Podcasts about instruments

durée : 00:03:34 - Les P'tits Bateaux - par : Camille Crosnier - Aujourd'hui, Thomas se demande qui a inventé le premier violon, tandis qu'Emma voudrait savoir comment les instruments à cordes sont nés ? La musicologue Claire Delamarche leur répond. - invités : Claire DELAMARCHE - Claire Delamarche : Musicologue, Conservatrice de l'Orgue à l'auditorium orchestre national de Lyon - réalisé par : Stéphanie TEXIER

On this episode of Riffin on Jazz; Howard, Chuck and Deborah are joined by special guest Ulysses Owens Jr. as they explore his amazing music career. We then hear some fantastic artists with similar style like Wynton Marsalis, Ron Blake and more.

Musical director Natalya Aynsley from Sydney talked to SBS Russian about musical trends, theatre anecdotes and curiosities and the upcoming premiere of the musical The Hello Girls. - Музыкальный руководитель Наталья Эйнсли рассказала SBS Russian о музыкальных тенденциях, театральных курьезах и предстоящей премьере мюзикла The Hello Girls в Сиднее.

Just like children are makers of art and creators of dramatic play scenes, they should be given the chance to be music makers! Join Cindy and Alison for a discussion about how to help children access the creative outlet of music and movement.

A FULL MOON is a cosmic alignment that occurs when the sun, earth and moon are all positioned on the same axis. Aligning with the cycles of the moon and actively tuning into its energies opens us up to greater opportunities for exploration and self-care. They typically represent emotional release, reflection and pause, celebration and culmination, as well as time to heal. Enjoy this Soundbath curated specially for the Beaver Moon in Gemini. A special Full Moon ushering us into colder fall and winter months. A perfect opportunity to make our homes cozier and warmer and finding sanctuary within ourselves. Tapping into our curiosity and resourcefulness while also powering up our healing with its renewed intensity. Instruments are Chakra Crystal Bowls, Koshi Chimes MEINL Sonic Wave Drum & Grotta Sonora Cosmic Gong Plate

Avoid The Crash 2 Cpr 5:7 #RTTBROS #nightlight 7 (For we walk by faith, not by sight:) 2 Cor 5:7 The following explains how we can gain emotional stability in time of trials and suffering: "While piloting a plane in a thick fog, a pilot cannot be sure of his direction unless he gives full attention to his instruments. When flying through a thunderstorm, the turbulence will throw him about, and the darkness within the clouds will threaten to disorient him. Sometimes he will feel as though he is going up or down or turning around. But he cannot depend on his feelings. Only the gyros can be trusted, so the pilot must hang on to the controls in the turbulence and discipline his mind to concentrate on the instruments while he flies through the storm. The parallel truth for the Christian in troubled times is clear. Undisciplined feelings…can cause a crash unless one keeps himself stabilized by the facts of the Word of God…Every promise in the Word of God is like a gyro giving information to stabilize him in a specific situation…With daily practice one learns not to panic but to believe a specific truth from the Bible fitted for his own unique circumstances. By experience one learns not to fight his feelings, but to look away from them to the “instrument panel” of the Word of God which is utterly dependable. One discovers that if he will just hang on in the worst of the turbulence, no matter how disrupting, his mind and heart steadied by the great truths of the Word and his eyes intently fixed on God Himself, he will eventually break through rain-black clouds to soar once more in the clear, tranquil atmosphere." Gloria Okes Perkins, “Fly by the Instruments,” Our Podcast, Blog and YouTube Links https://linktr.ee/rttbros Be sure to Like, Share, Follow and subscribe it helps get the word out. https://linktr.ee/rttbros

In this week's episode we are joined by Karl Ekdahl, creator of the Ekdahl Moisturizer and the Polygamist! Together we create a patch using a sample of his newest electro-acoustic instrument! Be sure to listen until the end to hear him talk a bit about it!Patreon: https://www.patreon.com/nullphiinfinity Bandcamp:  https://nullphiinfinity.bandcamp.com/Instagram: https://www.instagram.com/nullphiinfinity/Youtube: https://www.youtube.com/@NullphiinfinityKnas Music: http://www.knasmusic.com ★ Support this podcast on Patreon ★

Rebroadcast - original aired December 1, 2019   Click here for Notes Jeremiah 33:14-18 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

Ethereal Voices P2P | 05.01.2019 | 855 MB Presenting the second in our series of bespoke Ableton Live Instruments we bring to you Ethereal Voices. Developed over the last 3 […]

Valoda var būt tilts starp visatšķirīgākajām kultūrām, un tā var būt arī bīstamākais ierocis. Kādi priekšnoteikumi ļāvuši dažām valodām izplesties un pulcināt miljoniem un pat miljardiem tās lietotāju, un kāpēc citas valodas to nav spējušas? Kādas valodas dominējušas pasaulē vēsturē un kāpēc valoda ir tik vērtīgs instruments dažādiem politiskiem režīmiem, raidījumā Zināmais nezināmajā skaidro Latvijas Universitātes sociolingvistikas profesore Ina Druviete. Mednieku-vācēju kopiena sociālantropoloģijas skatījumā Kultūra ir ne vien valoda, bet arī mūsu ikdienas rīcības, un daudziem prieku pirms dažām nedēļām noteikti radīja fakts, ka Nacionālajā nemateriālā kultūras mantojuma sarakstā tika iekļauta nacionāla mēroga tradīcija – sēņu vākšana un izmantošana. Raidījumā nesen stāstījām par mednieku-vācēju gēna klātbūtni latviešiem un lietuviešiem, kas atklājies, apkopojot Latvijas iedzīvotāju genoma informāciju. Raidījumā gan krietni plašāk runājām par to, kā genoms var ietekmēt vienas vai otras valsts iedzīvotāju noslieci uz kādu saslimšanu, bet fakts par mednieku-vācēju gēnu sarunā ar Jāni Kloviņu mums ļāva viegli pajokot par latviešu vēlmi ik rudeni grozus piepildīt ar sēnēm, acīmredzot, šis ģenētiskās informācijas gabaliņš, nāk no šīs mednieku vācēju senās  kultūras. Pēc  šīs sarunas  sastapāmies ar komentāriem par to, ka  tāda  sēņotāju gēna  nav un nevar būt, citi atkal nopriecājās, ka beidzot atklāts konkrēts cēlonis,  kas liek latvietim ik rudeni ņemt grozu un doties uz mežu sēņot. Lai uzklausītu arī otru pusi, aicinājām studijā Rīgas Stradiņa universitātes asociēto profesoru, sociālantropologu Klāvu Sedlenieku, kurš skaidro, kad ir runa par cilvēka darbību un nevis iedzimtām īpašībām un kā cilvēces vēstures attīstības gaitā mēs pārņemam informāciju no iepriekšējām paaudzēm un ko iemācāmies dzīves laikā.

