Music on the Fly
Live Music Series at the Juneau International Airport
Sundays from 7 pm - 8 pm in the Baggage Claim area.
Mission and purpose for the project:
• To uplift and soothe travelers as they begin or end their journeys through the Juneau Airport.
• To encourage local residents to visit and enjoy the airport and its amenities as a destination in and of itself.
• To give local entertainers performance opportunities.
• To set the tone for Juneau as Alaska’s Creative Capital.
Musicians and performers who are interested in performing can SIGN UP HERE.
May 25 Julianna Bibb - original guitar, vocal & harmonica
June 1 Five o'Clock Charly - original hippy folk
June 8 Kristin Garot - violin
June 15 Musical Moments - classical flute & guitar
June 22 PFLAG Juneau Pride Chorus - women's choral music
June 29 Daughters of the New Moon - Middle Eastern Dance
July 6 Jason Caputo - folk/blues
July 13 Travis Croteau - instrumental guitar
July 20 Cindee Brown-Mills - piano
July 27 Juneau Cello Choir - cellos!
August 3 Flutatious Duet - classical flute duet
Aug 10 Juneau Jambusters - ukuleles
Aug 17 John Schumann - horn pop/classical
Aug 24 Juneau String Ensemble
Aug 31 Juneau Symphony's Capital City Quartet
Sep 7 Mark Heard
Sep 14 Juneau Wind Ensemble Players
Sep 21 Bryan Graceland
Sep 28 Jacque Farnsworth
Music on the Fly is going to happen month to month, first Sunday of the month
Oct 5 5 o'clock Charly
Nov 2 Taky Gaels
Dec 7 North Star Music Academy
Tip the performers with a donation!
And here's how they do it at other airports -
A program of the Juneau Arts & Humanities Council and the Juneau International Airport with support from:
350 Whittier St. Suite 101
Juneau, AK 99801
Phone: 907 586-ARTS (2787)
Fax: 907 586-2148


Red Bull Culture Clash, the groundbreaking live music experience featuring four opposing crews across four stages, is thrilled to announce its return to Atlanta this November todeliver the nightlife event of the year. Set to unfold at the Gateway Center Arena on Saturday, November 4, tickets are now on sale for this spectacle that pays homage to the city’s unique tapestry of culture, color, and sound.
For one night only, four dynamic crews representing Atlanta’s hottest parties – Rum Punch Brunch, Perreo404, Bamba Tuesdays, and Mashup Sessions – will bring their fiercest competition and freshest sounds in Dancehall, Reggaeton, Amapiano, and Hip Hop to one stage. In a four-round battle, they’ll bring booming soundscapes, unreleased tracks, intense rivalry, and a thrilling lineup of special guests and surprises, all aimed at winning the crowd’s hearts and outshining their opponents. Only one winner can be crowned Red Bull Culture Clash champion and earn bragging rights as the best party crew in the A.
Additional details, including more lineup announcements, will be revealed in the coming weeks. Red Bull Culture Clash Atlanta | Crews
● Rum Punch Brunch: Coined as Atlanta’s most celebrated brunch, RPB started it all back in 2016, and has become a must-attend event for those looking for exotic eats, big beats, the best rum punch, and the coolest vibe. The crew will be joined onstage by featured DJs Tony Matterhorn and Willy Chin.
● Mashup Sessions: The open-format experience for Music Lovers, where music is remixed, flipped, and reconstructed. Delivering music that feeds the soul, Mashup Sessions is all about good drinks, good people, better vibes. The crew will be joined onstage by DJs Unruely and The Canterbury Tales.
● Bamba Tuesdays: One of the nation’s premier Amapiano events, as well as an Atlanta cultural institution, Bamba Tuesdays seamlessly blends Amapiano, Afro House, Gqom, Afro Tech, and Afro Beat. The crew will be joined onstage by DJs Kash, DangerVybz, and Polish.
● Perreo404: An all-inclusive community uplifting the Latin culture through nostalgia and sounds, featuring Reggaeton, Perreo, Latin House, and more. Que viva el perreo! The crew will be joined onstage by DJ EU and Nino Augustine.
Red Bull Culture Clash previously came to Atlanta in 2017 and 2018 and, perhaps boding well for Rum Punch Brunch, Dancehall crews won both prior years. Crew Unruly with DJs ZJ Liquid, Chromatic, Jazzy T and Jabba won in 2017, while Jamaica reggae and dancehall artist Kranium and crew Frequent Fliers took the title in 2018.“Super excited to be a part of Red Bull Culture Clash this year because I’ve been a team member a few years back with Mike WiLL (Made-It) and the Eardrummers. Now it’s time to lead the charge for my own team,” said DJ Kash of Bamba Tuesdays. “Red Bull Culture Clash is like a legit gladiator battle for DJs, producers and whatever you do creatively in the music. For me, this is super important because this lets you know where you stand as far as how to rock a crowd.”
The two prior Red Bull Culture Clashes in Atlanta also saw guest appearances from Ludacris, Mavado, Rae Sremmurd, Rico Nasty and Waka Flocka Flame, among others.
“Red Bull Culture Clash is an important event in Atlanta because it highlights all the people that are doing movements in the city of Atlanta – that are really putting on for the culture of the city and showcasing all the vibes and sounds of our cultures,” said DJ EU, who won Red Bull 3Style in Atlanta in 2013. “Red Bull Culture Clash takes me back to my Red Bull 3Style battling days, but this time it’s not one person – it’s the crew and I could not be happier to be repping the Latinos in Atlanta with my Perreo404 crew.”
In 2022, Red Bull Culture Clash made a triumphant return to the U.S., selling out venues in NYC and LA. For more information on Red Bull Culture Clash and to purchase tickets for Red Bull Culture Clash Atlanta, visit redbull.com/cultureclash.


Salsa / Pachanga
Shani started her way in the dance world in the age of 7 dancing jazz and ballet at "Dance Alma & Arnon" studios in Israel directed by Alma Frankfurt and Arnon Zucker. She later became a part of the Israeli Salsa Academy "Latino Del Mundo" Directed by Lior Petel and Ronen "Paco" Biran.
In 2004, Shani has been offered by the world-renowned salsa dance company
"Imperio Azteca" directed by Johnny Vazquez and Ramon Morales to move to Spain and became Johnny's permanent dance partner and the group's principal female dancer.
In 2005, the group shifted its functions and activities to Italy.
She performed most successfully with Johnny in numerous International and national salsa congresses, festivals and Latin associations throughout Europe for 3 years.
In 2007, Shani moved to NYC and became Ismael Otero, the director of "Caribbean Soul Dance Co." dance partner.
In addition, Shani has been requested by choreographer, Sekou McMiller, to join his Latin Jazz project “Proyecto Descarga” and became his principle dance partner.
In 2008, Shani founded and is the director of an All females ladies styling performance team “Shani’s Girls” which is performing most successfully in Latin events over the USA.
Shani later partnered with "The mambo king", Eddie Torres, successfully for 3.5 years to many salsa congresses and Latin events around the world.
In 2014, Shani moved to LA and singed with the talent agency "MSA" and in 2016 became a proud member of the Actor's Equity Association.
In addition, Shani performed with Pitbull, Marc Anthony, T-Pain and Ne-Yo, KatDeluna, Jennifer Lopez and Madonna!
Shani made her Broadway debut and became an ensemble dancer on the Broadway show "ON YOUR FEET" the life story of Gloria and Emilio Estefan.
Shani recently filmed the Warner brothers movie "In The Heights" - Lin Manuel Miranda.


Nā Leo Kūpono Productions humbly began with kanaka maoli, Rudy Dolfo. Rudy was born and raised on the island of O'ahu, Hawai'i. Rudy had been playing music in Waikiki professionally for over 30 years before he made the move to Arizona in 2007. Rudy now leads his very talented musicians in Arizona. He himself plays guitar, bass, ‘ukulele, percussion and keyboards.
His daughter, Nālani Kaho’onei, was also born and raised on O'ahu. She began her Hula training as a child in Kailua, HI with Kumu Hula Alice Puluelo Naipo Park. Nālani, too, performed at professional shows in Waikiki. She moved to Arizona in 2006 and soon began teaching. She has nearly 30 years of Polynesian dance experience. She is the Creative Director of Nā Leo Kūpono Productions and her student group, Hālau Ho'okahi I Ka Hula. Nālani choreographs the lively dances and designs exquisite coordinating costumes. She is an international-award-winning dancer and recently took first place in her division at the 2021 ‘Ori ‘Ori Tātou E Competition. Her full bio can be found here: https://www.hulainarizona.com/bio.html
In addition to Nālani’s award, the group has won many other awards, including:
🥇1st Place 6-12 Tamaroa ‘Ōte’a Solo - Heiva I San Francisco 2021
🥉 3rd Place 10-13 Tamaroa ‘Ōte’a Solo - Hura Tahiti 2021
🥇 1st Place 13-18 Advanced Taure’a ‘Ōte’a Solo - Heiva I San Francisco 2022
🥇1st Place 6-10 Tamaroa ‘Ōte’a Solo - ‘Ori ‘Ori Tātou E 2021
🥇 1st Place 6-12 Advanced Tamaroa ‘Ōte’a Solo - Heiva I San Francisco 2022
🥇 1st Place 19-24 General Tāne ‘Ōte’a Solo - Heiva I San Francisco 2022
🥇 1st Place Group ‘Aparima
Heiva I San Francisco 2022
(Additional Award: 🏆 Editor’s Cinematic Choice)
Nā Leo Kūpono Productions performs at professional events all over the valley, from weddings and birthdays to corporate events and grand openings. Nā Leo Kūpono also performs at various Festivals, especially with Hālau Ho'okahi I Ka Hula. The most popular Festival in the valley is the Arizona Aloha Festival at Tempe Town Lake. The groups have performed at this Festival every year since 2009 and look forward to performing again in the future. Here is the Festival website if you would like more information: http://www.azalohafest.org
Our goal, at Nā Leo Kūpono Productions, is to allow others the opportunity to further appreciate the traditions of our Polynesian ancestors. We aim to perpetuate the Polynesian cultures authentically and professionally. We strive to share our love and Aloha with all.


