity, creating a harmonious and immersive atmosphere – and the right playlist can evoke emotions, trigger memories, and set a seductive tone; fostering a deeper connection between partners.
From slow, sensuous ballads to pulsating beats, music can elevate sensations, intensify pleasure, and provide a backdrop for uninhibited self-expression. The shared experience of enjoying music together during intimate moments can create a sense of intimacy and enhance the overall satisfaction of the encounter, turning a private moment into a symphony of passion.
Whether you're planning a cosy night in, or looking to add a dash of passion to your day, curating the perfect playlist can elevate your intimate moments to a whole new level. Here are our top tips for crafting a playlist that sets the mood just right.
Start with the Classics
Begin your auditory journey with timeless classics that have been serenading lovers for generations. From the velvety tones of Sinatra to the sultry melodies of Etta James, these classics provide a nostalgic backdrop to your intimate moments. Let the smooth crooning guide you into a world of romance.
Groove to R&B Vibes
Rhythm and blues have an innate ability to stir the senses. Add some contemporary R&B tracks to your playlist for a modern touch. The soulful vocals and sensual beats create an atmosphere that's perfect for unwinding and connecting on a deeper level. Think artists like Alicia Keys, Miguel, or Sade – their voices are practically made for romantic escapades.
Jazz It Up
For a sophisticated and jazzy twist, infuse your playlist with the smooth sounds of saxophones, pianos, and double bass. Jazz brings an element of unpredictability, much like the journey of love itself. Miles Davis and John Coltrane can transport you to a world where passion flows freely with every note.
Indie Love Anthems
Explore the indie music scene for hidden gems that speak the language of love in a unique way. Indie love anthems often have a raw, unfiltered quality that resonates with authenticity. Artists like Bon Iver, Florence + The Machine, or Angus and Julia Stone can add a contemporary indie flair to your playlist.
Electronica for Modern Romance
For those embracing a more modern, electronic vibe, consider adding some ambient beats to your playlist. Electronic music can create an ethereal atmosphere that heightens the senses. Artists like Tycho or ODESZA offer dreamy soundscapes that make for a unique and immersive experience.
Remember, the key to a perfect intimate playlist is variety. Mix and match genres, experiment with different eras, and most importantly, choose songs that resonate with both of you. Let the music be a reflection of your connection, creating an unforgettable soundtrack to your shared moments. So, dim the lights, press play, and let the music weave its magic – turning ordinary moments into extraordinary memories.


The Enchanted Muse (2018) – is making its debut in November. Keep an eye out for this wonderful collection of my originals for piano recorded in Glasgow, Scotland. This album includes 12 Novelettes for Solo Piano and, for something different, 3 works for a duo – Highland Bagpipes and Piano. Watch out for CD Launches in Australia in 2019, and listen to broadcasts on radio ABC FM classics. Hard copies can be sent in the post on request by email (firstname.lastname@example.org). The track above is from this album – ” Birds of Prey”.
Essencia Urbana (2016): offers compositions inspired by Argentinean Tango and Portuguese Fado. This music features the wonderful sound of the viola with piano. Inspiration came from the mundane and rich aspects of urban life in Lisbon and Buenos Aires. Our amazing team was Portuguese violist – Raquel Bastos, Composer and pianist – Cecile Elton. Producer; Luis Bittencourt and Sound engineer; Rodolfo Cardoso
All the works on Essencia Urbana are my original compositions and have been broadcasted by ABC FM classics over the past 2 years.
Below are some audio samples of this CD:
- Tango, for a sleepless city Elton Bastos Duo 0:52
- Portuguese sea Elton Bastos Duo 0:39
- The thrilling encounter! Elton Bastos Duo 0:43
- I muse on what I do not see Elton Bastos Duo 0:30
- The path alone Elton Bastos Duo 0:42
- Vague and free in spacious blue Elton Bastos Duo 0:43


Our mission is to instill a great love of dance, while inspiring self-confidence, discipline and respect of the performing arts. We provide a solid technical foundation for the developing dancer. We appreciate that the heart of a dancer is born into many different bodies and the love of dance can take on many different styles. It is clear that the discipline, focus and artistic enlightenment of dance creates success in all aspects of life. Dance education contributes to the development of responsible, dedicated, determined, and creative adults in society.
To encourage participation in dance events irrespective of the student’s degree of talent. The aim of the dance major is to develop students who are sensitive and articulate physical and verbal communicators of the visual art of dance.
The major objectives of the proposed mission are to:
❖ To provide an opportunity to better the dancer in students through constant engagement and also through workshops conducted by professionals.
❖ To pick the best of dancers and form an efficient college dance team to perform during various occasions within the college when required, and consequently improving quality of performances staged by the team in various inter-collegiate fests.
❖ To introduce forms of dance that have been left unexplored in the institution
❖ To form a team that would introduce the basics of particular forms of dance to interested, under-privileged children .
Representative - CSE
Representative - ECE
Representative - AIDS


The Justinguitar.com Beginner's Songbook is the perfect complement to Justin Sandercoe’s revolutionary Beginner’s Course, which has been used by hundreds of thousands of people around the world. Now you can learn to play 100 classic songs while your playing develops through the course.
The book includes complete lyrics and chords to 100 songs by artists such as The Beatles, Bob Marley, Kings of Leon, Nirvana, Cat Stevens and more, building up from easy three-chord songs through to more advanced tunes. Every song is accompanied tuition notes from Justin advising you on strumming patterns and chord changes, with diagrams to illustrate all the chord shapes you need.
Completely revised and updated, this really is the ultimate beginner’s songbook!
“If you told me you wanted to get going on guitar, I’d recommend Justin Sandercoe.” - Mark Knopfler
“One of the most influential guitar teachers in history.” - The Independent
“Justin is one of the most impressive guitar teachers on the planet... he knows exactly how to communicate the knowledge he has to share.” - Martin Taylor


Sir James Paul McCartney, CH, MBE is known first as the bass guitarist and singer for the Beatles, the most popular and influential group in the history of pop music. His songwriting partnership with John Lennon is the most celebrated of the post-war era. After the band’s break-up, he pursued a solo career and formed the band Wings with his first wife, Linda, and Denny Laine.
He is one of the most successful composers and performers of all time. He has used his celebrity to promote international charities related to such subjects as animal rights, seal hunting, land mines, vegetarianism, poverty, and music education.
Paul shot a video for The Community’s up coming campaign on The Universal Declaration of Human Rights, and did a photo shoot with us for upcoming ads for the campaign.