Stāsta ērģeļbūves meistars Jānis Kalniņš Lai kādu mūzikas instrumentu drīkstētu saukt par ērģelēm, tam ir jābūt stabulēm, kuras skan, kad tajās iepūš gaisu. Vismazākās ērģeles sauc par portatīvu. To novieto uz galda, vai pat tur klēpī. Ar vienu roku mūziķis spiež taustiņus, ar otru roku darbina plēšas. Klaviatūras apjoms reti kad pārsniedz 2 oktāvas. Jau lielākās ērģeles sauc par pozitīvu. Šis nosaukums cēlies no latīņu vārda positus – novietots. Dažkārt gadās redzēt latviski rakstām “ērģeļpozitīvs” vai pat vēl aplamāk “pozitīvērģeles”. Var jau saprast vēlmi izvairīties no vārda “pozitīvs” izpratnes nozīmē labs, tomēr tas norāda vien uz zemu valodas kultūru. Tad jau jālieto arī nosaukums “flīģeļklavieres”, jo vārds “flīģelis” arhitektūrā senāk tika lietots, lai apzīmētu ēkas izvirzījumu. Tātad pozitīvs ir samērā viegli pārvietojamas ērģeles ar reti kad vairāk par 5 – 7 reģistriem, vienu manuāli, ļoti kompaktu stabuļu novietojumu, taustiņš atrodas tieši virs stienīša, kurš atver ventili, nospiežot taustiņu. Šādus instrumentus izmanto kameransambļos, nereti continuo partijām orķestros klavesīna vietā, baznīcās kā kora ērģeles. Baznīcu ērģeles nereti kļūst tik lielas, ka sākas diskusijas: vai ērģeles ir kustamais vai nekustamais priekšmets. Lai cik tas nebūtu dīvaini, šis jautājums ir ļoti aktuāls mūsdienu grāmatvedībā un visādos iepirkumos. Jāteic, ka viennozīmīgas atbildes uz šo jautājumu pagaidām vēl nav. Kopš 19. gadsimta beigām pastāv dalījums baznīcas ērģeles un koncertērģeles. Tas gan ir visai nosacīti, jo koncertu var nospēlēt uz ikviena laba instrumenta. Pie tam mūsdienu instrumentos arī baznīcās lielākoties ir iebūvētas modernas vadības sistēmas, kuras atvieglo ērģelnieka darbu. Kad sākās mēmā kino laikmets, lielajos, greznajos konoteātros tika iebūvētas kino ērģeles. Šeit monopols piederēja amerikāņu firmai Wurlitzer, kuras izgatavotie instrumenti tika uzstādīti visā pasaulē. Wurlitzer ērģelēm bija jau elektropneimatiska traktūra, multipleksa sistēma – tas nozīmē, ka vienu un to pašu stabuli izmantoja vairākos reģistros. Tas nekādā ziņā netraucēja, jo šo instrumentu repertuārā bija kino un teātra mūzika; tajos bija visdažādākie skaņu efekti kā pērkona dārdi, lapu čaboņa, vēja šalkšana utt., lai ilustrētu mēmā kino epizodes. Tomēr paradoksālā kārtā pasaules lielākās Wurlitzer ērģeles atrodas nevis teātrī, bet gan picērijā, Arizonā! Gluži tāpat kā pasaules lielākās ērģeles, kurām ir 7 manuāļi, divas pedāļu klaviatūras, 450 reģistri un pāri pār 30 000 stabulēm, atrodas nevis kādā gigantiskā koncertzālē, bet lielveikalā Filadelfijā! Nu, ko lai saka – amerikāņi... Baznīcas, koncertzāles, kapličas, lielveikali un picērijas – vai ir kāda vieta, kur ērģeles nevar atrasties? Nē, nav – ja ne citādi, tad tās var aizvest ar pajūgu vai auto uz jebkuru pagalmu, tirgus laukumu vai skvēru. Protams, es runāju par ielu ērģelēm, angliski street organ, pie mums sauktas par leijerkastēm. Varbūt kāds vēl atcerās ainu no filmas "Vārnu ielas republika", kur pagalmā ienāca leijerkastnieks. Tās arī ir ērģeles, tikai tur taustiņus nospiež nevis meistarīga ērģelnieka pirksti, bet vienkāršā rullī iedzītas nagliņas vai pneimatisko sistēmu darbina perforēta papīra lente. Esmu dzirdējis nostāstu, ka slavenākais Berlīnes leijerkastu būvētājs Džovanni Badžigalupo (Giovanni Badjigalupo) esot pārbaudījis savu instrumentu skanīgumu tādējādi, ka licis to spēlēt savam palīgam otrpus Šprē upei. Ja visu varēja labi dzirdēt, instruments atzīts par labu esam un laists pārdošanā. Dažkārt šādi instrumenti sasniedza ļoti ievērojamus izmērus un to plēšu darbināšanai bija vajadzīga tvaika mašīna vai jaunākos laikos elektromotors. Atšķirībā no iepriekšējiem, angliski tos sauc fairground organ, latviski pat grūti iztulkot šo nosaukumu, jo mūsu zemē tādi nebija pazīstami. Vakareiropā šādi instrumenti skanēja tirgus laukumos, tie bija neatņemami karuseļu pavadoņi – visur, kur tauta lustējās, skanēja šīs ērģeles. Bet vēl senāk mehāniskās ērģeles iebūvēja pat pulksteņos – gan tādos kuri stāvēja istabās, gan arī baznīcu torņos. Šādiem pulksteņiem, kuri vāciski saucas Flötenuhr, burtiski tulkojot "flautu pulkstenis", skaņdarbus rakstīja daudzi izcili komponisti, tostarp Haidns, Mocarts un Bēthovens. Mūsu uzskaitījums būtu nepilnīgs, ja nepieminētu kaliopi (calliope) – tvaika ērģeles, kur stabulēs pūta nevis gaisu, bet īstu, karstu tvaiku! Tādēļ saprotams, ka stabulēm un vējlādēm vajadzēja būt no metāla, lai tvaiks neko nesabojātu. Tvaika avots bija visparastākais tvaika katls, kurš atradās ikvienā tvaikonī. Kaut ko tādu, protams, varēja izdomāt tikai amerikāņi – šādas ērģeles atradās uz lepnākajiem tvaikoņiem, kuri kursēja pa Misisipi upi. Iebraucot ostā, sagaidītājus apsveica ne vien kuģa svilpe, bet arī vesels ērģeļkoncerts!