There are hundreds of radio stations in Moscow, including many music stations. Most of them play a heavy proportion of Russian hits, but you can find a good range of different music styles. There are no English-language radio stations broadcasting in Moscow, although you can find BBC Worldservice and other stations live on the Internet.
The following is a selection of popular Moscow radio stations to help you find your music for the road:
- 70.19 RM – Ultra: Modern rock ranging from Linkin Park to Rammstein.
- 88.3 FM – Retro Hits: A collection of golden oldies from the United States, Europe, and the Soviet Union.
- 89.1 FM – Radio Jazz: Jazz hits all day long.
- 90.8 FM – Relax: Easy listening from singers like Enya, Sting, and George Michael.
- 91.2 FM – Echo of Moscow: A news station (in Russian) that was originally founded during the Soviet Union. Attempts to shut it down in the 90s failed, and it’s now a reliable source of news to many. For the non-Russian speaking expatriate, it’s a good way to expose yourself to a constant immersion environment and hopefully pick up a few words!
- 95.2 FM – Rok na Radio: Classic rock hits from AC/DC to Iron Maiden and Metallica.
- 96.8 FM – Detskoe radio: Songs and entertainment (in Russian) for children.
- 100.9 FM – Radio Classic: Classic music by Andrea Bocelli, Yanni, Jens Gad, and more.
- 103.1 FM – Chanson: Refuses to play silly pop songs and dance music, and focuses on ballads across the genres of rock, folk, and jazz to find songs with meaningful lyrics.
- 103.4 FM – Radio Mayak: One of the oldest remaining stations, Mayak has roots in the Soviet Union and continues to be popular for its 5-minute news (in Russian) every half-hour, entertaining hosts (in Russian), and broad range of music selections.
- 103.7 FM – Maximum: Moscow’s biggest Top 20 hits radio station.
- 104.2 FM – NRJ (Energy): Top hits of energy-inspiring music from around the world.
- 105.7 FM – Russkoe radio: One of the most popular stations among people over age 30, this station plays Russian music only – generally pop songs.
- 106.2 FM – Europa Plus: A range of hit music including American, European, and Russian top hits. Everything from Beyonce to Lily Allen to Gorod 312.
- 106.8 FM: The hottest Russian and Western dance hits.


The heavyweight Afrobeats is moving at a legendary pace with his new album ‘Timeless,’ shattering records upon records in the first week of Release.
Nigerian Afrobeats superstar, David Adeleke, popularly known as Davido, has broken multiple records on Apple Music.
The DMW frontline act released his highly anticipated studio album titled ‘Timeless’, on March 31st with guest appearances from the likes of Skepta, Angelique Kidjo, Asake, Musa Keys, Focalistic, FAVE, The Cavemen, Dexta Daps, & others, and he is already shattering records with the 17-track body of work.
In an update of event, Apple Music has revealed that Davido broke the first day streaming record for an African album as well as the simultaneous entry for NO. 1.
See more records that was broken by Davido below:
Davido’s ‘Timeless’ has broken the record for the biggest African album in Apple Music history by first-day streams worldwide.
He also broke the record for the most simultaneous African songs on Apple Music’s Global Daily Top 100, with nine.
‘Timeless’ reached Number Two on Apple Music’s US Albums chart, a new record for an African album
The album also broke the record for the African album with the most simultaneous Number One entries on Apple Music’s albums chart
The post Davido breaks Several African Records On Apple Music appeared first on NotjustOk.


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singhbj singh posted a topic in GURBANI | SCRIPTURES | REHAT | HISTORYThere is a big difference between a musical performance and kirtan. A performance is to display how good you are at something. In kirtan you don't have to prove anything, you have to get connected. That is the puropose of kirtan; to get connected yourself, and to help others get connected as well. In a musical performance the main focus is on the notes and rhythm. In kirtan the focus is on the Shabad. The Shabad is transmitted through the kirtan. Music is the presenting tool. It is the plate that you use to serve up the Shabad. The proper way to do kirtan is to please the Guru, don't please the audience. If you please the Guru and the audience is connected to the Guru then they will be pleased. If you are trying to please the audience, you might cross the line where your Guru will get unhappy with you. Kirtan is the original form of Bani. Bani was first sung and written later on. Source - http://www.sikhnet.com/videos/difference-between-music-and-kirtan?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+SikhnetNews+(SikhNet+News)