The District of Sechelt is pleased to present a free concert series featuring local musicians. The outdoor concerts take place in the gardens next to the Sechelt Public Library (5797 Cowrie St) on Saturdays in July & August. All concerts are free, outdoors and family friendly.
For updates, photos and videos, please refer to the Facebook page “Sechelt Summer Music Series”
For general information, please contact:
Siobhán Smith, Arts, Culture & Communications Coordinator
firstname.lastname@example.org or (604) 740-8476
If you are a musician interested in performing, please contact:
Ross Powell, Sechelt Summer Music Series Producer


Auditions of the Warsaw Wind Ensemble Conducting Competition 2021 – the second edition of the international competition for brass band conductors – will begin on 3 December!
The competition consists of four stages. The first stage was held in an online format. Based on recordings sent by 43 participants, the jury selected 20 best conductors who will take part in the stationary auditions. The participants will be judged by an international jury chaired by Prof. Janusz Przybylski.
The second stage will take place on the 3rd of December (from 17:00 to 21:00) at the Fryderyk Chopin University of Music (K. Szymanowski Auditorium-Cinema Hall). The conductors will be accompanied by two pianists and the performance will include Zygmunt Noskowski’s Symphonic Poem Step and Joseph Haydn’s Military Symphony in G Major No. 100.
The third stage will take place on December 4th (morning session from 10 a.m. to 2 p.m. and evening session from 4 p.m. to 8 p.m.) also at the Fryderyk Chopin University of Music. The conductors will lead the Wind Chamber Orchestra. The repertoire will include Charles Gounod’s Petite symphonie pour vents.
The competition finals will be held at the Ursynów Cultural Centre Alternatywy on Sunday, 5 December (from 16:00 to 17:45). The three best conductors selected on the basis of the results obtained in the second and third stage will conduct the Concert Wind Orchestra of the Representative Artistic Ensemble of the Polish Army Forces. The repertoire for the finale will include works awarded during the Warsaw Wind Ensemble Composition Contest 2020: Madonna of the Lilies by Jared Destro and Double Third Festival by Jiazi Shang.
The culmination will be the Gala Concert of the Warsaw Wind Ensemble Composition Contest 2020 combined with the announcement of the laureates of the Warsaw Wind Ensemble Conducting Competition 2021. The Gala will take place on the 5th of December at 7 p.m. in the Ursynów Cultural Centre Alternatywy. The concert will feature premiere performances of works awarded in the Polish and international categories of the composition competition as well as performances by laureates of the conducting competition. Concert will be performed by two orchestras: Warsaw University of Life Sciences Representative Orchestra and the Concert Wind Orchestra of the Representative Artistic Ensemble of the Polish Army Forces.
Admission to all events is free and auditions are open to the public. Free tickets for the Gala Concert are available on the website of the Ursynów Cultural Centre Alternatywy. The Gala will be broadcast online on the YouTube channel of Warsaw Wind Music Association.
The event is organized by the Warsaw Wind Music Association. Partners are: Representative Artistic Ensemble of the Polish Army Forces, Ursynów Cultural Centre Alternatywy, Fryderyk Chopin University of Music in Warsaw and PWM Edition. The event is co-financed by the Ministry of Culture, National Heritage and Sport of the Republic of Poland within the framework of the Music programme. Media patronage over the Competition was extended by: Presto Magazine, Polish Radio RDC, Polish Chapter of the International Military Music Society and internet portals: Brass Orchestras and Wind Band Press.
Details can be found on the competition website: www.warsawwinds.pl.


A group of fifth grade girls at Varina Elementary asked me to help them make an anti-bullying video for their school. They had written their own song and even choreographed some dance moves to go along with it! They just needed some tools for creating the beats and recording the video. I showed them ButtonBass for making the beats. You can click different cubes at the top of the webpage for different genres. Then click different squares on the cube to add in beats, synthesizers, and even vocal samples. It’s easy to use and no login is required. Other great websites for making music and beats are: Incredibox, Chrome Music Lab, TypeDrummer, and SuperLooper. Next, for recording the video we used Pixect because it has special effects you can add to your video. If you don’t need special effects, another easy-to-use site that let you record video from a webcam is Webcamera.io. Their video turned out great, as you can see here. UPDATE: I included their project, along with another group’s project in my workshop on Creativity.
Posted in 5th Grade


Join us for an incredible evening of music as THE WISCONSIN SINGERS, with opening act ENCORE!, perform on Saturday, April 2, 2022 at 7:00 p.m. in the Falls Area Performing Arts Center.
The Wisconsin Singers, the University of Wisconsin-Madison’s premiere entertainment company, is
proud to present its newest show, Come Alive! Featuring stunning vocals, Broadway-caliber choreography, big band sound, and Badger spirit, audiences of all ages are sure to be entertained as UW’s most talented students take to the stage.
Come Alive! celebrates the thrill of live music from the past five decades of American Pop music. Covering more than 40 songs in this exciting and fast-paced show, Wisconsin Singers highlight some of the music-industry’s greatest artists ranging from Elvis Presley and the Four Seasons to Lady Gaga and Elton John. Wisconsin Singers will win your heart with award-winning Broadway show-stoppers from musicals like Kiss Me Kate, Pippin, and Chicago. And kids of all ages will delight in their favorite songs from Frozen, Peter Pan, and the ever popular superhero cartoons. Badger fans will bring down the house as they sing along with Bucky to Fifth Quarter classics like “On Wisconsin,” Varsity,” and of course, “Jump Around.” And to cap off this unforgettable production, the celebrated Wisconsin Singers’ band showcases its special blend of jazz, funk, and classic rock like never before. Come Alive! is guaranteed terrific entertainment for the whole family!
The Opening Act ENCORE! will feature students from grades 4-12 in the Oconto Falls School District who will sing and dance to several Broadway and Pop selections! They will also join the Wisconsin Singers in a special musical selection.
“We’re thrilled to be hosting the Wisconsin Singers for an upbeat, entertaining night!” Amy Thiel, OFHS Choral Director, director of Encore!, and coordinator for the performance said.
Tickets $15 for adults and $10 for students. Tickets available at the door and online at https://ofps.revtrak.net/ Doors will open at 6:30 p.m. All tickets are GENERAL ADMISSION.
This event is made possible through the support and sponsorship of Kurt and Diane Gruett.