Transcript included below…Today, we're going to talk about how someone can still enjoy playing the guitar even if they have arthritis.Now, I myself don't have arthritis (yet), and fortunately, I've been blessed so far to have continuous use of my hands and arms throughout nearly 30 years of guitar playing, without incident.But we are not bound for this earth, and there may come a time when our hands may weaken, thereby limiting our ability to play some of the songs we can currently play.In my travels, I've had a few people ask me about what to do if a guitarist has arthritis.I don't want to claim to be able to dispense medical wisdom, because I don't have the background; nevertheless, I have a few things I could offer as suggestions.  Remember, everyone's body and hands are different, so what may be effective for one person may not be effective for another.Also, what may come easily to one person may cause another person to run the risk of injury, re-injury, or exasperating an existing injury.  So please be your own advocate and consider what I'm sharing here merely as an opinion, not a medical recommendation.  Cool?Here are a few thoughts that might encourage and empower a guitarist who has arthritic hands.1. Stretch your hands intentionally and gently before and even after you play. If you've been experiencing these episodes at Guitar Serious Fun for a while, you may have heard the story I shared about how I almost injured my hands due to overusing them with guitar and other instruments.For a refresher on this story, check out Guitar Serious Fun Episode 34: “Can Practicing the Guitar Be Harmful?”, as well as Guitar Serious Fun Episode 77: “Rhythms of Rest for Guitar.”In these episodes, I talked about how I read a couple books about Carpal Tunnel Syndrome and Repetitive Strain Injury and also worked closely with a physical therapist to strengthen my hands. The stretches I've learned through those experiences are ones I share in the early lessons of GuitarSuccess4U with our members.  So, if you want access to those (and so much more), please consider joining our membership.  It could change the game for you.Now I'm under no illusion that Carpal Tunnel Syndrome, Repetitive Strain Injury and Arthritis are all the same.  They are most certainly not.  But they all have something to do with the hands having weakness or fragility, so I think it's worth doing a bit of research and learning more about how to attend well to our hands.One of our guest experts in GuitarSuccess4U is Dr. Gordon Myco, a Chiropractor and health coach.  Dr. Myco said in one of our lessons, “Take better care of your body than you do your guitar…because you can always get a new guitar.”  Right?2. Take breaks and always be conservative with hand use, not just while playing guitar, but while doing anything repetitive.This includes yardwork, crafts, or anything mechanical, especially something that requires some strength.  We do need to keep our hands moving, but we don't want to strain the muscles and joints.Breaks are super helpful, as we also talked about in “Rhythms of Rest for Guitar.”Speaking of rest, the Lord does some wonderful things to repair muscles, joints and even vocal fatigue as we sleep.  But if your hands are in any way compromised in their mobility and agility, it might be worth evaluating your sleep posture. I don't yet require them, but I am familiar with wrist guards that keep a person's wrist in neutral position as they sleep, so that they don't hyperextend them unwittingly. But again, I'm not even confident to speak intelligently on the physiological definition of “hyperextension,” so I'll step back from over-speaking here.  Just think, “Wrist guards may eventually be worth considering.”Now let's get into the practical aspects of playing the guitar if you have arthritis.3. Pray before you play.This may sound familiar, because it is actually a past episode.  It's Guitar Serious Fun Episode 47, by the same title: “Pray Before You Play”.  I encourage you to spin through that.  Is praying practical?  Absolutely.  Even offer a simple prayer like, “Lord, you've made my hands.  I'm fearfully and wonderfully made, and I sense a calling from you to use my hands and the guitar for your glory, in this season.  So please provide a way for me to do this, even if it's a way I can't yet see.”4. If you're an acoustic guitarist, make sure your action is low enough.I've been an acoustic guitarist my whole career.  And I've crossed paths with thousands of acoustic guitarists.  Unfortunately, a significant number of them have guitars that have unnecessarily high action.This could be because their instruments are in a lower pricing tier.  They could have also just come from the store and haven't been set up yet.Mike Lull's Guitar Works, the only shop I trust for repair and all the care of my guitars, was gracious enough to host me at their shop for one of our GuitarSuccess4U Expert Interviews.  They took me on a special tour of their workbenches, showed me their Plek Pro machine, and talked about how “Guitar Repair and Care” can be essential to our success.  I was even granted permission to provide to my members a special additional short video interview with the late founder, Mike Lull, about his story, process and philosophy of guitar repair.During the interview I conducted with the guys at the shop, Spencer Lull, Mike's son and the President of Mike Lull's Guitar Works, said that even a high-end guitar may still need to be set up by their shop.  He said that the vast majority of the work they do is to set up guitars.What does this entail?  It could mean re-setting or replacing the nut or the saddle.  Incidentally, this is the critical location where the strings are attached to the instrument.  If either the nut, the saddle or both are too high, the action will be too high.The truss rod may also need to be adjusted.Ironically, there are guitarists out there trying to play music on guitars that have not yet been set up, or that have been improperly set up, and without exaggerating, this is severely hindering their progress. It would be analogous to driving a car with tires that have very low air pressure.You can still drive a car with really low pressure in the tires, but it's not sustainable, and it's much more difficult.A well set up guitar increases morale. I taught several workshops recently at the Christian Musician Summit in Tacoma, Washington, and as I spoke about the importance of having a guitar properly set up, I allowed my guitar to make its way around the room.Each student present tried playing my guitar and handed it off to the next person.  And the overwhelming response I heard back from many of them about my guitar was “This is much easier to play on.  I think I really need to get my guitar set up properly.”So in GuitarSuccess4U, one of the 5 instant bonuses my members get access to is a short video I put together called “10 Tips for Proper Guitar Setup.”  Getting your guitar set up properly, especially by Mike Lull's Guitar Works, could be a game-changer, especially if you have arthritis. It could literally change the action to the point where you can play your acoustic with much greater ease.  Notes you couldn't access before could become more accessible.Mike Lull's Guitar Works repairs and sets up the guitars of Bob Dylan and Eric Clapton. I mean, if their shop is good enough for those two well-known guitarists, it's good enough for me.  Look them up at MikeLull.com.  Follow the menu to “repairs” where you'll discover that they currently offer a free instrument assessment. And please tell them David Harsh at GuitarSuccess4U sent you.  I don't currently get any sort of referral fee, but I do get the satisfaction of knowing that they are taking care of my people!5. Try lighter gauge strings.I use Elixir Nanoweb Medium Gauge Strings – from gauges 13 to 56.  These have a bit of low end for a fuller sound, and they also allow me to tune to the many alternate tunings I like to play in.I've played guitars that require light gauge strings because of how they are manufactured.  Medium strings on those guitars would literally strain the neck.But light gauge strings on a properly balanced and set up guitar neck could be another solution that would allow for more playability with less exertion by arthritic fingers.6. If you haven't already, try playing a classical nylon-string guitar. These guitars provide several benefits, including the fact that the strings take less effort to fret because the strings are made of nylon, not steel.  Also, because classical guitar necks are wider, the strings are further apart, so some chords are easier to form.Now, I'm not a classical guitarist, so I don't approach that guitar with the posture and hand angles that a classical guitarist would use.  