I just bought an EHX 95000 multitrack looper a few weeks ago, and while I don’t utilize a lot of its functions, I just love that it’s like a multitrack recorder that is always on if I come up with a good idea or want to practice over certain changes or grooves. I typically play bass lines with the side of my pinky, so that’s where this came from. It’s got a nice growl to it. Tone is in the pinky indeed!
If you play C6 tuning with an E first string, you know how difficult it can be to play harmony in 3rds on strings 1 and 2 (E and C). This is especially true if you play a longer scale neck, like I do.
The reverse slants required to achieve a minor third interval can be daunting, cumbersome, not easily pitched, and have a distinct whine or ‘meow’, which is in essence almost like a sitar effect where a longer than necessary part of the bar is making contact with a string.
In the short video, you can hear the effectiveness of subtle string pulling to make a more seamless transition than with reverse slants on the adjacent strings 1 and 2 (E and C). This is a trick I use to get a pedal steel-esque sound sometimes when I need to. A volume pedal comes in really handy, too.
This type of exercise needs to be learned in every key using every scale. That seems like a big demand, but it really isn’t if you dedicate a few minutes per day to doing it. It becomes second nature in time.
I don’t want to get too deep into explaining the process, but do your best to make every pull sound in tune and learn to feel the difference in string tension as you move further up the neck.
This tab for the top 2 strings in C6 tuning for an F Major scale, which is what I used in the video. The ‘p’ next to a number indicates a 1/2 step pull.
Originally Posted on April 15, 2011 by Mike Neer
C6 is the perfect tuning for breadboarding, no doubt about it. For those of you who don’t know the term “breadboarding,” it has to do with electronic circuits and how experimenters will use a breadboard as a construction base to create prototypes of circuits. Simply moving wires and jumpers around with solderless connections makes the experimentation much easier. In a past life I spent a lot of time with electronics….
For purposes of this discussion, I will be referring to this version of C6, from low to hi: G A C E G A C E. If you are looking to step outside of the box a bit and play some things that are a bit out of the ordinary for steel guitar, tweaking the C6 can play an important role in helping you achieve the chord qualities you are looking for. The most obvious tweak would be tuning the lowest C (in my tuning, string 6) to C#. This gives you the C6/A7 tuning which, in my opinion is necessary for playing Jazz and even any kind of chord solo work. The importance of the dominant chord in that tuning can’t be stressed enough. Also, contained within the span of strings 4, 5 and 6 is a diminished triad. Crucial.
Another common tweak is to tune string 7 (A) up to Bb for a C13. This eliminates the root for our minor chords, which I feel is pretty important note to have for playing Jazz standards and even some Rock tunes. There are some arrangements I play, though, that are based around this tuning, particularly Mercy, Mercy, Mercy and Yellow Roses.
What if we tweak both the C string and the A string up a half step? I got this little tuning from Billy Hew Len (although he did it with the A6 tuning) and I quickly recognized it as a tuning used by the great Joaquin Murphey. Joaquin used a C6 tuning with a high G string later on, and he would also raise his C and A strings 1/2 step. A good example of this sound can be found on Spade Cooley‘s Dance-A-Rama record. You can hear an example of this tuning (my version with a high E) on this recording of Coconut Grove. It makes use of a lot of altered dominant chords.
There are other places we can tweak the tuning, too: my favorite is to re-tune string 8. I have several variations on it and all of them give me different results. The most common for me is to tune string 8 to F, especially for playing chord melodies. I approach it a little like John Scofield does when he is playing solo–he stabs at individual chord tones just to establish the harmony in the listener’s ears while he plays a melody or improvises on top of it. Sometimes that chord tone will only last for an eighth note. String 8 also serves me well for playing more modern Jazz, such as Herbie Hancock and Eddie Harris, by tuning it down to D. There I have what we call slash chords (a triad over a different bass note), particularly the 11th chord flavor, ie. C/D (C triad over D bass note). A great, nebulous sound.
There are other very useful ways of changing the value of a C6 tuning by changing 1 or 2 strings. For those of you familiar with Speedy West, he occasionally used a tuning (although on a pedal steel) which was called F#9. Essentially what it is is an E6 tuning (low to hi B C# E G# B C# E G#), with the B strings tuned down to A#. If you look at the C6 tuning that I use (with the E string on top), it is the same structure as the E6 tuning down a major third. So, in this case we simply lower our G to F# and voila!: we have D9 tuning.
I am currently beginning another book–this time on creating block chord arrangements or chord melodies. I will be using my C6 tuning for the basis of the entire book, but I will also be sharing some of my secret tweaks. I am really looking forward to the challenge of teaching this!
In the meantime, I hope you continue to explore and have fun and always remember that lurking somewhere inside of you is you! Let’s give him every opportunity to find his voice on the steel guitar. Always play with the curiosity of a child.
All for now.
It has been quite some time since I’ve posted any new ideas or content on this blog. I have been meaning to do more, but music has been the sole outlet of my creativity and spare time in the last year or more, which is a good thing! But I’ve got so many things on my mind I want to write about. First of all, thank you for making Steelonious such a success! If you haven’t heard it yet, check it out. The CD has been so well received and there is a lot of steel guitar on it.
With this posting, I wanted to share a little something from Steelonious, which I released in 2016. In case you’re not familiar with it, it was a program of Thelonious Monk melodies arranged as Instrumental/Pop/Jazz tunes in varying contexts, all reflecting the steel guitar–its history and its possibilities. Basically, I connected the dots of things I love. In this particular arrangement, I used techniques I learned from studying the playing of Sol Hoopii and also a lot of 60s pedal steel guitar. The choice of groove reflects my passion for New Orleans music, and I borrowed some chord changes from a Bruce Hornsby/Christian McBride/Jack DeJohnette version of this tune that kills me. The original song form is a 12 Bar Blues, which on occasion is how we perform it. But what I really wanted was to get some of that funky country type picking in this tune, especially the solo. I’ve always been a fan of the music of Little Feat and maybe that is reflected here.
One of the things I discovered about Sol Hoopii’s playing years ago was his use of open strings as passing tones. Sometimes they are chromatic, sometimes just scale tones, but they lend a rhythmic articulation in times when the line really begs for it. Dobro players are no doubt aware of this technique. But I’ve found that one the most difficult aspects of playing steel guitar is to play chromatic lines that are more than just two or three notes–the articulation really tends to be a crap shoot and sometimes you need it to be clean and popping. So, I’ve adapted this technique into my playing and this arrangement of Straight, No Chaser is one of my most successful uses of it.
I changed the key of the tune from Bb to A to accommodate the idea, then I just worked on it and worked on it until it developed into something cohesive and right. It is really not difficult to play, but takes a lot of practice to play it consistently. There is a lot of pick blocking going on, which I just tend to do unconsciously now. The tuning here is C6 and 6 string C6 will work just fine, as you really only use strings 2 through 5 (C-E).
Here is a little video which demonstrates how I believe Sol Hoopii played this tune, specifically on his earlier acoustic recordings in the A Major tuning.
One of the devices that Sol used most frequently is open strings–in this case, in bars 3 and 4 of the head, Sol utilizes a slide to G# on string 4, followed by open string 3 (A), for a nice bluesy lick. Have a look for yourself.
It is often a topic of conversation among newer players of the difficulties in getting used to wearing fingerpicks. For some players, it is nearly impossible to get comfortable with these new appendages. For me, it was a little different.
When I started becoming serious about playing, I was playing a National tricone. It was a matter of necessity for me to use picks, and because I was playing in an acoustic group with the instruments mic’d, I preferred a stiffer pick (.025 mm). When I switched over to playing electric steel, I no longer felt comfortable with that heavy gauge pick, and experimented with the lighter .013, .015 and .018 gauges. The .013 appealed to me, so I shaped the picks to follow the natural shape of my finger tips. This resulted in some very nice tone–very rich. The problem, I discovered much later, was that in order for me to pick the strings, I needed to get my fingers down deeper to the strings. This hindered my ability to play fast, clean lines, and my fingers would mistakenly hit the wrong strings often. I couldn’t live with this, because regardless of how hard I worked at it, I couldn’t overcome the sloppiness.
Recently, in continuing my lifelong quest of improving my picking hand, I have discovered some things that have proven significant towards this end. I have begun using slightly heavier picks (.018) and I have shaped them so that they extend approximately 1/4″ from the tips of my fingers, and this extension is decidedly straighter than the previous “curled with the finger” shape.
What this has allowed me to do is to execute rolls and other intricate picking patterns with greater ease, and to allow me to use a technique of locking my hands in a way that everything above the metacarpal bones is firmly locked in place, allowing greater control of the fingers. This is something that I have experimented with and concluded that it really does work.
There is no one way to wear picks, but it is advisable to always consider where you are in your playing path and how simple changes in things like picks can have a significant impact on your playing and sound. I will admit, I thought my tone suffered a bit when I made the change, but I have learned to compensate by using thicker gauge picks and by picking with a little more velocity.
There are some things about playing steel guitar that, unless you have the privilege of being near seasoned players and getting their insights, you are on your own to discover. For me, it always seemed as if achieving great right hand technique was an uphill battle. The inconsistency is frustrating and, while continual practice will yield positive results, I always seemed to hit a wall. In trying to create longer lines, I realized that I would need to refine my technique and, surprisingly, one of the greatest sources for inspiration appeared in a piano book. I will make no bones about saying that I think of my steel as a “lap piano” at times–this term is attributed to George Van Eps–and I want my passages to have the same clarity, lightness and dexterity as a pianist. George Kochevitsky’s book, The Art of Piano Playing, just really opened my mind to taking control of the situation. As he illustrates, for a century or more after the arrival of the piano forte, players still did not have the technique necessary to get the most from it–they were still relying on the finger technique from the days of harpsichord.
I have to say, I do enjoy playing without picks, but I can’t execute much of what I play without them. I will also add that I have ordered a set of Alaska Piks and I’m looking forward to giving those a try. Will report back on that….
While cleaning out my studio/library, I came across these cool chord charts that were published back in the 1940s. A friend of mine had given me these photocopies years ago, and I thought I would share them with the world before they are lost forever.
These charts can be very useful for each of these tunings, which are F#9, C# Minor, E7 and B11. The charts cover chords created with a straight bar, as well as with slants and in combination with open strings. Very good tools to get you inside the tunings. Once you are in, you will discover you own chords.
The first chord folio is for F#9 tuning (used by Dick McIntire and Bernie Kaai, who lent his name and image to this booklet). F#9 tuning is essentially C# Minor tuning, but with strings 5 and 6 tuned differently (E C# G# E A# F#, from treble to bass).
(Click on each image to enlarge).
The next set of chord charts comes from an unknown source, but note that each page has the Fator’s name on it–Fator is a name affiliated with Dickerson steel guitars, as the owner of the company was Gaston Fator.
Note that the C# Minor tuning actually resembles E13–essentially, the E7 tuning with the second string raised to C#. The C# Minor tuning (Sol Hoopii) is spelled: E C# G# E B E
I hope you find these charts useful.
Spending time lately investigating and memorizing the myriad slants available in C6-based tunings, especially C13, and I stumbled upon this beautiful piece of musical geometry.
There are many other hidden secrets in this tuning and I aim to find and use all of them!
Back in the late 1980s, I was lucky enough to have a guitar lesson with Mike Stern. I would also see him play fairly regularly and have a talk over a cup of coffee (Sheridan Square Diner (r.i.p.) ). Mike recommended a book to me by a guitarist whose name I had only seen in Guitar Player magazine, but had never heard. The book was called the George Van Eps Method for Guitar and it was published way back in the 1930s. I bought the book and did the first few pages of exercises. In reading George’s words in the forward, I understood that the book was not only a way of learning triad shapes in all inversions on all string sets, but also as a way of developing an independence in the digits to enable single note playing over sustained chords. This was a hallmark of George’s style, which was developed as a young tenor banjo player (his father, Fred, was one of the instrument’s great virtuosos).
I revisited the Van Eps method pretty heavily around 2000, as I was playing a lot of acoustic archtop guitar. Now I had heard George and was profoundly inspired by his playing. I can hear where Mike Stern utilizes some of the concepts he learned from the book, particularly when he is playing a pedal note and moving the chords around underneath. Anyway, years later it occurred to me that working through inversions of the triads in a Van Eps-ian manner might be a fruitful exercise. I continue to utilize it daily.
If you have a lap steel tuned to C6, you can find the triads within. This would also work for any other tuning, as well. You will have to make your own adjustments to the tab that I’ve laid out. I highly recommend mastering exercises #1 and 2 in every key before moving on to the triad inversions. There are other techniques involved in the inversions that will need to be addressed.
This page of exercises was written quickly by hand while the idea was fresh. Please pardon the sloppiness of it.
Here is a quick video demonstration of the concept. Note that I do not lift the bar off the strings, but simply block, using either method (palm or pick). Pick blocking is particularly useful in arpeggiating the triads. Practice these slowly and cleanly.
I’ve also created a little clip showing how to utilized the triads on strings 1-3 in A6 tuning. This works so well that I’m almost tempted to switch to A6!
Henry Bogdan is one of the few players of the modern era who has embraced the National Tricone resonator as his main instrument. His playing with The Moonlighters was particularly influential (especially to myself) in the resurgence of traditional string bands featuring ukulele and steel guitar, and with the Moonlighters he recorded several CDs. He also performed and recorded with Hazmat Modine, a unique NYC band led by the eclectic and multi-talented Wade Schuman. However, Henry is best known for his career as bassist for the band Helmet, an influential alternative metal band, all through the 1990s. These days, Henry resides in the Portland area, where he has been involved with a band called The Midnight Serenaders, continuing the marriage of his Hawaiian stylings with their Jazz Age swing.
Henry told me that after all these years of playing his Tricone, he was putting it away to pursue his latest passion, the Puerto Rican Tres, which is a stringed instrument with 9 strings in 3 courses. So, if you are in the Portland area, don’t miss the opportunity to see Henry perform with his Tricone while you can.
Mike: I’ve noticed the phenomenon of musicians who’d previously played Rock music and Punk gravitating toward Roots music.
Henry: Yeah, it’s really true. I kind of saw it as somewhat of a synchronicity to the end of…for me it was the end of Punk. It was the end of the road. I didn’t see that there was any other direction to go.
M: I figured that people who are playing “cutting edge” stuff already, they’re really at the precipice and you have to wonder “where do you go from there?” It must be exhausting to be at that point and constantly be trying to move forward all the time. At some point, it almost seems inevitable that people are going to begin to look backward….
H: Yeah, to get more substance. It just gets sort of totally diluted and you’re not doing anything if you’re trying to be modern and unique and not sound or play like anyone else before you. I always felt the idea was to be unique and not do anything traditional. For Helmet, it just seemed like it was the end of the road and it was up to the next generation to combine their influences and do something new.