Jan Mazura (1986) is an open-minded freelance composer, arranger and pianist currently based in Prague, Czech Republic, focusing on various forms of contemporary music. His piece Nuevas Tradiciones was awarded the Best Jazz Composition prize (Nejlepší jazzová skladba) by OSA and Bohemia Jazz Fest in 2018. He is also active as a journalist and a photographer.
Jan holds a degree in Jazz Composition from Berklee College of Music in Boston, MA, USA and a degree in Piano Performance (jazz and classical) from Jaroslav Jezek Conservatory in Prague, Czech Republic.
Over the years, Jan has written stylistically diverse music for various professional international ensembles and projects including big bands, symphony orchestras, theatre orchestras and medium-size jazz ensembles as well as for spots and YouTube series.
He was a long-time member of a playful jazz quintet Fanfan Tulipan (2009–2017) and a leader of a jazz quintet Emperor Penguin (2008–2011), his own first band. While living in the US, he put together a jazz septet, which performed live and recorded an EP. Jan or the bands he played in have been awarded multiple times in international music competitions (Mladi ladi jazz, Jazz Prix).
Other projects he significantly contributed to as a composer/arranger include Al Nabi Wal Ghanyah (The Prophet and the Harlot), an epic crossover musical by Lebanese singer Nizar Fares, which was recorded in Los Angeles, New York City and Boston. He also worked with the band U-Prag and Czech directors Štěpán FOK Vodrážka, Jan Vejnar, Veronika Nastoupilova among others.
Besides living in the US for two years, Jan lived in Valencia, Spain for another two years, composing a large flamenco–inspired cycle of music for a big band.
As a pianist he has performed in the US, Czech Republic, Italy, Germany, Austria, Romania and Slovakia on events such as Bohemia Jazz Fest, Jazz Goes to Town, Bratislavske jazzove dny and others.
Besides working as a musician, Jan has been active in various degrees as a music journalist since 2002, contributing album reviews, concert reviews and feature interviews to print and online media in the Czech Republic. The subject of his work is currently only jazz, although it has varied in the past.
Today, he works as the Head of Classical Music and Jazz Desk at the Czech Radio Vltava, a branch of the public service radio.
Throughout his career, Jan has written numerous articles for Lidove noviny, Aktualne.cz, Harmonie, Czech Radio Jazz, Report and MIX.cz. His interviewees included Pat Metheny, Bill Frisell, John McLaughlin or Karel Ruzicka sr.
00420 728 205 728


Inspiring performances, luminous sound, and exceptional musicianship are the hallmarks of the Grammy Award-winning Parker Quartet. Renowned for its dynamic interpretations and polished, expansive colors, the group has rapidly distinguished itself as one of the preeminent ensembles of its generation. In demand worldwide, the Quartet has appeared at the world’s most important venues since its founding in 2002.
Following a 2017 summer season that had the ensemble crossing North America for appearances at music festivals including the Bowdoin International Music Festival in Maine, the Strings Music Festival in Colorado, and the Garth Newell Music Center in Virginia, the Parker Quartet will begin its fourth year in-residence at Harvard University with the new prestigious title of Preceptor. The Quartet’s 2017-18 season continues its signature busy schedule with performances and residencies scheduled around the United States, including for the Schubert Club, Skidmore College, St. John’s College, University of South Carolina, Kansas City’s Friends of Chamber Music, and an appearance on the Jukebox series at the Kennedy Center.
Highlights of the 2016-17 season included a January 2017 European tour featuring performances with violist Kim Kashkashian and two concerts in Washington, DC: at the National Gallery of Art and with jazz pianist Billy Childs at the Kennedy Center for the Performing Arts. Other performances also included Annapolis Concerts at St. John’s College, the Mary Anne Rennolds Chamber Concert Series at VCU, and the Philadelphia Chamber Music Society.
Recent highlights include the project “Schubert Effect” in collaboration with pianist Shai Wosner at the 92nd Street Y, the premiere of a new string quartet by American composer Augusta Read Thomas as part of the Quartet’s four-concert series at Harvard University, and appearances at Carnegie Hall, the Library of Congress, the Slee Series in Buffalo, and New York’s Lincoln Center Great Performers series. The Quartet also continues to be a strong supporter of violist Kim Kashkashian’s project Music for Food by participating in concerts throughout the United States for the benefit of various food banks and shelters.
The Parker Quartet has distinguished itself with acclaimed recordings for Nimbus, Zig-Zag Territoires, Innova Records, and Naxos. The Quartet’s most recent recording featuring Mendelssohn’s Quartets Op. 44, No. 1 and 3 was widely lauded by the international press. The Quartet’s debut commercial recording of Bartók’s String Quartets Nos. 2 and 5 for Zig-Zag Territoires (July 2007) won praise from Gramophone: “The Parkers’ Bartók spins the illusion of spontaneous improvisation… they have absorbed the language; they have the confidence to play freely with the music and the instinct to bring it off.” Their Naxos recording of György Ligeti’s complete works for string quartet won the 2011 Grammy Award for Best Chamber Music Performance (the last string quartet to win this category). In 2015, Innova Records released the world premiere recording of American composer Jeremy Gill’s “Capriccio” written for the Quartet through a Chamber Music America commissioning grant. In April 2016 Augusta Read Thomas’s world premiere recording of Helix Spirals for string quartet on “Of Being is a Bird” was released on Nimbus Records.
Recent collaborations include those with acclaimed artists like violist Kim Kashkashian, violinist Nadja Salerno-Sonnenberg, pianists Anne-Marie McDermott and Shai Wosner, Kikuei Ikeda of the Tokyo String Quartet, clarinetist and composer Jörg Widmann, and clarinetist Charles Neidich.
Founded and currently based in Boston, the Parker Quartet’s numerous honors include winning the Concert Artists Guild Competition, the Grand Prix and Mozart Prize at France’s Bordeaux International String Quartet Competition, and Chamber Music America’s prestigious Cleveland Quartet Award. Now Blodgett Artists-in-Residence at Harvard University’s Department of Music, and also in residence at USC School of Music, the Quartet’s numerous residencies have included serving as Artists-in-Residence at the University of St. Thomas (2012–2014), Quartet-in-Residence at the University of Minnesota (2011– 2012), Quartet-in-Residence with the St. Paul Chamber Orchestra (2008-2010), and as the first-ever Artists-in-Residence with Minnesota Public Radio (2009-2010).
The Parker Quartet’s members hold graduate degrees in performance and chamber music from the New England Conservatory of Music and were part of the New England Conservatory’s prestigious Professional String Quartet Training Program from 2006–2008. Some of their most influential mentors include the original members of the Cleveland Quartet, Kim Kashkashian, György Kurtág, and Rainer Schmidt.


Although Jan mainly covers vocals with the CBB these days, he plays a variety of instruments with The Internationals. He switches between trumpet, flugelhorn, baritone horn, sax, percussion, synthesizer (glockenspeil, harp, zither, sitar, cow bell, spoons, ...well, you get the idea). This works out well for The CBB because we can have him help out in the sax section. We wait until we we get a number that has a particularly tough sax part, and then we give it to Jan... because we like to watch the expression on his face when he gets to the really fast parts! (Tough crowd, eh?)
When Jan is playing with The Internationals, he adeptly switches between all these instruments, as well as lead and backup vocals (in several languages) and even an occasional yodel. And with all that, he still manages to find the time and coordination required to queue up the spinning lights and fire up the smoke machine (!).
The only thing we don't understand is how to replace the batteries when he finally runs down!! (He didn't come with an operator's manual...)