Nevertheless, I do find that classical guitars are much more responsive and require less hand strength, which might be a good next step with someone who has arthritic hands.It all depends on what your fingers are capable of.I've met guitarists who have arthritis who are able to navigate a 12-string acoustic guitar.  That, to me, is surprising, because there are literally twice as many strings; each finger has to fret two strings simultaneously for every note. But hey, if the instrument is responsive, and the guitarist has the strength and is enjoying playing the instrument, I say, make some great music!7. Try an electric guitar.Although I'm not an electric guitarist, I will readily admit that electric guitars typically have much more responsive string action, sometimes requiring even less pressure than a classical guitar would.  Of the few times I've played a friend's electric, I've observed this feature right away.Depending on which type of electric (Stratocaster, Telecaster, etc.) you may discover variations in the guitar neck shape, and how the manufacturer has fashioned the instrument. With this in mind, you may want to try playing a few different electric guitars, whether at a friend's house or even in a guitar store showroom.  Your hands will tell you what's working…but remember, as I've mentioned, some of the guitars in that showroom – even the electric guitars – may not have been properly set up yet.8. Experiment with some open / alternate tunings.There are more possibilities for alternate tunings than you can imagine.  But the ones that tend to require less fingers are ones that contain drones and low notes for an actual chord to be played open.  Drones like low D A D on the three lowest strings, for example, can be foundational for an open D-based tuning. DAD (on strings 6, 5 and 4)  could be the basis for DADGAD (perhaps one of the most famous and well-loved tunings), but also DADF#AD (which is open D Major), or even DADFAD (open D minor, which actually allows for more versatility, as songs I've composed in that tuning have revealed.)But if someone re-tunes a few of their strings (down, typically), entire worlds can open up where they can let a lot of the strings ring open, unfretted, to the relief of their fretting hand. Side note: tuning strings down allows for lower tension and easier “fretability.”  Is that a word?  Nope, but you get it.  Some tunings I've experimented with involve tuning some strings up.  So try down-tuning first.In some tunings, a single note can be fretted and slid up and down the neck, and it can still sound interesting.  Some chords in alternate tunings require fewer fingers, which can be a relief.Another side note: if you're going to collaborate with someone else, it's a nice gesture if you can know what some of the basic chords are in the alternate tuning in which you find yourself, because when they observe your hands on the frets, if they've got guitar or bass background, they'll be confused to see you in unconventional locations playing “new” notes or shapes.9. Experiment with some partial capos.There are multiple partial capos on the market, some of which fret all but a single string, or just half of the strings.  Note that a partial capo does not place a guitar in an alternate tuning; this is confirmed by playing a bar chord or a closed voicing scale in position above the capo, where the notes remain from where they were before the capo was applied to the guitar.But a partial capo can allow for some fingerings with the use of fewer fingers.  These can also allow for drone notes. There was a capo manufactured years ago called the Third Hand, and fingerstyle guitarist Harvey Reid was super helpful about spreading the word about what this capo was capable of. It has since been surpassed by the SpiderCapo, which basically fulfills the same function: six spinning tumblers that allow for 63 combinations of fretted notes per fret.  It is the “Cadillac” of partial capos, because it allows for all possible options.  The current model of the SpiderCapo that I have is not super rugged.  It doesn't feel like it's been very well manufactured, so I kind of have to baby it on my guitar neck.Through Harvey Reid, I was made aware of Liberty Guitar, a new method of playing guitar using a slightly altered tuning and a tool called a “flip capo.”  Some of this method only uses the two middle fingers of the fretting hand, which may provide considerable relief for someone with arthritic hands and allows guitarist to get faster traction if their hands are not as strong.As demonstrated by this concept, you can combine an alternate tuning with a capo, whether complete or partial.  But do some experimenting and discover what's possible.10. Experiment with a bottleneck slide.There are a few tunings, specifically DADF#AD (open D Major) and DGDGBD (open G Major) that have been fairly easy for me to tune to.  Once there, I've tried using a slide up and down the neck, so as to facilitate the basic open I, then 5th fret IV and 7th fret V chords, for slide guitar.This is an entire genre, and it definitely places the guitarist in a certain style of playing.  But the “win” here is that he or she can play slide guitar with very little strain or stress of the fretting hand, because the reality is, they aren't fretting.  They're placing the bottleneck or slide just against the strings, not even pressing down much, and they're still making music.11. Take a break from the guitar.I don't encourage someone to quit playing their guitar simply because they have arthritis.  Hopefully, today's discussion has shown my hope, to the contrary, that they stick with it.But if someone's hands are weak or tired, it might be nice for them to enjoy a short season of music on another instrument that's less demanding.  Instruments that come to mind are: harmonica, autoharp, hammered dulcimer, or even singing.  Each of these are instruments where we can enjoy music without a lot of exertion of the hands.  Lastly…12. Place yourself in the path of a guitar teacher or guitar community.The road to musical proficiency can sometimes be lonely.  And even after we've made significant progress, we can still experience moments of discouragement for one reason or another.For this reason, I highly recommend GuitarSuccess4U.  It's a tribe of like-minded guitarists who are all accessing the same premium, curated collection of tools.It's not a support group per se, but it does provide tremendous support.  For some of our members, these are their people.  Guitar is not something everyone in the world speaks or understands, so when we gather for our weekly Zoom calls, there's a level of empathy and understanding that isn't found in other places.Members experience accountability, encouragement, and an incredibly in-depth, yet accessible approach to the instrument.Proverbs 15:22 says, “Plans fail for lack of counsel, but with many advisors, they succeed.” I can think of two of our members currently who are on the journey of an arthritic guitarist.What if you, as a guitarist who is struggling with arthritis, were to join us, become known in our community, and then discovered some collective wisdom from the group?  It could be a game-changer for you. All it takes is a tiny change in our trajectory to send us in a whole new direction.I invite you to check out our website if you haven't already – at GuitarSuccess4U.com. We have a list of Frequently Asked Questions, and some sample lessons as well.  Re-capIn closing, you might appreciate knowing that today's episode came to life as a result of an e-mail exchange I had with someone asking for wisdom for a guitarist with arthritis.  They asked the question, and here, in this episode, was my answer.  Can you see what a single question has produced in today's episode?  If this discussion directly relates to you, I hope these strategies are in some way helpful to you as you persevere through the season of arthritis and still desire to make music on some level with your guitar.So, if you have a question or a topic you think we might be able to tackle here at Guitar Serious Fun, let your thoughts be known in the comments for today's episode.  As you may recall from Guitar Serious Fun Episode 22: “I Don't Know…But Let's Find Out,” I will intentionally avoid speaking about something I'm not familiar with, or pretend to know something I don't.  That's just not how I roll.But if the topic is in my wheelhouse, I'd be glad to share my thoughts here.  So please continue to experience my offerings here and to share Guitar Serious Fun with others in your circles.  We've got more great stuff coming up.Thanks for experiencing my thoughts. I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