Most of my friends continued on with Rock, but I did know a lot of people who were just putting down their instruments and not playing at all. That’s when I met Bliss (Blood) with the Moonlighters and I knew what I wanted to do was create kind of a traditional Hawaiian-sounding band. I didn’t see myself as a “jazzer” and she was coming from a Rock state of mind and not from going to Jazz school or that sort of thing.
M: So, what was your introduction to Hawaiian music?
H: I would say first off that I’ve always been interested in steel guitar, from my mid-teens hearing it in Rock bands like Neil Young, the Eagles—a lot of stuff like that was popular here in Portland and on the west coast. The first time I got to see one up close was actually when this Gospel/Southern-Rock band played at my high school. There was a guy playing a Sho-Bud and I just totally flipped and I went up and I talked to him for a while after the gig. It just seemed like such a cool instrument—very magical looking.
M: Did he show you how it worked or explain it to you?
H: I can’t remember, but he probably said that there’s pedals and knee levers and all these kinds of gadgets. It was pedal steel that I heard first. Then a few years later I got pretty devoted to Punk and Underground music and I thought steel would be a good instrument to mess around with in that format. So, first I bought a lap steel at a pawn shop—Dickerson, pearloid model that I wish I still had—but I couldn’t get anything out of it because I didn’t know any tunings. It just sounded like Blues guitar kind of stuff.
M: I think we all kind of go through that same experience. You were a bass player at the time?
H: No, I didn’t even touch the bass until a good 10 years later, but I’d always played guitar. From age 10 I took guitar lessons—I took 5 years of Classical guitar lessons all through high school. I pretty much knew I wanted to play music, ideally, in a professional setting.
So, I couldn’t get anything out of my lap steel, and then I bought a single neck pedal steel. Still I didn’t know the tunings—it was probably an E9 guitar. I borrowed a Sneaky Pete Kleinow book from the library here that had some tunings and basic technique, but it just wasn’t working. I couldn’t figure it out, but I played it in a band on a couple of songs, just getting sound effects, like picking behind the bar. I wasn’t really interested in any hardcore Country music until a few years later.
Anyway, so I put the pedal steel in storage and moved to New York. Subsequently the steel was stolen. I ended up not doing anything in New York for about 5 years, just trying to break into the Underground scene until I answered an ad in the Village Voice for this band that needed a bass player (Helmet). I happened to have a bass, so I thought, “What the hell? Everyone played guitar—I might as well try to break in as a bassist.” I really enjoyed the bass, certainly in that context.
It was right around the middle of the Helmet career, probably early ‘90s, that I got more interested in traditional Country and Western Swing music. I’ve always had one foot in the Country door, in some sense, but I was getting into more traditional stuff like Buck Owens, George Jones, Ernest Tubb…basically as a diversion to what I was doing in Rock—you know, super-macho, tough guy, tattoos. It was kind of stupid at a certain point and what I liked about Country music was that it wasn’t so concerned with being modern or cutting edge. It just had a certain relaxed soul to it and it was good-natured.
M: Yeah, and it’s also a humble—even if it’s not completely sincere in its humility it still has that humbleness to it.
H: I agree and I certainly appreciated that coming from a super Agro world of Rock which I didn’t always identify with. It was fun playing the music, because it was very physical, kind of like sports.
I saw Junior Brown’s first gig in New York at the Lone Star and he totally blew me away.
M: I think I was at that show, too.
H: It was just phenomenal. He was the first guy I’d ever seen play lap steel and he had “that sound” which turned out to be the 6th chord. So, I pulled the lap steel from under my bed and looked in the Village Voice the next day and found this guy David Hamburger. Have you had any contact with him?
M: No, although I’d certainly heard his name and I had some friends who played in a band with him, but I heard he moved down to Austin.
H: Yeah. I started taking some lessons with him and he set me up with G6 tuning and he was also the one—at the time I was mostly interested in Honky Tonk and Western Swing—but he said, “If you really want to devote yourself to lap steel, you should check out Hawaiian music.” Like most people, I never thought of Hawaiian music at all—I thought it was all just like Don Ho. So, I just bought some CDs and at the time I was buying everything that I could that had any kind of non-pedal steel on it. I called up Scotty’s Music and got Jerry Byrd’s “Steel Guitar Hawaiian Style” and the 2 Sol Hoopii CDs, but it was the Jerry Byrd that was the life-changer for me.
M: I was kind of like you in that I probably bought 30-40 CDs and LPs a month from the age of 18 to 30—that’s all I did, was buy music. It was like I was always searching for something that I knew was out there, but I didn’t know exactly what it was. I could feel when I was getting closer and closer to it, though. I probably bought most of the same CDs as you—the Sol Hoopii, etc. I had that long before I really got interested in playing.
When I finally got interested in playing, there were almost no resources, except for the occasional book, which didn’t tell the whole story. I can tell you one thing, though—I knew right away that it was some serious shit! It became apparent in the beginning that it was serious and I don’t think I had what it took at the time to devote myself to it.
H: I would agree that it is some serious shit! For me, it was like when I first was discovering Punk and Underground: there was this whole world of great players and great tunes and great singers and it was deep. It had a lot of substance. I would also have to point out that it had a lot more steel guitar than the Country stuff. Even still to this day I want to hear Joaquin Murphey playing through the entire song—I don’t want to hear just one little break. You know, that’s what kind of the drag of that music and what’s so great about the Hawaiian music. It’s there behind the vocals, there during the solo, intros and outros.
M: There is a real art to the backing in Hawaiian music and also they’re playing in a smaller group.
H: Yeah, I would love to hear Joaquin in a smaller band. I would say that from the beginning it was the electric steel, Jerry Byrd in particular, and a year later I got more interested in the acoustic stuff. I listened to that Jerry Byrd CD over and over when I was still in Helmet, and I would take my lap steel on tour and just mess with it on the bus. I got Jerry’s book (Instruction Course For Steel Guitar) and was messing with tunings just trying to play something that sounded like music.
M: Did you get through the whole book?
H: Oh my God, no. I would say I didn’t even scratch the surface. I bought all the books that there were, but I’m not a book guy. I totally just play by ear. I don’t even know what chord I’m on or necessarily what key I’m in unless it’s written next to the song title on the set list. [laughs] I’ve always thought of it as, “Where’s my I? I is on the 3rd fret, there’s my IV and V” and I have my little boxes—my riff boxes—and I have my little gimmicks, my octaves and playing thirds and whatnot. I totally play by ear and at this point it’s a huge drawback. I wish I could go back and start over from scratch by learning scales and sharps and flats….
M: Do you know any of this with regards to the guitar?
H: No, I don’t at all. I mean I had theory back in high school when I was studying Classical guitar but Classical guitar is very impractical to playing Pop music. You don’t learn how to read chord charts—it was kind of a mistake. I wish I was more interested in Jazz at the time—it would have been much more practical, even in the Rock world.
M: I have to say, I’ve enjoyed your playing on the Moonlighters recordings and I would say they inspired me. When I bought my Tricone, I said to my wife, “OK, honey, I promise I’m going to go out and find a gig” and it just so happens that I found the only gig in existence. So I want to thank you for that. [laughs]
H: No problem and thanks for saying that. It was a lot of fun working on that stuff. Bliss turned me on to more of the Jazz side of things and I was probably the Hawaiian side of things.
M: Let’s face it, how many other bands were out there playing that kind of music?
H: Well, there a band called the Do Hos…they kind of disappeared. But, yeah, there really weren’t any people doing that and that was kind of fortunate for us–certainly fortunate for me. [laughs]
M: A good thing about the band was that there was original music. I’ve always felt that Bliss is an excellent lyricist.
H: Oh, yeah, she’s a great lyric writer.
M: I always thought the band had a solid foundation in the traditional sounds and, yet, it was always reaching forward….
H: Maybe some of our other influences sometimes can’t help but come out. Bliss really was the one into doing original music and it was a good thing for the band and probably opened some doors that we probably wouldn’t have had if we were just aping the old shit, which I probably would have been fine with also.
M: You were involved with some other projects while you were in New York, too….
H: Oh yeah, when the Moonlighters started I was also playing with Howard Fishman. We started playing in the subways in Brooklyn. And I was playing weekly with Greg Garing and his Alphabet City Opry. That was actually the first situation where I was playing steel guitar—slightly pre-Moonlighters. That was a weekly gig for about a year. I quit to rehearse and work on tunes, instead of just playing tunes that I’d never heard before. It was fun playing with Greg, but he would just say, “This is in C, follow me.”
M: I have to admit, that’s what I live for. You did some stuff with Wade Schuman and Hazmat Modine, too….
H: I did some gigs with them and recorded some songs on their first CD.
At this time I was planning on moving to Hawaii…I was hoping to get some lessons with Jerry Byrd. That was sort of my dream at the time but once I got to Portland I had read that Jerry was sick and had stopped playing and I ended up getting some gigs with The Yes Yes Boys in Seattle and I would take the train up to Seattle a few times a month for about 3 or 4 months. Del Rey is truly amazing–a great player. I think a few months later Jerry died. He was most of the reason I was headed to Hawaii—even though I probably wouldn’t have hooked with him, I could have taken some lessons with Alan Akaka or John Ely. I didn’t really have any work skills once I left New York and the thought of working at Hertz Rental Car for minimum wage, trying to afford a studio apartment in Honolulu….
Someone on the Steel Guitar Forum posted a link to this great solo by Buddy Emmons on John Hartford’s “Gentle On My Mind.” I’d never heard it before, but it knocked me out, so I sat down with it and transcribed it before bed. Took me an hour or so–it’s mostly just eighth notes, which makes it a little easier.
Anyway, it is a C6 pedal steel performance, but I transcribed it for C6 with a re-entrant D 1st string, which is what I believe is Buddy’s tuning, so it is D E C A G E C A F C (high to low). There is nothing played below the 8th string and I couldn’t detect any pedals, although they may be there, I just don’t know what they do. The few notes on the 1st string could easily be moved to the E string, so if you are playing C6 (E high) you can pull it off (a little harder, though).
Here is the solo:
And here is the transcription:
Here are a few tips for those who are learning to play the steel guitar. Some of them may seem obvious; some of them not so much.
1. Don’t be discouraged by the difficulty of getting your chord grips together (meaning your picking hand).
Do practice your grips, even in a non-musical fashion. For instance, practice grabbing a chord shape and then moving it from one string set to another, like this:
Things like this take time to master, but the more you practice, the easier it will become. Spend 5 to 10 minutes/day just on grips, not worrying that it doesn’t sound musical.
2. Don’t slide into everything (glissando).
Do use glissando sparingly, selecting the right time for maximum effect. Do practice moving the bar vertically along the neck using a staccato approach in order to gain more control of your sound. To do this, you will need to incorporate pick blocking. Also, the bar doesn’t leave the strings with this approach–it is completely reliant on your right hand.
3. Don’t get stuck in root, or straight bar positions (i.e., for playing in C major, sticking to the 12th fret).
Do find other positions or zones or pockets to play in. For example, you can get a C major sound (minus the root) by playing in G position (7th fret, C6 tuning). This serves as CMaj9. For playing singles notes, we can easily find our way through the C major scale in 7th position:
Do learn how to play a scale in every position, meaning beginning with any scale tone anywhere on the neck. Here’s another very useful example:
Do practice this in every key (including natural, harmonic and melodic minor) beginning on any note of the scale. Yes, I know it is a lot of work, but in order to gain freedom on the instrument, particularly from clichés, this is the kind of work that needs to be done. Spend 1/2 hour/day on this for several months until you are confident you can break it out easily and without hesitation.
4. Don’t forget that there are many ways to achieve something that doesn’t look feasible at first glance.
Do remember to investigate all options by thinking about slants (no matter how extreme they may seem) and behind the string bar string pulls. Here is an example of a I – IV – V progression with voice leading (note the tuning is C6/A7):
Notice how you can play 2 different inversions of the I-IV-V progression and keep the chords in a relatively small fretboard range.
5. Don’t let vibrato be an afterthought.
Do learn to be conscious of your use (or non-use) of vibrato, making conscious decisions on how you want it to enhance your phrase ahead of time. Don’t wait until the last moment to throw a quick shake on a note–it tends to sound feeble and nervous. Be confident and strong in your playing! Commit….
6. Don’t underestimate the value of major and minor triads. They have many more uses than just the obvious.
Do learn as many inversions of your major and minor triads as you can possibly find, everywhere on the neck. The major and minor triads can serve as altered dominant chords as well as extended harmonies of major and minor chords. Sometimes we overlook the simplicity of a simple triad while searching for something bigger, such as G13b9; if you are knowledgeable in harmony and music theory, it should be easy for you to spell this chord out:
G B D F Ab E (we skip the 11th degree, C). Looking at these 6 notes, what triads do we find? Obviously G, but what else? There is a B diminished triad, as well as D diminished. But we also have an E major triad. The E maj triad provides the M3, b9 and 13 of our chord. Perfect choice for G13b9. Need something for an A7 chord functioning as a V7 or VI7 in a turnaround? Try a Bbmin triad (Bb Db F) instead. Those notes spell b9, M3 and #5, a nice altered dominant sound. See what I’m getting at?…which leads me to….
7. Don’t shy away from learning basic music theory and harmony: they are your friends.
Do get acquainted with them because they open up doors and make it much easier for you to make music that’s outside of the box. It is always good to have choices.
8. Don’t use your wrist to make slants!
Do try to get used to guiding the bar with your fingers. Do make sure you are using the right bar. There have been endless discussions about whether a Stevens bar or Bullet bar or any other number of bars is right–I won’t go there. I will say that whatever bar you choose, make sure it is the right length and make sure you learn to manipulate it with your fingers, not your wrist.
9. Don’t let your playing sound monotone.
Do open it up and use your picking hand and bar to convey expression. Sometimes a nice strum of a chord with your thumb, or a wide bar shiver (ala Curly Chalker) can keep your playing from sounding monotonous and lifeless. Jerry Byrd was called the Master of Touch and Tone for good reason: he was always conscious of his expression and you could really get a feeling from his playing the way that you could from a singer or violinist. Harmonics are another great way to make it work.
10. Don’t get hung up by bad picking habits.
Do focus on making your digits work as a unit. There is quite a bit of work involved in getting a strong right picking hand. There are definitely picking patterns which you can work with on a daily basis to get your right hand under control. Joe Wright has a video called “Secrets Of The Wright Hand” which may help you to improve your picking technique. The video has no musical content, but Joe works you through a number of picking moves.
11. Don’t pick too hard. “What is too hard?”, you ask. Well, it’s when your strings are flapping out of control, sharp in pitch, and your fingerpicks are getting tangled up in the strings. Relax!
Do play in a relaxed, controlled manner. There is a lot to be said for a picker who has great chops, whether or not he/she decides to put them on display. The one thing every great picker has is poise and control. Comes with practice, nothing more. For those of us coming from a resonator background, this can be quite a revelation. The picking styles are quite different for both instruments (and so is the bar technique for that matter). Many people believe that the players who can really play both resonator and electric steel extremely well are rare birds. They’re probably right!
Hope this gives you something to think about. Time to run!