Fri, Sep 01|
A free-form dance class to attain serenity.
When & Where
Sep 01, 2023, 6:00 PM – 7:00 PM
Shaded Whimsy, 76 N Main St, Southington, CT 06489, USA
About This Event
Ecstatic Dance is all about dancing like no one is watching you; dancing without the judgment of others and dancing without limits. It is a free form of dance, that serves as a form of meditation, helping people to cope with stress and to attain serenity. This ecstatic state allows your awareness to shift and for you to experience a meditative and happy state of mind through body movement.
No dance experience is needed for this class. Class is led by certified Ecstatic Dance Instructor Alexandra Capaldo.


Audio Notation / Music Notation Freelance
Music / Ho Chi Minh City, Vietnam
- Audio Notation/Music Notation Freelance is responsible for delivering quality labels on time so that the audio analysis can be used for AI and ML tasks.
What you will do
- Listen to the audio assigned, see the music signal (vocal, guitar, piano, drum… time, pitch, etc) via tool, and notate it as instructed
- Instructions for using the Sonic Visualizer tool: https://www.veed.io/view/e93d7422-42eb-4edd-9018-3d6dde937b5f?panel=share
- Have basic music knowledge, such as:
- Able to learn to use the Sonic Visualizer tool to see the music signal
- Able to listen and define the signal time and pitch with the help of Sonic Visualizer
- Good at communication, either through text or f2f in order to discuss the issue faced during doing tasks with our team and resolve it
+ Beat, bar, staff, pitch, power/dynamics
+ Vocal and instrument articulation
- Part-time job.
- Working hours: 20-25 hours/week but not must-have.
- Require minimum of 2 days of work at the office (flexible schedule), other times can work remotely. If you are used to working, you can work completely remotely.
We are Amanotes - a dynamic interactive music company that's using
cutting-edge technology to transform how people experience music. Since 2014, we have dominated the global simple music game market with over 3 billion downloads and more than 100 million monthly active users. As world’s top Music Game Publisher and top App Publisher from Southeast Asia by downloads, our ambition is to create the world's #1 interactive music ecosystem where “Everyone Can Music” in any way they want.
As we embark on our journey, we're working hard to broaden our portfolio with more advanced products like music gaming hub, music simulation, and music education apps. Come join our music-filled workplace and let's create some magical music experiences together!
How To Apply?
Click the button or contact us at firstname.lastname@example.org.
How do we hire
Your application has been well received! HR team will screen your resume and contact if your profile are qualified.


MCM Santamaria, Professor at the Asian Center, has received the UP Arts Productivity Award and has been named UP Artist II in recognition of his creative and scholarly works on Philippine dance, especially of the Sama traditions of the Southern Philippines. The awarding ceremony took place in 17 December 2013.
Given each year, the UP Arts Productivity Award recognizes exemplary artists who “consistently bring honor to the university through their award-winning creative works in the different arts.” Awardees are selected based on a stringent set of standards, including publications record, presentations, and performances, and standing in the professional community of local and international artists.
Dr. Santamaria has published numerous articles on the Sama Igal dance and kulintangan music ensemble traditions, and has choreographed various dance performances. He choreographed the dance routines in Sintang Dalisay, a Filipino adaptation of William Shakespeares "Romeo and Juliet" which was based on an awit (Philippine metrical romance form) version by G.D. Roke and a translation by National Artist Rolando Tinio. Dr. Santamaria also heads the Bunga Arts Link. Visit Dr. Santamaria’s faculty profile to see his most recent publications.
Dr. Santamaria joins as UP Artist, Dr. Reuben Ramas Cañete, who received the recognition in August 2013.