We are to be epistles written without hand to the inhabitants of this world.

Le Sénateur Boisvenu commente le discours économique de la ministre Freeland, des lois qui sont plus favorables aux pédophiles? Le scandale sur les dépenses de l'administration de la ville de Montréal et les sondages en date d'aujourd'hui. André Durocher et Mélanie Simard dans la chronique ISAAC Instruments nous parle des données que le systeme est... The post 21 Novembre 2023 Pierre-Hugues Boisvenu – Mélanie Simard et André Durocher pour Isaac Instruments – Gaetan Legaré directeur de l'ANCAI appeared first on Truck Stop Québec.

Learn more about UCC Article 3 and how to get access to our program on how to use it. Go here: https://linktr.ee/filauniversitySupport the show

Rebroadcast - original aired November 24, 2019   Click here for Notes 2 Kings 22:1-20; 23:1-3 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

durée : 00:55:59 - Les instruments de musique surprenants. - par : Serge PAPAGALLI, Alain SALOMON

Episode 111 Before and After Ambient, Part 2 Playlist Midori Takada, “Mr. Henri Rousseau's Dream” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood Bell, Ocarina, Tam-tam, Midori Takada. She performed all of the instruments on this album. The album was not immediately popular but seeded the nascent ambient movement that was growing in Japan at the time. Midori Takada, “Trompe-l'œil” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood and clay Bells, Ocarina, Tam-tam, Cola Bottle, Reed Organ, Midori Takada. She performed all of the instruments on this album. Brian Eno and Harold Budd, “Their Memories” from The Pearl (1984 Editions EG). Composed by Brian Eno, Harold Budd; produced by Brian Eno and Daniel Lanois. David Behrman, “Interspecies Smalltalk Scene 2” (1984) from Leapday Night (1987 Lovely Music). Composed, produced, and computers by David Behrman; violin, Takehisa Kosugi. "Interspecies Smalltalk" (1984) is an interactive piece originally commissioned by the Cunningham Dance Company. Yutaka Hirose, “Light Which Shakes Quietly” from Nova+4 (2019 WRWTFWW Records). Bonus track on this reissued album that dates from 1986. Composed , Arranged and Computer by, Yutaka Hirose; Synthesizer, Jun Tohyama. Takashi Kokubo, “A Dream Sails Out To Sea - Scene 3” (2019 Light In The Attic). Originally released in 1987, this track was part of the new wave of Japanese ambient music. By that time, Kokubo was already reknown for his synthesizer skills on a part with Isao Tomita. He turned to sound design and ambient music and has been instrumental in addition to creating such sounds as the nationally-used mobile phone earthquake alert and credit card payment jingles. Yoichiro Yoshikawa, “Nube” from Cyprus (1988 Eastworld). Original sound track of Japanese TV program. Yoshikawa was already a reliable session musician when he acquired one of the first Phophet-5 synthesizers in Japan. He quickly became a go-to composer for television and other purposes, such as soundscapes for museum exhibitions. Tetsu Inoue, “Low of Vibration” from Ambiant Otaku (1994 Fax +49-69/450464). Before I met Tetsu around the year 2000, I was fascinated by music such as this which had all of the elements of ambient music—slow and forming harmonies, spatial rhythms rather than beats, and a sustained energy throughout—without sounding at all like something out of an Eno production. Produced and performed by Tetsu Inoue. Kenji Kawai, “Ghostdive” from Ghost in the Shell (Original Soundtrack) (1995 RCA). An ambient work from the popular movie soundtrack.Composed, Performed, Produced, Arranged, Keyboards, Instruments, Kenji Kawai; synthesizer, Hironori Houki. Waveform Transmission, “V 1.3” from V 1.0-1.9 (1996 Silent). Analog Tone Engineering and Realization, Recordings Of The Dead, Shortwave, Field Recordings Made During Periods Of Highly-charged Paranormal Activity, Korg MS 10, Korg MS 20, Korg MS 50, Roland System 100 Synthesizers, Home Built Analog Synthesizers, Tape, Loops, Chris Troy; Digital Audio Graphs, Granular Synthesis, Microwave Communications, Psycho-acoustics, Tape, Loops Otari MX 5050 loops, Rod Modell. Experimental Audio Research, “Automatic Music (For Oscillator, Ring Modulator & Filter Clusters)” from Pestrepeller (1999 Ochre Records). UK release, limited to 1000 copies. Engineer, Serge Modular Music System, Sonic Boom (Pete Kember). Some interesting modular synthesizer ambience. John Foxx and Harold Budd, “Raindust” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx. John Foxx and Harold Budd, “Some Way Through All the Cities” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx. Pete Namlook, Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, produced, and performed by Pete Namlook, Tetsu Inoue. Recorded at Bretton Hall, New York and Klanglobor Hödeshof. Tetsu was an endless collaborator. Here he and the wondrous Pete Namlook wove some ambient magic. Tetsu Inoue, “Kaze” from Inland (2007 Fax +49-69/450464). Written, performed and produced by Tetsu Inoue. This was his post-glitch faze, which brought together, strangely enough, element so his earlier ambient work and glitch music for computers. Masuko Shinji, “Woven Music for Blue Steppe” from Woven Music (2011 Jagjaguwar). All music, vocals and guitar, 増子真二 (Shinji Masuko). This is a project by Masuko, who sometimes works with the Boredoms. It has a characteristic high but sustained energy level that flirts with the outer reaches of the ambient music concept. Caroline Park, “Grain 5” from Grain (2011 Private Chronology). This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed, and mixed between May 2010 and January 2011 in Los Angeles and Boston. Sarah Davachi, “First Cadence” from Antiphonals (2021 Late Music). Composed, Recorded, Performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. A recent ambient work by this contemporary experimenter. In the background: An example of ambient music from the program Droneo by Henry Lowengard, which produces self-generating ambient music on a smart phone. “Droneo 1.5 vanDelay and Ape,” (5:25). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Here in Episode 143 of the No Name Music Cast, it is Joy's turn to pick the topic and she chooses to talk about very unique musical instruments!We discuss Sitar, Steel Drums and the Penny Whistle to name only a few.We also cover The Talking Heads, Bob Dylan, Paul Simon and The Beatles!https://www.facebook.com/NoNameMusicCast/