New video for "Angels", from the new CD, "Tides".
Newly released CD, "Tides"!
Now available for purchase from iTunes or at any of his shows.
More original music by Michael Nichols …
Download or order a CD from iTunes, Amazon or CDBaby. CD’s or download cards are also available for purchase at any one of Michael’s shows. Click on the Calendar link to see his full schedule. Quality Michael Nichols merchandise and ringtones are also available for purchase from his official store.


It has been a battle to establish a choir this year. Initially the students were not even allowed to sing or rehearse indoors. Eventually they were allowed to sing, but under the veranda outside the Performing Arts Block, at times singing in the cold weather. However, with the determination of the choir directors, Bronwyn Barnes, Nick Meissel and Liz Conway, they were able to push on with rehearsals and got the choir, consisting of 35 students (numbers are usually around 60-70), to a level where they could perform at the Big Sing. A huge thanks to the choir directors for giving up their time to get the students to the competition, and to the students who turned up every week for rehearsal during such difficult times.
Dunstanza opened the competition with the premiere performance of Whisper a composition written especially for the choir by one of the directors, Liz Conway. The choir competition was scaled back this year being held at Knox Church; it is normally held in the Dunedin Town Hall. There were 13 choirs from 12 schools, each singing two songs.
Although the choir did not come away with any awards, the students did themselves proud, looked very sharp in their red vests and sang beautifully. The students were a credit to the school and an absolute pleasure to take away.
Well done Dunstanza!


Pre-Season Series Event
New Orleans Style Brass Band component of the Air National Guard Band of the Northeast based at Fort Indiantown Gap. They perform Dixieland style music, popular music, and patriotic selections.
Food Available 6:00 Pm Burgers, Hot Dogs, Drinks & Baked Goods
Entertainment starts at 7:00 Pm
Remember to bring your lawn chair
In the event of Rain, the concert will be moved inside to Wiconisco Fire Co., Arch Street
Follow us on Facebook at Friends of Lykens Page for more information


Spotify Downloader APK Unlimited Songs
Download and install the latest version of Spotify Downloader APK and download unlimited free songs from Spotify App without any restrictions.
Other recommended apps
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Do you want to get music to relieve your mental stress and get a fresh mind? So, if you like music, we are here with an amazing platform known as Spotify Downloader Apk. It is the latest developed application which allows downloading playlists from Spotify and listening to music offline. You can use this app on your Android smartphone or tablet.
If you are a music lover, you know the best music platforms and media out there. There are many amazing platforms and industries that provide the best entertainment for consumers. There are paid and free platforms to entertain users. You’ve probably heard about Spotify.
It is one of the best audio streaming platforms offering users the best collection of music and rhythms out there. This is a Swedish platform by a Swedish company for people. It has a large collection of audio recordings for users to enjoy.
There are online platforms and applications out there that allow users to easily stream music online. But the problem is for people who want to have fun with internet connection or just want to have an offline collection. So, we are here with this app for these fans.
Main features of the app
- Free to download and use
- Find your favorite Spotify collection
- Simple search system
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- User ID Requires access
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Spotify Downloader Apk is the best way to download and enjoy your favorite music collection offline. You can do the best exercises and enjoy them with this app. Keep visiting our website for more great apps.


Is it theatre? Is it delicious food? It’s both at the Winterparade
The Winterparade offers theatre, music, dance and delicious cuisine at a 120-metre-long table! The table is used as a stage for a diverse programme with actors, dancers, musicians and more, while guests are treated to a delicious meal.
The delicious multi-course dinner will be catered by De Nieuwe Garde. Chefs, waiters and waitresses will be climbing the tables and making unexpected appearances along with the hospitable Candy Girls.
The dinner will be interspersed with a program full of surprising performances.


Music is Our Life
To put it simply, we love music. Our life revolves around it. When we started the studio, we really just wanted to make high-quality recordings of our own music. It's more than our hobby, it's our passion. If you are passionate about your music and looking for a studio that’s comfortable, convenient, and has great equipment then look no further than Madison Ave Recording Studios. Whatever your musical style may be, our professional recording studio will help make your sound come to life.
Dedicated and Passionate
Our professional team does everything to make sure that each project is an enjoyable experience for our clients. The team here at Madison Ave Recording Studios is keen on giving our guests the best, most exciting and efficient experience possible. Our staff is dedicated to providing the best quality services for every one of our clients’ projects.
Owner, Recording Engineer
Steve has had a love of music for most of his life starting formal music lessons at age 9. While primarily a guitar player, he also plays bass, keyboards and drums. Over the years, Steve has been involved in playing in several bands as well as playing on many church worship teams. He is currently a guitar player in the band Messy Truth (facebook.com/messytruth) and plays guitar and mixes sound at his church (encounterchurchpa.com). Steve is the main recording engineer for Madison Ave Studios and saying that he is a bit of a tech geek would be an understatement.
Michele is known by all who know her as an extremely gifted vocalist, however, she is also accomplished on keyboard and guitar. She has been the lead vocalist in several bands and has sang on the worship teams at several churches. Michele is currently the lead singer for the band Messy Truth (facebook.com/messytruth) and is the worship leader at her church (encounterchurchpa.com). Michele can work as the recording engineer, however, her true talent in the studio is as a producer helping to shape the song into the best it can be.
Contact our staff with any questions.


What, exactly, do you ask is Music For Aardvarks?
Music for Aardvarks is not your run of the mill children’s music class, it’s a program for toddlers, kids and their grownups to come “rock out” and have some fun. It’s a foot stomping, jingle shaking, drum drumming hullabaloo both kids and parents will love!
Each class combines song, dance and rhythm in an interactive musical experience for all ages. The songs of Brooklyn musician and founder David Weinstone (a featured performer on Nick Jr) are told from a point of view that children immediately understand and respond to. Where big can be small and small can be big, kids just see things a bit differently and Music for Aardvarks is tuned right in.
Check us out on Pix 11 News!:
Our informal, spirited classes are geared toward toddlers and children 4 months to 4 years old and incorporate singing, dancing, musical storytelling, instrumental jam sessions and more. Song, dance and rhythm combine for a rockin’ good time.
The New York Times described David Weinstone’s songs as “The exception to the norm”. In a world where most children’s songs are about things like farm animals and locomotives that everyone has heard before Music for Aardvarks classes are more like parties.
“It’s no exaggeration to say that Weinstone has changed the musical geography of kids music. As creator of the MFA classes that take place all over the country, his music has gotten thousands of tiny toes tapping.” – Time Out NY Kids
The Music for Aardvarks program was created in 1997 in Brooklyn, NY by rock musician, composer and father of three, David Weinstone. Music for Aardvarks is distinct from other children’s music programs in that all classes are based around Mr. Weinstone’s original songs, rhythms, and chants. With influences of rock, blues, ballads, folk, jazz and pop, Aardvark songs uniquely reflect and celebrate the lives of children growing up today. The music is innovative, intelligent, and irresistibly appealing to both kids and their parents.
At Long Island & Queens Music For Aardvarks we have been serving up our own unique version of this musical experience since 2009. During that time we have grown to numerous locations across western Long Island and are excited about continuing our journey into Queens. We also hold several special musical events throughout the year. Check out our classes page and you’re sure to find something fun going on in your neighborhood.