Early Childhood Education
Any educational program designed to promote children’s development in the broadest sense of the word must include a music curriculum because music is one of the defining features of the human species. Engaging in musical behavior, whether as a producer or a listener, individual or group member, is something that characterizes contemporary life for many people across the world. Irrespective of culture, ethnicity or language group, people—particularly the young—engage in musical behavior for significant amounts of time each day. In part, this is because our brains are designed to pay particular attention to the sounds around us, to detect similarities and differences, construct patterns and structures, and infer meanings and to be engaged emotionally in the available soundscapes, especially music. Like spoken and written language, music is processed simultaneously in many different parts of the brain. Musical processing is not an option, for without such hardwired capabilities, mastering other aspects of our sound world, such as language, would be difficult. Not only is music fundamental to our biological and neural makeup, it is embedded in and shapes the social and cultural patterning of our worlds. Music plays an important role in the construction of identity, in our communicative processes, and in the ways in which we negotiate meaning with self and others. By inference, therefore, if education is about nurturing, developing, and seeking to maximize every aspect of our human potential, then opportunities must be provided in any curriculum for participants to engage in musical thought, action, and interaction. Without the inclusion of music, we neglect a basic facet of what it means to be human.
Musical features dominate children’s earliest experiences from prebirth. From the final trimester of fetal life when the auditory systems begin to function, many of the earliest experiences of a world “outside” are musical. This is because the amniotic fluid that surrounds the fetus transfers the melodic contours, rhythmic patterning, and timbral (sound color), and dynamic (volume) variations of the mother’s voice, as well as the musical features of any sounds in her immediate vicinity. Research suggests, for example, that in the first six months, infants are able to recognize musical works heard initially in utero, indicating a sensitivity and awareness of the distinctive musical features of the music that they encounter, and a capacity to recall these over time. After birth, as infants begin to make their own sounds and to make sense of, and imitate, the sounds around them, pitch, dynamic, timbral, and melodic and rhythmic patterns continue to be significant. For example, the sounds that our caregivers offer as they interact with infants over the first year of life are musical, containing many of the features of the dominant musical culture, including melodic contours, rhythmic patterning, changes in dynamics and timbre, as well as consonant and dissonant musical intervals.
Part of our human design is that children are not just receptive to music (what music psychologists term music perception, or music philosophers term music appreciation or aesthetic perception). They are also born with a range of different ways of making music, what music psychologists term “generative” and “performative” skill development. The terms “generative” and “performative” indicate that children are born with innate capabilities to produce certain kinds of musical behaviors. This is not surprising, given the variety of different centers in the brain that are devoted to musical processing and the range of music experience that they encounter from the earliest moments of life. In particular, children can master aspects of the dominant musical culture(s) through their singing and imitative musical play (performative), as well as being able to create through composing and improvising (generative) patterns of sounds that have recognizable musical features. This may occur through the use of ‘formal’ instruments (including the voice) or other sound-making objects. Importantly, music experience is not solely confined to the auditory: engagement with music in and through movement and dance is a powerful means of developing responsiveness to music and to sensitizing the body and mind to the rhythmic, temporal, and dynamic possibilities of music. In some cultures, the notion of music and movement as separate entities is considered untenable and for many infants their first experiences of music are intimately connected to movement experience as they are rocked to sleep to the accompaniment of a lullaby, or swayed to the pulse of a communal song.
By the time that young children have reached two years of age, they have had considerable enculturated experience of their immediate sound world, alongside many opportunities to make sound as performers and creators. They are also able to notate these musical explorations and creations using written “symbols.” Their experiences often embrace a wide variety of different musical styles and genres, particularly if they have been growing up in a modern culture in which music and sound media are omnipresent, whether at home, at child care, in playgroup, at worship and celebrations, when traveling in the car, or shopping in the local mall. The outcome is an emerging mastery of many of the dominant features of their musical culture. For example, through regular exposure, most two-year-olds are capable of reproducing simple musical phrases of songs from the home environment, including those encountered through electronic media, such as TV, CDs, and radio. Some two-year-olds are able to sing complete songs in-tune because of the rich musical experiences that they have shared with their caregivers. They are also capable of generating their own “songs” that draw on features of songs that they have heard. By this age also, they are already able to express a liking for musical sounds and to be particularly attentive to certain pieces of music.
Environment and culture continue to shape musical experience and development across successive months. Cantonese-speaking children in Hong Kong aged two to five years, for example, use the same pitch centers in conversational speech as when singing their favorite songs. In contrast, their English-speaking peers develop increasingly distinct pitch centers, with conversational speech lower than their chosen pitch for singing. Similarly, while at play, Euro-American and Asian children tend to make much use of melody in their singing, whereas the play of Afro-American children tends to contain greater emphasis on rhythmic chants. Importantly, what constitutes musical experience and development differs across cultural and social groups. Consequently, an understanding of the varying ways in which music experience can be defined, described and valued in different social and cultural settings is crucial for educators.
When given the opportunity to make music using simple instruments, preschool children usually focus on an initial exploration of the sonic possibilities and draw on the characteristic rhythmic, melodic, and dynamic features of their musical cultures. This sound making is intentional as the young child manipulates the chosen instrument in order to make sense of, and enjoy, its particular sonic properties and musical possibilities. Preschool children’s invented song-making, a common feature of young children’s musical experience, draws on musical and textual themes that they encounter in their daily lives. For example, young children may produce “potpourri” songs where elements of a number of known songs are mixed together with original musical and textual ideas. In later work, children tend to abstract elements of known songs (rhythmic, melodic, structural, dynamic), rather then simply reproducing known elements, to produce original “invented” songs.
As mentioned earlier, when provided with the opportunity, young children are also capable of expressing their creative musical ideas in some form of visual symbolization—their own form of musical notation. Typically, initial “invented” notations appear to be scribble-like, before developing with a focus on one particular feature that is perceptually dominant (e.g., dynamic change). With further experience, this develops into a capacity to notate several different musical features at the same time (such as pitch and rhythm). With appropriate structured experience over a relatively short period (three months), preschoolers are capable of developing their notational skills from “scribbles” to more formal symbols that portray distinctive musical features, such as musical pulse (the “beat”) or melodic contour. In preschoolers’ notation of songs, both invented and known, words tend to predominate, but greater notational variation is evidenced when they are asked to notate the same music from an instrumental source. The presence of language (as song text) can sometimes distract from musical features. Through invented notation experiences, preschoolers are able to record and retrieve meaning over time, and to reflect on their own and others’ music making. Such cognitive work assists in shaping musical thought and action for the young child.
While the preschooler’s capacity to “talk” about music may be limited, the lack of a specialized vocabulary does not mean that children are not capable of responding insightfully and appreciatively to music listening experience. Early exposure to, and engaged response with, a range of musical forms and genres provides the building blocks of later musical thought and activity. Through the provision of alternative means of responding other than the verbal, children are able to expand their musical vocabulary and to build incrementally a store of musical patterns and possibilities. Nonverbal responses may include movement and dance, drawing, following music maps visually and kinesthetically, conducting, or tracing the musical contour in the air, on the body, on the ground.
Overall, there is a considerable body of research evidence to indicate that young children are not only able to respond to the music that they encounter, they are also able to reproduce, create, and notate both their own music and components of the music of their dominant musical culture(s). These behaviors are evidenced when opportunities are provided for children to engage in musical exploration and play with a wide range of sound-making artifacts and in a context in which the adults show a keen interest and valuing of children’s musical output, acting as “audience” and as comusic-maker, as well as a source of musical ideas and development activities. Young children are not empty vessels that have to be “filled” with music. They are developing musicians who have already acquired considerable skills and understandings informally and who bring to the music learning environment a depth and richness of experience that is often underestimated.
The early music curriculum, therefore, should provide young children with opportunities to explore, play, and engage with a wide variety of musical activities— as composers, improvisers, listeners, movers and dancers, soloists and group members—that build on their early and continuing informal encounters with music. They should be encouraged to create musical narratives that provide evidence to the teacher/caregiver of emergent musical understanding that can then be deepened and developed through further musical engagement. They should be encouraged to engage consciously with a wide range of musical styles and genres as they build the musical vocabulary that will underpin their future musical development. The underlying pedagogical philosophy is for the teacher (or caregiver in non-school contexts) to act as comusic-maker, guide, facilitator and enabler to the richness of musical cultures, rather than assuming a master-apprentice role in which musical knowledge is simply transferred from expert to novice. Children are musical!
Further Readings: Barrett, M. S. (2003). Meme engineers: Children as producers of musical culture. International Journal of Early Years Education 11(3): 195-212; Barrett, M. S. (2005). Musical communication and children’s communities of musical practice. In D. Miell, R. MacDonald, and D. Hargreaves, eds. Musical communication. Oxford, UK: Oxford University Press, pp. 261-280; Bresler, L, and C. Marme Thompson, eds. (2002). The arts in children’s lives: Context, culture, and curriculum. Dordrecht: Kluwer; Deliege, I, and J. Sloboda, eds. (1996). Musical beginnings. Oxford, UK: Oxford University Press; McPherson, G. E. (2006). The child as musician. Oxford, UK: Oxford University Press; Welch, G. F. (2006). The musical development and education of young children. In B. Spodek and O. Saracho, eds. Handbook of research on the education of young children. Mahwah, NJ: Erlbaum, pp. 251-267; Welch, G. F., and Adams, P. (2003). How is music learning celebrated and developed? Southwell, England: British Educational Research Association. Available online at http://www.bera.ac.uk/publications/pureviews.php.
Graham F. Welch and Margaret S. Barrett