In this hygiene chat, Dr. Emily Boge, EdD, RDH, CDA, and Kara Vavrosky, RDHEP, discuss strategies to remove biofilm and the instruments we have on our tray. Podcast originally posted as a video on Kara RDH's Facebook page on November 15, 2023: https://www.facebook.com/DentalHygieneKaraRDH/videos/1695985734256384 A big thank you to Dentsply Sirona for sponsoring this video series and their support of hygienists in general! See the science behind ultrasonic scaling with Dentsply Sirona's Cavitron Ultrasonic Scaling System at https://www.dentsplysirona.com/en-us/discover/discover-by-topic/by-category/preventive/biofilm-beware.html Need CE? Check out the latest courses at ⁠⁠https://rdh.tv/ce⁠⁠ Get daily dental hygiene articles at ⁠⁠https://www.todaysrdh.com⁠⁠ Follow Today's RDH on Facebook: ⁠⁠https://www.facebook.com/TodaysRDH/⁠⁠ Follow Kara RDH on Facebook: ⁠⁠https://www.facebook.com/DentalHygieneKaraRDH/⁠⁠ Follow Kara RDH on Instagram: https://www.instagram.com/kara_rdh/

The Wolfe Tones have been making headlines the last few months with sell-out gigs at EP and the Féile in Belfast but today they are in the headlines once again, as the Irish rebel band have announced they are set to retire.They will hang up their instruments in 2024 after 60 years of performing together. Kieran spoke to Wolfe Tones member Brian Warfield to reflect on the group's successes.

What do the plaque on your teeth, soap scum, and slippery rocks down by the creek all have in common? They're all examples of biofilm! But these aren't the only places that biolfims can form – they can also be found on our surgical instruments and inside our bodies. Joining us today to talk about all things biofilm is Mike Matthews, Director of Customer Education at Agiliti. In this interview, we'll discover how biofilm forms, the ways in which it can cause infection, and what we can do in the Operating Room to help prevent it. Stay tuned! Love our show? Download our First Case mobile app on:

Rebroadcast - original aired November 17, 2019   Click here for Notes Isaiah 5:1-7; 11:1-5 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

Instruments to drool over.  Fantasize about.  Lust after.  Stephen Stratton has been building stringed instruments since graduating from the Roberto-Venn School of Lutherie in Phoenix in 1998.  He now creates playable works of art from his shop in the Sacremento Mountains of New Mexico.  Stephen stopped by the Goldwater Building to chat about, you guessed it, guitars, as well as the life and times of this remarkable craftsman.

Rebroadcast - original aired November 10, 2019   Click here for Notes Hosea 11:1-9 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

Get ready to embark on a captivating musical journey as we dive into the rich tapestry of Native American Musical Storytelling in honor of Native American Heritage Month. For centuries, Native American communities have passed down their traditions, stories, and cultural heritage through the power of music. In this episode, we'll explore the mesmerizing world of Native American music, a form of storytelling deeply rooted in history, tradition, and the natural world. Together, we'll embrace the rhythms, melodies, and narratives that have been an integral part of Native American culture. Native American Heritage Month is a time to honor and celebrate the rich heritage of the Indigenous peoples of North America, and I believe that music is one of the most beautiful ways to do just that. Through the power of storytelling in song, we'll gain a deeper appreciation for the incredible diversity and resilience of Native American cultures. Links Mentioned in this Episode: Episode 6: Instruments in Native American Music Episode 33: Powwow Music Musical Samples You'll Hear in this Episode: Hopi Spirit Chant - The Native American Indian Tony Redhouse Traditonal Navajo Chant Carlos Nakai: Earth Spirit SweetGrass Ojibway-Intertrible Drum Song Powerful Native American Chant Music Listening Schedule for Episode 109 A playlist of the music heard in today's episode can be found here. Listen to it over the next 2 weeks, until our next brand new episode of Busy Kids Love Music airs! Subscribe & Review in Apple Podcasts Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in Apple Podcasts! If you're feeling extra magnanimous, I would be really grateful if you left a review over on Apple Podcasts, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!

Professor Olaf Diegel from the University of Auckland is using 3D technology to preserve taonga puoro - or traditional Maori instruments. Professor Deigal speak to Nights.

Where does the musical octave come from? What makes a C note a C? Why do different instruments sound different? Special guest Tim Cohen comes on to answer these questions and more.For ask-us-anything segments and other exclusives, join us for just $3 a month on Patreon: https://patreon.com/whythisuniverseSupport the show

The recent news of the violence and murder of thousands of people in Palestine and Israel has sent shockwaves around the world. In the midst of conflict lies confusion and finger-pointing. In this very special episode of For People, Bishop Wright has a conversation with Archbishop Hosam E. Naoum, the Anglican Archbishop in Jerusalem. His jurisdiction covers Palestine, Israel, The Westbank, and other territories and states. They discuss the current conflict and preserving the dignity of every person - that in this time of war peacebuilding across the table must be the response. They delve into the crucial role the church plays in fostering a lasting, just solution for both Israelis and Palestinians, even in an environment characterized by tension and mistrust. Listen in for the full conversation.Give to The Diocese of Jerusalem here.The Most Reverend Hosam Elias Naoum was consecrated as Bishop Coadjutor of the Episcopal Diocese of Jerusalem in June, 2020, and he was installed as Diocesan and the 15th Anglican Bishop in Jerusalem on May 13, 2021. He was born in Haifa in 1974 and grew up in Shefa'amr in Galilee. Married to his wife Rafa, they have a son and two daughters: Wadie, Laurice, and Krista.As Diocesan Bishop, Archbishop Hosam is the Chief Pastor of the 28 parishes spread through the five political regions of Israel, Palestine, Jordan, Syria, and Lebanon. As Bishop, he is also Chairman of the Board of each of more than thirty institutions of education and healthcare spread throughout the five countries of the Diocese, including Gaza. The diocesan schools, hospitals, clinics, rehabilitation and vocational training centers provide the best possible services while reaching out to assist those who cannot afford to pay for services and strengthening the Christian presence in this region.In a multicultural, multi-faith, multi-ethnic diocese spread across five countries, Archbishop Naoum is a strong advocate for peace and reconciliation. A significant member of many ecumenical and interfaith organizations, he works with the Archbishop of Canterbury on Anglican and interfaith issues. One of the thirteen recognized Heads of Churches in Israel, Archbishop Naoum faithfully encourages leaders of the Churches to make every effort to strengthen the Christian presence as a moderate and mediating Body in a region torn by anxiety and unrest.In May of 2023, Archbishop Hosam also became the Primate over the entire Province of Jerusalem & the Middle East, which includes not only the Diocese of Jerusalem, but also the Diocese of Cyprus & the Gulf and the Diocese of Iran. In January of that same year, he was also elected as Vice Chair of the Anglican Consultative Council at the ACC-18 Meeting in Ghana, a representative body that serves as one of the uniting Instruments of the Worldwide Anglican Communion.Support the show