Welcome to the Music Department page!
We teach 3 courses in our program which are:
- Core Music
Basic knowledge of the fundamentals of music and music notation. Students learn the basic elements of pitch, rhythm, notation, scale structure, tonality, intervals, chords, melody, harmony, musical terminology, and score reading. Students apply these concepts to writing and analyzing simple musical examples.
Learn the fundamental skills of guitar playing, including simple cording, basic strumming beginning note reading and music theory.
The main objective of this course is to create an enhanced appreciation for music through playing the guitar. Students will learn how to read music notation, chord symbols, and tablature.
Learn the fundamentals of singing techniques and musicianship, utilizing music theory and performance skills through a wide variety of traditional and contemporary music.
Enjoy the opportunity to perform in public.
👇 Learn more about our music program through the slides below 👇


Activities Category: Dance
“Eminence Dance Studio” is offering dance classes for children in Reisterstown (Baltimore County, MD), Gaithersburg and Potomac (Montgomery County, MD) and Reston (Northern Virginia).
We teach many styles of dance in several programs.
Our goals are threefold:
To give the community an opportunity to experience the incredible joy of dance
To provide a well-balanced curriculum which incorporates all dance forms
To emphasize the importance of a strong, healthy technique and to educate children in the art of dance


Continuing with the branding series….
There are a few things I would change about our wedding, but the music is the one detail the husband and I planned out meticulously.Â While our guests were being seated, the sun streamed through the chapel windows.Â A close friend sang and plucked his guitar.Â After our grandmothers and mothers were seated, my brother sang Your Love is Extravagant while our friend sang harmony.Â My maids and I walked down the aisle to Divine Romance.Â The simple purity of the guitar with their voices was amazing, and exactly what we wanted.Â During the reception we had a bluegrass trio play.Â We love music, and we wanted our wedding to reflect our tastes.Â We definitely didn’t want a DJ playing anything remotely close to Flo Rida (no matter how addictive it is).Â Why?Â Because it didn’t fit with the overall brand of the wedding.Â We had a simple, sweet ceremony and a barn reception.Â A DJ didn’t seem to fit with the overall picture.
Brides sometimes forget how important the music is.Â Too often they leave it up to the DJ to play the party music.Â So how do you help the music reinforce the brand?
Do you want your wedding to be a celebration?Â Pick fun upbeat music, a la Love Actually.Â Do you want your ceremony to feel as dramatic as November Rain?Â Use piano with the strings!Â Do you want an old Hollywood feel?Â Go heavy on the strings and horns.Â Do you want sweet melancholy?Â Pick a pure clean voice with a string guitar.
So what music would I pick for our classic wedding?Â I think something similar to the Hope Floats soundtrack (a favorite of both E and I).Â Keep the Trisha Yearwood and Sheryl Crow for the ceremony.Â Play Lyle Lovett, Gillian Welch, Jonell Moser and Deana Carter during the cocktail and dinner hours.Â Pump up the Rolling Stones, Garth Brooks, The Mavericks, Whiskeytown and Bryan Adams for the dancing.Â All pure Americana.


In this article, I give you my quick review of the Marshall Kilburn 2 portable Bluetooth speaker with included specs.
Marshall amplifiers are for decades one of the most recognizable symbols of rock music and something that adorns the concert stages of the world’s most famous musicians.
Well-known Marshall brand style
Company Marshall has decided to offer the distinctive sound and legendary design of its amplifiers in the form of a portable Bluetooth speaker – by the name of Kilburn II.
The multi-directional sound of this speaker will simply get you into the music, whether you listen to it indoors or out. In other words, Marshall Kilburn 2 directs sound in multiple directions, reproducing deep bass and crystal clear treble, which makes the overall sound image uncharacteristically wide and rich in the arrangement of these dimensions.
Battery and charging
Although Marshall Kilburn 2 weighs only 2.5 kg and falls into the category of compact speakers, it houses a very powerful battery that, when fully charged, provides more than 20 hours of music enjoyment.
In addition to high capacity, there is also fast battery charging technology, so just 20 minutes of charging will be enough for 3 hours of music listening.
In addition to impressing you with the quality and volume, Marshall Kilburn 2 Bluetooth speaker will give your living or workspace an added charm, thanks to its legendary and authentic look.
Design and features
The distinctive mesh and the Marshall logo on the front, the tolex skin, and unique potentiometers make the Kilburn speaker irresistibly reminiscent of a true Marshall guitar amplifier.
The high-quality workmanship and reinforcement on the corners will make this fantastic device long-lasting.
And there’s the IPX2 certification that guarantees splash resistance with less water.
Thanks to its compact dimensions and the grip associated with the guitar strap, you can easily carry Marshall Kilburn II anywhere and enjoy the high-quality 36W sound provided by a fully digital amplifier.
The potentiometers on the upper side allow you to easily control the volume as well as adjust the treble and bass intensity to your taste.
The Kilburn 2 speaker uses Bluetooth 5.0 wireless connectivity, which, in combination with the aptX audio codec, delivers higher sound quality when playing music from your mobile devices, up to 10 meters away.
Up to two audio sources can be connected to the speaker at the same time via Bluetooth, and there is a traditional 3.5mm audio jack to which you can connect an MP3 player, a CD player, an FM receiver, and the like.
Marshall Kilburn 2 on the Market
The Marshall Kilburn 2 Bluetooth portable speaker is on the market in many retail places. The one that I refer to in this article I link to here:
Feel free to share this post.


Dreams of becoming a musical artist are beginning to look more practical than ever.
With the music industry thriving, and the ability to have live instruments at your fingertips, there are plenty of reasons to start building your own home recording studio.
Although there are tons of great options for recording software and instruments, paying for these items and setting up your studio from home is not cheap! If you’re looking for music production tools, you can click here for more information.
If you are ready to start your home music recordings with the best bang for your buck, here are the five recording studio equipment pieces to focus on for a great studio sound!
1. A Laptop With Software and Storage Space
The right computer will set you up for success. Within your budget, look for the best computer possible to conduct all your mixing.
Although producer confidential services don’t offer computers, you can make up for what you spend on your laptop using these services to produce.
2. Audio Plugin Software and Producer Confidential Sounds
The audio software you use, and the backup storage drive you purchase are critical to saving everything you create.
You will need enough room to make your music, which is why it’s best to buy an additional storage drive. You can find deals on these tools with producer confidential options to save money.
If you choose to go with producer confidential services, test how the drums sound using your audio software. You want everything to sound as smooth as possible.
If your digital instruments are sounding muddy, you might want to go with a different one. The quality of your sound will make or break your production.
3. Digital Audio Workstation
Once you’ve established the software and storage situation that is best for you, grab a Digital Audio Workstation (DAW).
With this software, you can manage your audio recordings and edit all from your computer. It will be impossible to develop song creations without software or producer confidential services.
You can integrate producer confidential options to keep the costs down for your workstation.
4. A DAW-Compatible Audio Interface
The next thing you want to think about is the audio interface you buy. This device allows all of your mics and instruments to connect to your computer.
This will enable you to bring audio from your instruments into the computer for editing. Whatever audio interface you choose to purchase, make sure that it is compatible with the DAW that you purchase.
5 A Digital Mixer
For a more hands-on approach to music editing, you should also purchase a digital mixer. Digital mixers are editing devices that allow you to make changes to your audio without using your DAW directly.
You can work with many different recordings at once with a digital mixer. This makes music production more productive and easier to conduct.
Get Your Gear Now And Make Your Music
Above are the five most essential music tools needed to create high-quality sounding music from home. Use cost-saving strategies, find compatible equipment, and get your music out there!


Tickets go on sale Wed., March 1, 2017, for Spring Desserts: A Moses Story, produced by the Northwest Christian University Music Department. Performances are Sat., April 8, 2017, at 7 p.m. and Sun., April 9, 2017, at 3 p.m. in the Morse Event Center on campus.
“Spring Desserts: A Moses Story” is based on the New York City Triangle Shirtwaist Factory fire in in the early 20th Century and features music from the film The Prince of Egypt. NCU students and faculty have developed an original script and music arrangement to tell this amazing story of deliverance, redemption and hope.
“When so many are disheartened by unrest in our world, there is no better time for A Moses Story,” said Karen De Young, Program Director of NCU Music Department.
“Our original script and music arrangement story has been a challenging and rewarding experience for our many talented students as they strive to deliver a polished performance with meaning deeper than the music and words.”
Tickets are $10 for adults, and $5 for students. Beginning March 1, 2017, tickets can be purchased at www.nwcu.edu/springdesserts.
Proceeds from the annual Spring Desserts performance weekend goes to support the NCU Music program, including funding for tours, recording equipment, and state of the art equipment.
For more information, contact the NCU Music Department at email@example.com or call 541-349-7400.
*Note to parents: This performance contains some heavy themes and content that may not be suitable for younger children.


About The Jenkins Brothers
Earl and Carl, endearingly known as The Jenkins Brothers have always been musically gifted. From a young age, they were singing and performing in front of large audiences. This dynamic duo are five time Gospel Academy Award winners, McDonald's Gospelfest first place winners and finalists on the hit TV show, “Big Break,” hosted by the legendary Natalie Cole. They have also co-produced and hosted the prestigious McDonald's Gospelfest for eight years since its inception. Additionally, they appeared on both the “Lou Rawls” and “Jerry Lewis” Telethon of Stars.
Throughout the course of their musical career, The Jenkins Brothers have won over the hearts of music lovers from all walks of life; performing at a variety of venues, making different public appearances, all serving the community. Learn more by exploring the site, and feel free to get in touch with any of your comments and questions.