Kent-based four-piece Airhead lined up with Michael Wallis (vocals and guitar), Sam Kesteven (drums), Ben Kesteven (bass) and Steve Marshall (keyboards).
They were signed by WEA/Korova as the Apples in September 1990, on the strength of demo The Apples go to Pip City Via Victoria and All for Under a Fiver!. Shortly afterwards, band became Jefferson Airhead before dropping the ‘Jefferson’ from their name on request of Jefferson Airplane’s record label.
Bow Wow Wow bassist Leigh Gorman was enlisted to produce the band’s first Korova recordings, and the first fruits of these saw the light of day in February 1991 when the sulky, baggy-sounding mid-tempo Congratulations was released. The song’s artwork was similar to 60s-psychedelia-inspired pop art, a theme which continued for all but one Airhead releases. A second single, Scrap happy, followed in May that year as the band’s fanbase continued to grow.
Autumn 1991 saw the release of what is perhaps now the band’s best-known song, Funny how, to good reviews and heavy airplay on BBC Radio 1. Its catchy couplet, ‘It’s funny how the girls you fall in love with never fancy you/Funny how the ones you don’t, do’ ensured it remained a floor-filler at indie discos, and years after the band split up, the BBC chose it as the introductory music on their Match of the Day football programme. Funny how climbed to number 57, the first time Airhead had troubled the top 75 chart.
The band’s commercial peak and biggest singles chart success would be with Counting sheep, the lead single from their debut album. This soaring, poppy 1991 Christmas hit was backed with the standout b-sides from the previous two singles Take my train and Keep the apple, and it even managed to break the top 40 by reaching number 35. This was pre-Britpop in the time when any sort of chart action was seen as a success for bands pigeon-holed as part of the indie genre.
Airhead were offered a session for BBC Radio 1, so in early January 1992 they duly visited the famous Maida Vale studios in London to record four tracks for Mark Goodier’s Evening Session programme.
The broadcast of the session later that month co-incided with the release of sparkling debut album Boing!!, which collected together the band’s four singles so far and six new songs. Produced by George Shilling, it garnished great reviews in the music press and peaked in the album chart at number 29.
A final single was lifted from the album in March that year. Right now was to be the bands third and last top 75 hit, reaching number 50.
Between the release of Right now and the end of 1992 the band split, as Michael wanted to get out of the Korova deal and go it alone. He recruited Roger Wells (bass) and Sam (drums) and the three went to Falconer Studios, London, in March 1993 to record new material, self-produced by Michael.
The results of these sessions appeared in record stores in August 1993 as the That’s enough EP. The three tracks showcased on this CD/10″ showed a darker, brooding and somewhat broken Michael over a less poppy arrangement. The EP wasn’t a commercial success, and although there were more gigs, with no record deal the writing was on the wall.
Band members have cropped up in various other acts since then, but fans of Airhead can’t help feel the long term-promise shown by the much-loved debut album (which commands £15-30 when it crops up on internet auction sites) was never fulfilled.
In June 2007, a campaign was launched with music journalist Joel McIver to get Boing!! reissued.
Comments have also been left on this website from band members regarding a possible reunion…Sam: We’ve all been shocked to see how many people still remember the band and its great to hear how much the album was enjoyed.
I’ve been in touch with Mike and Steve recently to invite them both to my wedding (Mike and Ben will definitely have to turn up as their both ushers). I’m hoping to persuade them to bring their instruments along so we can bash out a few songs.
Ben has been forcing his kids to listen to Boing for years and they know all the words to Funny How, so I guess that’s as good a reason as any to play at the wedding.
Thanks again for visiting the site and leaving comments.
Ben: It’s not a matter of motivation to do some gigs, it’s more a problem of logistics. We all live in different areas now, have jobs etc and I’ve got 2 young kids so getting together for rehearsals let alone gigs would take a lot of organising.
It’s certainly not something I’d rule out and it’d probably be good fun etc but I really can’t speak for the other guys. Sam’s wedding is definitely an opportunity to see how it works on a small scale so who knows?
Boing!! on iTunes
In October 2012, Airhead’s debut album Boing!! was made available on iTunes.
Vocals and guitar
Bass (to 1992)
Roger Wells played bass 1992-93.
Sam and Ben were also in The Popinjays.
Michael and Sam were also in Spike, and recorded a session for John Peel in November 1994 (download it here).
Roger was in Resque.
Sam plays drums with Wonderhorse (also see Channel 4) and is now a photographer who has worked for Time Out in London. He was also the subject if the identity parade in an episode of Never Mind the Buzzcocks in 2004.
It is believed that some members were in a band called Inswinger in the mid-1990s.
The producer of the band’s early singles, Leigh Gorman, now lives in Hollywood.
The producer of Boing!!, George Shilling, is still based in the UK.


July 25, 2020
3:00 pm - 5:00 pm
117 High St, Newport Pagnell MK16 8EN
Little White Lights are back for a special outdoor music filled Saturday at The Coachmakers Arms!
From 15:00, we will be bringing a whole load of covers and original songs in our own acoustic style! See you there, we’ve missed you all! Please ensure you follow the pubs Covid-19 guidelines.Facebook Event Little White Lights Facebook Page