Trans-Atlantic alternative neo-folk collective Lusitanian Ghosts have released their third album 'Lusitanian Ghosts III' via European Phonographic. Released in both stereo and mono versions, this album was recorded and mixed at Clouds Hill Studios in Hamburg by Sebastian Muxfeldt (Elbow, Peter Doherty, Teenage Fanclub).I spoke with Neil Leyton one of the founding members of Lusitanian Ghosts. Along with Micke Ghost (a.k.a. Mikael Lundin) who share vocal duties, the Portuguese-Canadian-Swedish chordophone collective, Lusitanian Ghosts revives lost instruments and presents ancient sounds in the 21st Century. Re-casting these heritage folk violas into rock n roll songs, the European artist collective writes from a socio-political perspective on building a better world, creating songs for the heart and mind, recording on analogue tape and releasing moving music on vinyl.https://lusitanianghosts.netThe Music of Lusitanian Ghosts can be heard also on QUEEN OF WANDS with DJ Nocturna Every Saturday on ModSnap Radio KMOD: San Antonio2pm (HST), 5pm (PST), 6pm (MST), 7pm (CST), 8pm (EST) THANK YOU for your continued support !Follow me on my other social media sites :Website: https://djnocturna.comRadio: https://modsnapradio.com

Originally released June 2018: The Transformers: The Movie is a six million dollar animated film that came out in 1986, co-produced and directed by Nelson Shin, who also produced the original The Transformers television series on which the film was based. The origins of that cartoon series was a line of toys produced by Hasbro, based on designs which originated in Japan, vehicles which transformed into robots. The film spawned an amazing hard rock soundtrack which is the focus of today's episode. On this episode you will hear conversations BJ had with Stan Bush, who wrote and sang the first single from the soundtrack, "The Touch," Vince Dicola, who wrote the song "Dare," also sung by Stan Bush (Vince also wrote the score for the film), and members from the three bands featured on the soundtrack: Jerry Best, bassist from Lion, who recorded a heavy metal version of The Transformers theme, Ernie Petrangelo, guitarist and songwriter from Rhode Island metal band NRG, responsible for the killer track "Instruments of Destruction," and Larry Gillstrom, guitarist from Canadian heavy metal band Kick Axe, who were credited as Spectre General for the soundtrack, they contributed two songs, "Nothing's Gonna Stand In Our Way" and "Hunger." This episode is a deep dive into one of the funnest movie soundtracks of the eighties. It's more than meets the ear! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Bible teaches that one of the most important factors in our Christian walk is the motivation behind our actions.  This is true regarding how we worship in song.  But does the Bible allow, prohibit or stand neutral on the use of instruments in worship?  Of course, there are a number of non-instrumental churches around the world who say the use of instruments is not only not preferred but is actually sinful.  In this podcast, we explore their reasons for drawing such a conclusion and weigh the evidence for and against this position using the scriptures.

A lot has changed in the general counsel role in the past few decades. In today's day and age, in-house lawyers have to learn how to establish human connection with the people they're dealing with. Unfortunately, there is a serious lack of training in people skills in both law school and even in legal practice. That needs to change. In this episode of The Legal Department, Aarash Darroodi, Executive Vice President and General Counsel of the iconic American company, Fender Instruments, explains why the ability to connect with people is essential for lawyers, especially for those in in-house roles. He also discusses why growth is essential for all in-house roles, how outside counsel can "Build a Rain Machine" for business development, and more. Tune in and learn all about one of the biggest predictors of in-house counsel success in our age!

A FULL MOON is a cosmic alignment that occurs when the sun, earth and moon are all positioned on the same axis. Aligning with the cycles of the moon and actively tuning into its energies opens us up to greater opportunities for exploration and self-care. They typically represent emotional release, reflection and pause, celebration and culmination, as well as time to heal. Enjoy this Soundbath curated specially for the Hunter Moon in Taurus. A powerful Full Moon and partial lunar eclipse that brings with it an amazing opportunity to dig into our self care and provide us with the grounding we need to prepare for the future. Instruments are 3 Chakras Crystal Bowls, Koshi Chimes MEINL Sonic Wave Drum & Grotta Sonora Cosmic Gong Plate

Rebroadcast - original aired November 3, 2019   Click here for Notes 1 Kings 18:20-39 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

Présentation et démonstration de la guitare de Chris Jenkins de Lame Horse Instruments (lamehorse.net) par le musicien Hugo Martin (coursdeguitaremoderne.fr) en présence du luthier lors des concerts de démo du Festival Guitare de Puteaux 2023. Concert de démo Lame Horse Instruments Prise de son, images et montage : Philippe Camus Podcast de La Chaîne Guitare L'article Lame Horse Instruments – Présentation de la guitare et concert de démo Hugo Martin est apparu en premier sur La Chaîne Guitare.

Ideen und Gedanken zum Erlernen eines Instruments

Depuis quelques jours, le Média -Web TV initialement lancé par des proches du mouvement de gauche radicale -La France insoumise- est accessible à la télévision française. Aux côtés des chaînes généralistes. Aux côtés également de CNews considéré d'extrême-droite par l'ancien ministre de l'Éducation nationale Pap Ndiaye. CNews aux mains de l'homme d'affaires Vincent Bolloré tout comme la radio Europe 1 et l'hebdomadaire le JDD. Y a-t-il un projet politique derrière tous ces médias ? Quels garde-fous pour garantir et pérenniser l'indépendance et le pluralisme ? Pour en débattre :- Emilie Zapalski, communicante politique, fondatrice de l'agence Emilie Conseil  - Alexis Lévrier, historien des médias, auteur de Jupiter et Mercure, le pouvoir présidentiel face à la presse, éditions Petit Matin- Daphné Ronfard, directrice du plaidoyer de l'association Un bout des médias, association citoyenne dont la mission est de promouvoir l'indépendance des médias vis-à-vis de tous les pouvoirs, politiques ou économiques. 