Krewphoria Events Proudly Presents:
18+ to dance | 21+ to drink
Krewphoria Events is about bringing people together and giving back to the community. Help kick off the first Krewphoria Event here in Hawaii by supporting one of Hawaii's non-profit organizations on Oahu! All proceeds made from this event will benefit the Hawaiian Humane Society.
Malama means to take care of, protect, maintain, or preserve.
Arrive at this party with a mask and your most colorful wear to support several Hawaii local DJs and help save the environment too!
**Festival wear is also encouraged!
The Malama Masquerade will be located at Boda Cafe
1227 Hopaka St, Honolulu, HI 96814
Kandi, gloves, hoops, poi, orbitals, etc. are ENCOURAGED!
Alcohol, Drugs, Outside Food/Drinks, Large Backpacks, Weapons, Violence, Bad Vibes
Boda Cafe (View)
1227 Hopaka St
HONOLULU, HI 96816
|Minimum Age: 18|
|Kid Friendly: No|
|Dog Friendly: No|
|Wheelchair Accessible: Yes!|


At Kingsway Primary school the intention is that children gain a firm understanding of what music is through listening, singing, playing, evaluating, analysing, and composing across a wide variety of styles, traditions, and musical genres. Our objective at Kingsway Primary is to develop a curiosity for the subject, as well as an understanding and acceptance of the validity and importance of all types of music, and an unbiased respect for the role that music may wish to be expressed in any person’s life. We are committed to ensuring children understand the value and importance of music in the wider community, and are able to use their musical skills, knowledge, and experiences to involve themselves in music, in a variety of different contexts.
At Kingsway Primary School the music curriculum aims to:
- To provide all children with an education in music that is stimulating, enriching and inspiring through curricular and extra-curricular learning.
- To encourage confidence in all the children through their involvement in music thus promoting individuals interest, self –reliance and motivation.
- To develop an understanding and appreciation of different types of music and increase their ability to make judgments of musical quality.
The national curriculum for music aims to ensure that all pupils:
- perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians
- learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instrument, use technology appropriately and have the opportunity to progress to the next level of musical excellence
- understand and explore how music is created, produced and communicated, including through the interrelated dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations
Every Child, Every Chance, Every Day.
At Kingsway Primary school we use the Charanga schemes of work to teach discrete music lessons. The music curriculum ensures students sing, listen, play, perform and evaluate. This is embedded in the classroom activities as well as the weekly singing assemblies, various concerts and performances, and the learning of instruments. In the classroom students learn how to play an instrument, from a range of instrument groups. Specifically, Years 1 and 2 learn to play the ocarina, Years 3 and 4 learn to play the glockenspiels and Years 5 and 6 learn to play the ukulele. In doing so they understand the different principle of each method of creating notes, as well as how to read basic music notation. They also learn how to compose focussing on different dimensions of music, which in turn feeds their understanding when listening, playing, or analysing music. Composing or performing using body percussion and vocal sounds is also part of the curriculum, which develops the understanding of musical elements without the added complexity of an instrument.


Introducing The Band...
Guitar & Vocals
Frank loves 70's stars such as Paul Simon, Carole King and Elton John. He sings, writes songs and plays guitar, piano and drums.
Frank started playing music at age four when he began banging on pots and pans in his mom's kitchen! Soon after that he learned the words to 'Twist and Shout', and a lifetime love affair with music was born.
He has been heard recently with the bands Flashback Four and Acoustic Audacity. Hear Frank's solo work at LifeStoriesCD.Com
Violin & Vocals
Better late than never - the key phrase to describe the musician getting back in the fun of things after a time of being away. So much to catch up on! Dee has a variety of musical interests. In the album cabinet one might find Johnny Cash, Joan Baez, Kingston Trio, the eight track collection holds Beatles, and CD's range from bluegrass/country to Progressive Rock. Nothing is out of bounds! A collection of instruments also fits the bill for any mood. The music room currently displays a banjo, harmonica, keyboard, guitar, mandolin, and a works-in-progress broken cello. However, violin is what she started with and has decided to settle down with.
How does one go from King Crimson and Jimi Hendrix to Carole King and Bobby Gentry?
Charley can be counted on to bring a variety of eclectic tastes and genres to the group. Either grounding the band with a simple bass line or creating a bass solo for improv, he always holds down the bottom.
Porchlight Plus is available for your event, dinner, restaurant, bar or party.


Welcome to Flos Campi's official website! Stay tuned for updates, media, and more.
Our 2015 season, The Deer, the Desire, the Springs:
Sicut cervus in the Renaissance,
will feature polyphony by Goudimel, Palestrina, Tallis, Vivanco, Layolle, and more, all touching in some way the beautiful "As the deer longs" text from the Song of Songs. Two performances, May 4 & 5, 2015. See below for details.
Our 2014 season, Singet dem Herrn,
was an examination of the Thomaskantor
between 1600-1750, featuring the music of J. S. Bach and his predecessors at St. Thomas Church in Leipzig. We combined with the newly-formed Baroque ensemble La Monarca in two of Bach's motets as well as music by Schein, Kuhnau, Schelle, and even François Couperin. Be sure to visit our Media
page for videos from the performances. This season also featured a performance with the Choir of St. John's Episcopal Cathedral, Los Angeles, in a lecture-concert in conjunction with the Getty Museum's exhibit "Canterbury and St Albans: Treasures from Church and Cloister". In addition to our season performances, we combined with USC Early Music performers in an Early Music Showcase at St. John's Cathedral.
THE DEER, THE DESIRE, THE SPRINGS: SICUT CERVUS IN THE RENAISSANCE
UPDATE: ONE PERFORMANCE ONLY!
Tuesday, May 5, 2015, 7:30pm
St. John's Episcopal Cathedral
514 W Adams Blvd. (corner of Adams & Flower), Los Angeles
Admission to concerts is free; a free-will offering may be collected by the host church.
Feel free to contact us at email@example.com for more information.
Follow us on Facebook and find our event pages:
We're also on Instagram (@floscampi) and YouTube (www.youtube.com/user/FlosCampiEME


My music taste varies so much. I can go from loving really hip catchy pop songs to some really intense raps. And lately I’ve felt that my music taste as varied and changed into loving a more relaxed, soft, dark and eerie music genre. I feel I can contribute this alteration to the recent changes in my life.
I’ve been so into Lana Del Rey, her songs just seem to click with me in such a way that I didn’t know it was possible. She sings about love and death, and surprisingly it resignates really well with me. It transports me to a place where I get to really think about myself and my life.
I usually listen to music on Pandora, so my Lana Del Rey Music Station has also broaden my spectrum of similar music to hers. I find myself listening to The Neighborhood, The Artic Monkeys, Radiohead, The XX, The Killers, you name it. It’s not like I haven’t heard of these groups before, but back in high school I didn’t really care for songs unless they were chart toppers and got my body moving.
Music for me now is about reminiscing about life and the obstacles I’ve overcame and have yet to get over. Music is to make me feel my realest feelings and not be afraid of them. Many people say that Lana’s music is very sad, and that it brings their mood down, well I say that at least it makes you feel something instead of listening to pointless sound.
Don’t get me wrong, I still enjoy good music chart toppers, but I don’t seem to gravitate to those as often as before. Though I’m only 21, I feel as if her lyrics speak directly to my soul, and I want to thank Lana Del Rey even thought this will never reach her.
I love you Lana Del Rey❤✨


Shure SM58 Microphone (Stage Mic)
The Shure SM58 unidirectional (cardioid) dynamic vocal microphone is designed for professional vocal use in live performance, sound reinforcement and studio recording. It has a tailored vocal response for a sound which is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath "pop" noise.
Frequency Response 50 to 15,000 Hz
Polar Pattern Unidirectional (cardioid), rotationally symmetrical about microphone axis, uniform with frequency
Sensitivity (at 1,000 Hz Open Circuit Voltage) -54.5 dBV/Pa (1.85 mV) 1 Pa = 94 dB SPL
Connector Three-pin professional audio connector (male XLR type)
Net Weight 298 grams


My name is Benjamin Solomon. I am 35 years old and live in San Antonio, Texas. I am a musician/singer/sound engineer. For the last 8 years, I have played drums live for several groups and have two CDs with my name in the credits.
I can do :
- Drums (17 years) (trained in drum corps)
- Keys/Piaino (25 years)
- Some guitar (in my own tunings!)
- Some bass guitar
- Vocals (all my life)
- Sound recording/engineering (8 years)
My favorite styles of music include:
- Hard Rock
- Eurodance (some)
- 80's Pop
- Early 90's Rock
- Classic 70's Rock
- Christian/Praise and Worship
- Anything clever that has no real genre
I also have several technical gifts I can offer to enhance the presentation of music. I can create data-driven web sites (I am a database programmer in real life), as well as graphics manipulation (Photoshop).
I was in middle/high school band for 7 years, and then played independently for awhile, now I play as the drummer of several worship groups 4 times per week.


Encounter with Scottish Pipe Band during tour of Scotland
This evening, I am posting information on Strathendrick Pipe Band Association which I encountered by chance performing in the Square at Drymen on the eastern side of Loch Lomond in central Scotland. The band is based in Strathblane, about twelve miles north of Glasgow.
In the course of a Scotland tour it is not unusual to connect with a local pipe band performing in public.
Strathendrick Pipe Band is primarily a teaching band for pipes and drums with intention of progressing through the Royal Scottish Pipe Band Association grades.
Tartan is the Ancient Maclean of Duart (Isle of Mull) and the band is under Pipemajorship of Colin Johnston.
Video clip of the band performing at Drymen.


Professional Belly Dance Instructor, Choreographer and Dancer
French AAA level Belly Dance Coach
Asian Belly Dance Association Registered Member
Founder and Chairman of Hong Kong International Yannes Belly Dance Arts
Yannes has many years of experience in belly dance teaching and performing in Hong Kong. She was mentored by the first male belly dancer in China, Guo Wei, who has been highly recognized among Belly Dance communities all over the world and is still very active in the market. She has also studied with many of the world class belly dance teachers such as Ansuya,Sabrina Fox, Sonia, Leyla, Subaha, Saida, Shahdana, Dariya Mitskevich , Gina Chen, Margarita Savchenko, Aida Bogomolova, Kathleen Derout, Kadia etc., representing a variety of styles including classical and modern Egyptian, Argentine, Turkish, Russian and Ukrainian styles.
She established her own dance troupe “Hong Kong International Yannes Belly Dance Arts” in the year of 2013 and has her own dance studio since 2014. Her interesting yet systematic coaching method not only focuses on basic belly dance techniques but also on body rhyming and sensation.
Yannes current offers regular small group classes, private group, individual training for both adults and kids of all ages. She occasionally organizes belly dance workshops with other organizations and performs with her dance troupe in charitable and commercial events as well as private parties.


70’s and 80’s
SUNDAY AND MONDAY 7 PM to 10PM
In the late ‘70’s with the demise of ‘punk’ came the birth of New Wave and Post-Punk. Categorically there was no specific form of music, but rather made up of various styles born from the DYI attitude that punk embodied. The late 70’s through the late 80’s was strong visually through fashion, and here we embrace the best sounds of that period.
This program captures all of the varied musical sub-genres from the late 70’s to the late 80’s. From the Post-Punk of Joy Division to the New Romantic of Duran Duran & Spandau Ballet to the Gothic of The Cure & Siouxsie Sioux to the synthpop of Human League & Depeche Mode and the electronica of Kraftwerk & Cabaret Voltaire and so much more. Even though it is the past there’s always something new to hear here.