How to write a song in 10 steps?
- Look out for song inspiration
- Write the lyrics
- Choose some cool chords
- Add melody and rhythm
- Write a song chorus
- Write a song verse
- Create a song structure
- Play and practice the whole song
- Record your song
- Practice, practice, practice
1. Look out for song inspiration
If you’re a singer
Notice topics and situations you want to sing about. Note down phrases, lines, and emotions that come to your head. What do singers you admire sing about? Analyse their lyrics to see how the songs are structured.
If you’re an instrumentalist
Do you play guitar, bass, drums, piano, sax or another instrument? Start looking for inspiration everywhere. Which songs do you like? What makes them special? How are the chords, the melody, and the rhythm?
2. Write the lyrics
Choose a clear topic the audience can relate to. That way people can deeply connect with your music. What could be a good topic for a song?
- Love is always a good topic and worked for many amazing songs: Falling in love, pain in love, breakups, fights, future plans and more.
- An experience you had – a bad or a good one
- Your opinion on something
- Another idea or line that came to your mind
There are two ways to write a song’s lyrics.
Method 1: Write the text first.
You can go around the world collecting ideas until you have a text ready. Attach it then to a melody. You can get inspired wherever you are. Simply write down your ideas on paper or your phone.
Method Nr. 2: Get inspired by instrumentals & beats.
Listen to the music for a while, allow inspiration for ideas. Then write some lyrics over it. Either you know some musicians that like to jam with you. Or you play some instrument yourself. Or you can check the backing tracks on sofasession to test lyrics impro:
Also on the blog: How to master improvisation like a pro?
3. Choose some cool chords
You play an instrument and wonder how to write a song? We want to show you a way we use.
Play a chord you like.
It might be a simple chord like C, E, F or G. Check out which other chords fit and sound nice. If you start with an E chord, the subdominant A and dominant B will fit quite well. Just a tip for the start.
Experiment and get ideas.
Collect every combination of chords that sounds good together. Let your creativity flow. Check out what you like. Check this article for some guitar progression inspiration.
Get inspired by others.
Sometimes you get the best ideas when you’re playing with other musicians. You can do the same by playing along to some backing tracks. Use this 1000+ backing track libraryto get started:
4. Add melody and rhythm
Experiment with rhythm and melodies.
You have thousands of options to play your cool chords. If you play them faster, change quicker or use a melody on top changes the song mood completely.
Record music ideas right away.
Save chords or melodies you like. Play along with them to find more ideas. You can record multi-track songs on our platform for free. That way other users can also contribute to your song and give you new input. Create your new song now.
5. How to write a song chorus
The chorus is the hook of each song, a part well remembered. So it’s worth investing some time here.
Start to gather ideas for the hook and/or the lyrics. Just as in #3, check what sounds nice. An E-A-H-E chords combo will wound differently than an E-A-E-H-E-E-A.
Don’t judge your ideas too early.
Not every word you write down has to be perfect. Not every chord you play has to be the final one. Collect everything and pick, what is more catchy.
Pick one of the ideas.
You have some ideas now, now pick the best. A helpful tip is to focus on ONE text /melody idea. How do you feel when you think about it? Notice all thoughts and emotions. Make them part of the song.
6. How to write a song verse
A verse tells more about your situation or feeling than the chorus. So think further. What details are there? What different scenarios? How did the situation develop? What might happen in the future?
Think again about harmony, melody, and rhythm. Do you want to play the same chords as in chorus? Do you want to have a new melody for the guitar or vocals? How should the rhythm be compared to the chorus? Think also about dynamics. A huge dynamics contrast between chorus and verse can change a lot.
7. Create a song structure
Whenever you have a good chorus, a melody, and a text it’s time to structure them.
Order of chorus and verse
Do you want to stick to the famous verse / chorus / verse / chorus / bridge / chorusstructure? Or turn it all in a new way? Think about it.
How do you want your song to sound?
Do you want a strong contrast between chorus and verse or a small difference? Classically, the chorus is played and sung on higher notes than the verse. Think of your song as a building people enter. What should they see first, what sh0uld come later?
8. Play and practice the whole song
Practice the song
You already have some great lyrics, a chorus and verse ready. You thought about the structure and created additional song parts. Connect the parts and play them a bit.
It’s ok if your song is not the next genius #1 hit already
There is no need to judge your song too much at this point! Save whatever you’ve got so far and come back to it later. With a fresh mind and after you’ve had some time for the song to settle.
9. Record your song
Recording now is not professional, but just makes sure, you won’t loose the new song. So best options are:
- Smartphone: Record yourself while you’re playing and singing your new song
- Computer: Use free programs like AudioRecorder, PhotoBooth, QuickTime Player or others or multi-track recorder if you want to go deep. Check these tips for recording at home if you’re a beginner.
- sofasession: Record an idea by clicking “create a song” in the backstage area. Create multi-tracks to record instruments separately. If you make it public, other users can contribute and help your song grow. You can also send the link to friends and band mates. This is how your recording screen looks like.
10. Practice, practice, practice
As every other form of writing, songwriting is a skill. It is not something that falls from the sky one morning. Practice it often and you’ll become better each day. Promised!
And that’s it. Those are our tips on how to write a song for beginners. Now it’s up to you to put them into practice. Comment below if you liked the tips or have something to add. Send us the link to your new song and we’ll feature you on our channels.
More resources on songwriting:
- Udemy wrote a great article named “How to Write a Good Song: A Beginner’s Guide to Songwriting“
- “How to write a song in 10 steps” by My Song Coach
- Robin Frederick tells you how to write a song in a step by step guide
- This page shares great tips for songwriting in general: Here is an article about songwriting tips for beginners by Ultimate Songwriting
- Find a lot on inspiration and writing lyrics in this article: Songwriting for Beginners by Guitar Noise
- Especially for guitarists, Helmut wrote an article on How to write a song on the guitar, be sure to check it out.
All Credits to © sofasession GmbH


Uday believes that when immersed in the note and raga, the self disappears and music takes on its own existence; the principle of ‘darshan’ in Indian philosophy. From Pt.Uday Bhawalkar official website
Message for Japan from Pt. Uday Bhawalkar
"This will be my first tour in Japan. I have Japanese friends and know Japanese people who are music lovers some of whom have even been learning Indian music for a long time - about 25 years! Some of them have become promising musicians , singing / playing Indian music very well and I feel proud of their hard work.
From what I have seen of Japanese culture, it is similar in many ways to Indian culture. The people from Japan that I have met I have developed deep connections with. They have a great deal of dedication towards their music studies. I have been told that there is a great number of people who appreciate Indian music and I look forward eagerly to my tour in Japan."


Terry Longshore is a percussionist based in Ashland, Oregon whose genre-crossing work exhibits the artistry of the concert stage, the spontaneity of jazz, and the energy of a rock club. He performs nationally and internationally as a soloist and ensemble member, collaborates with artists working in diverse media, and has premiered and recorded numerous works. Longshore is a Yamaha Performing Artist, a Marimba One Vibe Artist, and an artist endorser for Zildjian Cymbals, Vic Firth Sticks and Mallets, Remo Drumheads, Gon Bops Percussion, and Beato Bags, and is a member of the Black Swamp Percussion Education Network. He is a trained HealthRHYTHMS facilitator. He holds bachelor’s degrees in business administration from California State University at Fresno and percussion performance from California State University Sacramento, and earned the master’s and doctoral degrees in contemporary music performance from the University of California, San Diego. He is Professor of Music and Coordinator of the Music Graduate Program at the Oregon Center for the Arts at Southern Oregon University.