Depuis quelques jours, le Média -Web TV initialement lancé par des proches du mouvement de gauche radicale -La France insoumise- est accessible à la télévision française. Aux côtés des chaînes généralistes. Aux côtés également de CNews considéré d'extrême-droite par l'ancien ministre de l'Éducation nationale Pap Ndiaye. CNews aux mains de l'homme d'affaires Vincent Bolloré tout comme la radio Europe 1 et l'hebdomadaire le JDD. Y a-t-il un projet politique derrière tous ces médias ? Quels garde-fous pour garantir et pérenniser l'indépendance et le pluralisme ? Pour en débattre :- Emilie Zapalski, communicante politique, fondatrice de l'agence Emilie Conseil  - Alexis Lévrier, historien des médias, auteur de Jupiter et Mercure, le pouvoir présidentiel face à la presse, éditions Petit Matin- Daphné Ronfard, directrice du plaidoyer de l'association Un bout des médias, association citoyenne dont la mission est de promouvoir l'indépendance des médias vis-à-vis de tous les pouvoirs, politiques ou économiques. 

Rebroadcast - original aired October 27, 2019   Click here for Notes 1 Kings 12:1-17, 25-29 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

Instruments of righteousness

Présentation et démonstration de deux instruments de Julien Garcia (juliengarciaguitares.fr) par le musicien Hugo Martin (coursdeguitaremoderne.fr) en présence du luthier lors des concerts de démo du Festival Guitare de Puteaux 2023. Concert de démo Julien Garcia Guitares Prise de son, images et montage : Philippe Camus Podcast de La Chaîne Guitare La version audio de L'article Julien Garcia Guitares – Présentation des instruments et concert de démo Hugo Martin est apparu en premier sur La Chaîne Guitare.

durée : 00:49:06 - Grand Canal - par : Eva Bester - La violoncelliste argentine Sol Gabetta se produira comme soliste avec le Concerto pour violoncelle d'Edouard Lalo à la Philharmonie de Paris ce vendredi 20 octobre. On la retrouvera également avec le pianiste Bertrand Chamayou dans l'album "Mendelssohn" qui sortira le 23 janvier 2024.

https://www.facebook.com/thennnowband/Youtube What happens when you mix country and rock roots from a father/daughter duo with an age gapof more than 45 years, with sounds incorporating heavy guitar riffs, cello, flutes, keyboards andtrumpets along with a steady bass and drum rhythm section? You'll get Then & Now- a groupfrom South Africa featuring Graham and Tori Ferreira, that is releasing an eclectic mix of musicon their new album titled Aces, Angels & Devils.Graham, 77, and his daughter Tori, 31, both have dynamic backgrounds in the musical world.While their styles were drastically different, with Graham singing and writing country tunes andTori deep into the punk and metal music world, the two share a common bond of being able toput together unique, creative music. Then & Now released the album Tales of Long Street in 2022, which is mostly country and rock, but includes accordion to give it a bit of a Mediterranean feel. The newest album, Aces, Angels & Devils is a whole new ballgame. The opening track sets the tone, with an extended psychedelic sounding guitar intro that leads into Tori and Graham trading off on vocals. One song on the album titled “Angel or a Devil?”, is a gritty tale complete with mesmerizing flute with a catchy chorus led by Graham. He sings, “When she comes to me at midnight, I don't care what you say. Angel or a devil, love her anyway.” It includes a blistering guitar solo by Fraser, before Graham repeats the chorus, driving it home to the listener.Another track, “Year of the Dog,” is one that Then & Now is proud of, saying it is “creepy” in thebest of ways. The lyrics go: “It was the year of the dog when I was born, on the wings of aneagle in the eye of the storm, flying high above the world, looking down from afar, so here I amand there you are, we must follow our own star. Easy come and easy go, if you listen carefullyyou'll know, which way the wind is going to blow.” While Then & Now has generally played their own tunes, they do have one cover on the new album - the fun Bobby Bare sung drinking song “Tequila Sheila” that was a hit in 1980. The track has a Tex Mex feel, with trumpets and all.The album has touches of classic rock, alternative rock, psychedelia, swing music, a latin flavorand, of course, some country vibes. You can chill to it or dance to it, but one thing is for certain:it is unique. Tori calls their sound “unpredictable,” with Graham agreeing, adding that they are“different and creative.”

The Connected Experience - The Dean and JR Got Hits Episode Join Antoine and Santoine as we welcome back #Family of the show Dean (@not.deangelus) and JR (@Jr.got.the.hits), They stop by to speak on Jr's new project “Return Of The People Mover” and much more. Press Play and #getconnected Watch Vintage Episodes of The Connected Experience Follow us on On InstagramOn Twitter / XListen to “The Podcast Album” by The Connected Experience now via Tidal Listen NOW to The Podcast Album

Rebroadcast - original aired October 20, 2019   Click here for Notes 2 Samuel 5:1-5; 6:1-5 Sponsor: Opening Music: Misirlou, One Man 90 Instruments by Joe Penna/MysteryGuitarMan at MIM Closing Song by Bryan Odeen

In this episode we have on Dr. Emily Boge speaking on behalf of Young Innovations, and this was one of those that we recorded at RDH Under One Roof. We talk about lots of things, instruments and instrumentation, how listening to the students helps her and the team she works with at the college make better informed decisions. She talked to us about grants and grant writing - really we covered quite a bit in this episode. Its always great to have her on and there is much to learn from this episode. Thanks again to Erika Flateau for filling in as co-host, its always much better to have more people on the episodes. If you want to reach out to her or check out her website: ereinert@hotmail.com or Emily.boge@hawkeyecollege.edu  Thinkbigdental.com http://ydnt.com/ - if you want to check out what Young Innovations has to offer, check them out here!

Host Nate Wilcox answers questions from Let It Roll readers. Topics include "What do you think is the most important era of music over the last 100 years?", What is your personal favorite era and why? and many more. Buy the book that started the whole series and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's SHORT SHIFTS episode, Vechs asks Toph about a hot-button topic in the world of player development - the use of on-ice instruments! Do their benefits outweigh some of their limitations? Is there an optimal age to start using them? These questions and MORE… TEN MINUTES ON THE CLOCK STARTING NOW! We appreciate every listen, download, comment, rating and share on your social sites! Learn more about your ad choices. Visit podcastchoices.com/adchoices