What are a Lectric Tobacconist and How Do I Know What Guitar or Singing Instrument I Need?
Unfortunately, as I am sure you are already aware, the L lectric Tobacconist (also known as a librettist, whatever you prefer) is an exceptionally important aspect of many compositional techniques. In particular, I find that their use is so critical when working in chamber ensembles, and particularly when working with ensembles composed of different instruments, or choirs, which must coordinate properly. That is not to say that they are only used in chamber music; quite the contrary, in fact, I would say that in my professional experience, they are absolutely indispensable! They are, however, an incredibly time consuming and labor intensive career, which is something that I hope to shed some light on here through some of my anecdotes.
Let me commence by suggesting what it is of which I mean by an ‘unprepared’ or ‘ill-equipped’ musician or ensemble when referring to a artist or ensemble that requires a little little of mentoring from the qualified Tobacconist. What I am talking regarding listed below are musicians or ensembles that carry out not yet fully understand what exactly their particular instrument consists of, or an awareness associated with the dynamics that make up that instrument. For instance , if you were asked to set up a piano for a cello player, you more than likely know the correct keys to play the piano – mainly because you don’t know what the cello actually will! Similarly, a desperado (band, not an orchestra), or any kind of other kind of outfit, are much more prone to have a slower or perhaps a meditative strategy to playing compared to they are the rock band – because their audio composition is reduced, also because their harmonic framework requires a new slower pace to resonate the various information in their music structure. This is usually why a tobacconist must be a vital part of any music group or ensemble, his or her contributions are absolutely essential in order in order to fully realize the particular overall song or instrumental’s concept. Right now, this doesn’t suggest that a strap should only make use of a Tobacconist as a guide for the arrangements of their own songs – significantly from it!
First, when it comes to business days, it is important for a band to keep regular, business-like hours. It’s throughout these business days and nights that many groups and ensembles can take advantage associated with the many advantages that can come from getting a qualified plus experienced Tobacconist on hand to help using the mastering or even arrangement of music for that day’s performance. It is vital that a band/ensemble seeks out a great experienced, reliable, trustworthy, and well-trained Tobacconist for this cause… since they will become able to help their musicians attain the ideal timing in addition to the exact assemblage that are needed for their performance at the time in time. Most importantly, it is necessary with regard to these musicians to possess a steady hand. In the world of music, timing is everything… and the many skilled and knowledgeable Tobacconists know how to master the technique of placing notes plus chords on the appropriate note, within the appropriate octave, in the proper pitch, in the correct rhythm, plus in the precise time signature.
When a musician or an outfit makes requests of any qualified Tobacconist, or maybe requests a sample of his or her work, it is usually wise to look at samples of the work in question. (The absolute most gifted musicians/ensembles often do not have to show their function until they usually are being asked to do so. ) It is extremely unfortunate each time a musician tries to location an order, just to later find away the piece regarding music is just not appropriate for them as a result of one of several factors. It can be a little bit complicated and difficult for a music Disposable Vape group to try and determine if typically the piece of music will work properly plus if they have the right musical notes/chords in the correct octave, etc., in addition to if there will be a new pronounced timing difference between the artists playing. Thus, it is always a good training to view samples associated with work offered by qualified professionals and/or request some time alone with the music performer in question to determine out the issue.
Associated with course, sometimes the situation arises once the Tobacconist simply misdiagnoses a patient. Or perhaps when he/she is usually just as being a small lazy. At the same time, sometimes a customer has a special request, which requires an performer to come in order to the customer’s location in order in order to make an example regarding the requested item. Regardless, most musicians/ensembles are more than willing to solve any potential problem that the customer may experience of a Tobacconist without needing to hold up the process for long periods of time. This specific is always the good idea!


Dilla, Madlib, J.Rocc first show, joined by Common
Jaylib Live @ Henry Fonda Theater 04/04/04
This was recorded at the Henry Fonda Theater, April 4, 2004, on the first night of the Madvillain/Jaylib tour for Madvillainy. Madlib & J. Rocc had performed Jaylib songs live, but this was the first show with J. Dilla, who had just moved to Los Angeles and joined the tour without being announced on the flyers. Another unannounced guest late into the set was Common. The voices you hear are B+ & Melo-D, who recorded this set.


Freehold, NJ >> May 8, 2023
Upcoming Nightlife Entertainment Schedule
Join us every Friday and Saturday at 9 PM to experience the best DJ entertainment and upscale night out.
Our menu has everything you need to keep the party going from the delicious, handcrafted cocktails to tasty snacks and sweets. Bottle service menu is also available upon request.
- Friday, 5/12 – DJ James Strzz
- Saturday, 5/13 – DJ Licious
- Friday, 5/19 – DJ Frankie Sauce
- Saturday, 5/20 – DJ Joe Ferdico
- Friday, 5/26 – DJ Dan Emerson
- Saturday, 5/27 – DJ Jaymie Perez
Brunch Entertainment Schedule
Sundays at 12 PM
- Sunday, 5/14 – DJ Sal Domingo
- Sunday, 5/21 – DJ Licious
- Sunday, 5/28 – DJ Cory Minto
See full entertainment schedule HERE.
About The Loaded Spoon
The Loaded Spoon is a new dining experience located at 108 Schanck Rd in Freehold, NJ. Sign up for updates and offers here.
For more information now, including photos and interviews, contact Kim Simon at 732-577-8200, ext. 244.


June 24, 2022
Gates open at 5pm. Concert starts at 6pm. Balloon glow starts about 8pm.
Mountain Meadow Recreation Complex
1101 S. Woodland Road
Pinetop, AZ 85929
White Mountains Balloon Festival Kick-Off Concert
Friday, June 24, 2022
Let's get this festival started the right way... with awesome music! Join us on June 24, 2022 for our Kick-Off Concert with Duane Moore & Mogollon.


What is Chromecast Audio?
Chromecast Audio is a small media streaming device that plugs into the AUX input of your speaker, making your speaker Wi-Fi enabled.
Once set up, simply use your iPhone®, iPad®, Android phone or tablet, Mac or Windows laptop, or Chromebook to stream your favorite tunes to the best speakers in the house.
Easily stream music to your speakers
Tap the Cast button from top mobile music apps to hear your music instantly on the speakers. Then control the speakers right from your phone-- search, play, pause, queue songs and turn up the volume-- anywhere in the house.
Listen to your favorites, anytimeFIND APPS
Enjoy over 30 million songs from music services like Pandora, Google Play Music, Spotify, and iHeartRadio. We're constantly adding new apps, so there's no end to the music, radio stations and podcasts you can enjoy.
- Enjoy higher quality sound
Listen to your favorite artists the way they were meant to be heard. Chromecast Audio supports lossless high resolution audio, which is even better than CD quality sound. And your music streams from the cloud so you get continuous high-quality sound—even when you leave the room.
- Play music everywhere with Multi-room
Multi-room lets you group Chromecast Audio devices together so you can listen to the same song on multiple speakers.
Jam out to your music without interruption
Streaming won’t drain your battery or get in the way of other activities. Answer a call, surf the web, even leave the room—all without interrupting the tunes.
Plus, mirror any audio from your Android phone or your laptop
For apps that are not yet Cast-enabled or music stored on your device, you can mirror audio from your Android phone or tablet to the speaker. Or, use your laptop to mirror music and audio streaming websites from the Chrome browser.


WHEN: Main Events - August 2-18, 2013
Saturday, August 3, Roy Rogers & the Delta Rhythm Kings
Speak Easy Dance Party at the Brewery Arts Center Ballroom 8-10pm.
WHAT: The summer sizzles! Mile High Jazz Band Assoc., Carson City, local businesses, and jazz lovers proudly
continue the annual August jazz festival started in 2004.
WHERE: Multiple Venues! Outstanding regional jazz artists will play for you at Third Street, the Farmers Market, Comma Courtyard, Comma Coffee, Plan: B, the Brewery Arts Center, the Legislative Plaza, and more.
WHO: More than 100 musicians in over 35 bands! Performers may include Reno Jazz Orchestra, Mile High Jazz Band, New World Jazz Project, Colin Ross, Ken Davidson Trio, Jazz Guys, Two Plus Quintet, Rosebud's Dance Band, Blue Jasmine,and many more!
COST: Did we say FREE? MOST EVENTS ARE FREE!
HOW: How can we present such an exciting festival with most events free?
By harnessing the energy and resources of our great community! Sponsors include Nevada Arts Council, Carson City, For the Love of Jazz, Lake Tahoe Media Group, and private donors. You can help, too! Contact Us if you want to see about being a sponsor.
INFO: To learn more, volunteer, or be a sponsor, call 775-883-4154


Puerto Vallarta’s Garza Blanca Resort & Spa is pleased to announce that it has launched a regular Live Music Experience program for guests to enjoy each and every day. We are excited to welcome four expert musicians from Cuba to play a range of live music including compositions for saxophone, flute, trumpet and violin.
Live Music to Inspire the Soul
The new program of live music hosted by Garza Blanca Resort & Spa is intended to entertain hotel guests at key locations throughout the resort. You can now enjoy the uplifting music of these solo artists by the pools, in the restaurants and on the beach at various times of the day according to a weekly schedule. Four talented musicians from Cuba will offer performances, playing a range of different musical compositions to enhance your experience of the areas.
Cuban born musicians, Kátherin González Álvarez, Kenia Marquez Landa, Claudia Madera Neyra and Jorge Luis Escalona Reyna have selected a program of inspiring music that complements the venues and adds a special touch to your experience. Just imagine being serenaded on the beach by the flute or violin; watching the sun set to a trumpet medley or a violin lullaby; dining to the sound of the saxophone or flute; or lounging by the pool as the sounds of live music wash over you. No two days will be the same and each of the chosen venues will surprise you with a different instrumental accompaniment depending on the mood of the day.
The Live Music Experience is set to awaken the senses with solo performances at key moments throughout your day; however, on occasion, the four musicians may come together to perform a rehearsed concert or jamming session, which will be advertised in the resort’s activities program. Likewise, the musicians will be available for special events such as weddings and other celebrations. You might decide to accompany a romantic dinner with a special request or host a small gathering in your suite, hiring one or all of the musicians to play for you. What is for sure is that live music is firmly on the menu at Garza Blanca Resort & Spa.