It was a magnificent day in Guru Harkrishan Public School Nanak Piao, When the tiny tots wooed the hearts of everyone present in the nursery graduation ceremony, which was celebrated on 19th March 2015 with great enthusiasm and thrill.
The Chief Guest S.Mohinderpal Singh Chadha(Sr.Vice President,DSGMC) and Amarjeet Singh Pappu(Joint Secretary,DSGMC) in his speech praised the efforts of the Principal, Teachers and Students and felt proud to be a part and a product of G.H.P.S family.
A colourful cultural programme started with School Shabad and welcome song followed by prize distribution to encourage the young talents. A beautiful dance performance and Punjabi play based on teachings of Guru Nanak Dev Ji left the spectators wonderstruck. In the grand finale bhangra brought a fresh energy and rocked the stage.


Black Hole BBQ took about 4 years to make. I had originally planned for it to come out late 2018. The recording process has taken a bit longer than expected, but with a full time job, a 5 year old and a 2 year old (and a very understanding wife) it’s been harder to find time. Weekends, late in the evenings, or before everyone gets up are the times when I can squeeze some work in.
Drum recording started in March 2017 with my friend Tripp Dudley. He is a touring musician so we didn’t have much time to rehearse - but he was in between tours for a week in March, 2017, so we went to the studio on a Friday evening and a full Saturday and managed to get 9 songs in. The opening and closing tracks are both over 10 minutes (and feature some complex sections) but we managed to get it all done. Most of Friday evening we spent setting up the sound we wanted - and even tracked a few tunes. After that I spent a month selecting all my favorite takes from the drum recording and sent the tracks out to the Bass player and started recording guitars in the summer of 2017.
Most tunes have 2 clean guitar tracks, 2 heavy guitars, and a lead guitar. On some of them I decided to double the lead as well or play additional melody lines. I used my Fender DeVille and my VOX going into a 1X12 box. I also used some modeling amps for some of the sections.
Tripp Dudley came back for Tabla and percussion recording in October and Eric Allen finished his Cello parts by the end of October 2017. My good friend Ian O’Brien (whose artist name is Fastus) created the modular synth parts on the album. He was very much part of listening to the tracks from the beginning and helped shape it along the way. The final musical pieces has gone through multiple layers of addition and subtraction.
The bass was recorded by Chris Kelly at his studio, Studio Del Diablo. Finally, the flute was done by my friend Katie Thode in November 2017. We had roughly 5-6 hours to finish 5 pieces. All recording was done at my work at Feirstein Graduate School of Cinema where I manage the studios and post production facility. It was a bit hectic because I was engineering and producing at the same time, but am really happy how everything sounds. Before we recorded I made sure that I heard it as close to the finished “demo” as possible. Obviously there is no comparison between a real instrument and most MIDI / Virtual instruments out there - so after a year of hearing a fake cello or flute it was great to hear it with the real deal.
Mixing was done last November (2018) by Rocky Gallo at Virtue and Vice studios in Brooklyn. We ended up mixing over two days - right during the NY Marathon. Mastering finished up late March 2019 by Mike Kalajian at Rogue Planet Mastering in Hudson, New York.
Musically this is really about exploration and experiments with musical themes and styles.
released October 11, 2019
Album Title: Black Hole BBQ
1.) Black Hole BBQ - Shelagh's Quest (12:43)
2.) March of Mysceria (04:43)
3.) Sukhothai - Dawn of Happiness (08:17)
4.) Exotic Matter (07:15)
5.) Infinity Plus One (04:57)
6.) Polar Vortex (06:15)
7.) For Jules (05:39)
8.) Telus Mater (13:50)
(c) Pontus H.W. Gunve 2019
Pontus H.W. Gunve - all guitars and additional keyboards/synths
Chris Kelly - Bass (Track 1,2,5,6,8)
Dan Kramer - Bass (Track 3,4,7)
Eric Allen - Cello
Katie Thode - Flute
Ian O’Brien - Modular Synth (Track 1,3,4,6,7)
Tripp Dudley - Drums, Tabla, other Percussive instruments
Mixed by : Rocky Gallo @ Virtue and Vice Studios
Mastered by: Mike Kalajian @ Rogue Planet Mastering
Album Cover Design : Maayan Gutterman
Special Thanks to : My Wife (Ramona) for listening to this stuff day in and day out for the last 4 years and to my two sons (Felix and Jules) for inspiration. Feirstein Graduate school of Cinema Students, Staff and Faculty - Jay Kim, Angela Piva, Jonathan Zalben, Dustin Chang, Leah Shaw, Yuting Cheng, Maayan Gutterman, Ali Vil and all who made this possible. Thanks to Ian O’Brien for listening and giving amazing feedback. Also special thanks to Mr Tripp Dudley for working out the kinks in the riffs.


Suitable for orchestra, band, and choir groups, this 9-day program includes 3 public performances at some of China’s most iconic concert venues. The planning and detail is expertly handled by our experienced team including equipment hire, transport, and rehearsal time at each venue. A trip of a lifetime for all aspiring musical performers.
Students will perform in front of music loving Chinese locals in each town. G.E.T Educational Tours and our travel partners coordinate the selling of tickets to each performance, and students will perform in world-class concert venues in front of large crowds.
Teachers, please note that there is a significant amount of paperwork and pre-tour organisation to prepare for. We recommend that you allow a minimum of 12 months planning period to allow time for completion of documents and other Chinese Government requirement. Please contact us for more information.
Feature performance locations include:
- National Centre of Performing Arts Beijing (NCPA)
- Wuzhen Water Town
- Forbidden City Concert Hall
- Oriental Arts Centre Shanghai


Original title: Corazón de Mezquite
German title: Mezquites Herz
Lucía belongs to the Yoreme people and lives a secluded life with her father, a harp player, and her grandparents in a small village in Sonora, Mexico. Lucía’s father Fidel cannot get over the death of his wife and drowns his grief in alcohol. The little girl’s biggest wish is to play the traditional harp like her father, to touch his heart and be loved by him again.


Lisa was off to New York to perform at the official Tartan Day parade opening ceremony until the pandemic struck. Instead she will perform her set from her home in Scotland.
You can find out more on her Facebook event page here.
Date: Monday 6th April
Times: 7:00pm to 7:30pm
Come Together NE and partners present the “Come Together NE Digital Festival For Our NHS”
This online festival will feature and showcase 6 fantastic North East based artists every night, from 6pm-12am, performing live streams, requesting donations and raising funds for the North East’s NHS Hospitals at this unprecedented time.
Join them on Facebook for the final day and help to raise money for the NHS! You can find out more on their Facebook event page here.
Date: Sunday 5th April
Times: 6:00pm to 12:00am
Sucker have arranged seven nights of great music over on their Facebook page.
Dates: Monday 6th to Sunday 12th April 2020
Times: 7:00pm and 9:00pm