Podcasts about Timpani

The party gears up to return to the temple and brave the elemental nodes in order to gain the jewels needed to complete the Orb of Power.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

The party confronts an old enemy in a new form to save Timpani and free the town of Nulb from its corruption.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Dhagmark returns in the nick of time, but defeating the wights reveals the return of an old enemy in a new form.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Strange things are afoot in the town of Nulb and the Opal Order is thrust into the mystery even though they are still battered from their encounters on the fourth (and most dangerous) level of the temple.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Battered, bruised, and in Timpani's case, mostly dead, the party attempts to make their way out of the dungeon. In his usual fashion, Cutbait nearly gets everyone killed. It's high tension in the ol' dungeon in this episode of Temple of Elemental Evil! Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Our heroes are outnumbered on the deadliest level of the temple and have a hard battle in front of them. Will they conquer Hedrick and his minions or has Moradin forsaken them? All the answers and more on this episode of Temple of Elemental Evil! Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Squidder comes up with a bizarre and daring (read that as foolhardy) plan to gain entrance to the main temple on the fourth (and most dangerous) level of the Temple of Elemental Evil. Join us for shenanigans for this one year anniversary of OSE on Microphones of Madness! Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Holy Duplicates, Squidder! The team gets a bit of a shock when a Doppelganger fails to take out the bard. Danger lurks around every corner on the fourth level and we stumble into a brawl against one of Hedrick's lieutenants. Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

The party continues their exploration and encounters one of the strangest creatures of the fourth (and most deadly ~S) level of the Temple of Elemental Evil.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

The eyes of Iuz are upon the Opal Order. Our heroes find themselves cornered in the Head Cleric's chambers, and must fight off some of the more potent creatures in the menagerie.   Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger

The heroes encounter a group of Hill Giants and an unexpected friend who gives them vital information regarding the dungeon's fourth level.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger

Mike T. thought we were talking about Timpani mutes, but together we talk about timpani concepts and basics also, which is a better topic.   What's the difference between "dampening" and "muting"?  We don't know and confuse these words the whole episode.   Overall, we don't solve anything and get to the bottom of nothing, but at least it uses an hour of your precious time!  Happy listening!    

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Fresh off a victory against trolls, the party stumbles into the lair of a group of ettin. Determined to rid the temple of evil once and for all, they attack.   Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

The party arrives on the dreaded Level 4 and brawls with some trolls.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger

The Opal Order, armed with new information, descends again into the Temple to strike at the evil that lurks within.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

The Opal Order returns to the moathouse for a much needed rest and then a brief trip back to Hommlet to tie up a loose end or two.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

When Poogs and Timpani give the group some space, the rest of the Re-Slayers head to the outskirts of Vasselheim to investigate Heldwell's haunted house. The Re-Slayers Take is the story of six misfit mercenaries that are rejected from the elite monster hunting group, The Slayer's Take who band together, forming the second-coolest monster hunting group; The Re-Slayers Take battling supernatural creatures across the rugged continent of Issylra. Listen to new episodes of The Re-Slayer's Take every Monday anywhere you stream podcasts! Listen to this audio adventure two weeks early and uninterrupted by ads with Beacon! Sign up for a Beacon Membership today at https://beacon.tv/join! Game Masters: Nick Williams and George Primavera Cast Members Jasmine Bhullar, Caroline Lux, Jasmine Chiong Created by Nick Williams & George Primavera Produced by George Primavera, Nick Williams, and Kirby Winslow Logo Art by Jordyn Torrence Character Art by Elaine Tipping || https://elainetipping.com/ || @TriaElf9 (Twitter) || @triaelf9 (Instagram) “80s” Theme Song by Chill Carrier Additional Music by Zach Carlson “Famous Friend” || @famousfriend (Instagram) Gavain Von Eite by Dylan McCollum Maurice by Marty Abbe-Schneider Dronk Stonefist by Gabe Greenspan Euphemia by Lelia Symington Various NPCs by Nick Williams and George Primavera Learn more about Hero Club: https://heroclubpodcast.com/ Follow us! Website: https://www.critrole.com Newsletter: https://critrole.com/newsletter Facebook: https://www.facebook.com/criticalrole Twitter: https://twitter.com/criticalrole Instagram: https://instagram.com/critical_role TikTok: https://www.tiktok.com/@criticalrole Twitch: https://www.twitch.tv/criticalrole Learn more about your ad choices. Visit megaphone.fm/adchoices

Hasta bien entrado el siglo XX, las ideas musicales se exponen de acuerdo con un desarrollo ordenado según una estructura previamente estudiada, escrita o planteada. Mediado el siglo, algunos compositores se acogen a una tendencia que deja margen al indeterminismo, la flexibilidad y el azar._____Has escuchadoAngelica Music. Exercise 10 (1973-1974) / Christian Wolff. Apartment House; Christian Wolff, melódica. I Dischi di Angelica (2015)Aus den sieben Tagen. Liaison (1968) / Karlheinz Stockhausen. Ensemble Musique Vivante; Diego Masson, director. Harmonia Mundi (1988)HPSCHD. Solo VII: For Harpsichord & Computer-Generated Sound Tapes (1967) / John Cage y Lejaren Hiller. Jukka Tiensuu, clave. Ondine (1999)Pithoprakta (1956) / Iannis Xenakis. Orchestre philharmonique du Luxembourg; Arturo Tamayo, director. Timpani (2008)_____Selección bibliográficaADORNO, Theodor W., “Vers une musique informelle”. En: Escritos Musicales I-III, vol. 16. Akal, 2006*BEHRMAN, David, “What Indeterminate Notation Determines”. Perspectives of New Music, vol. 3, n.º 2 (1965), pp. 58-73*BOULEZ, Pierre, “Alea”. Perspectives of New Music, vol. 3, n.º 1 (1964), pp. 42-53*CARDEW, Cornelius, Scratch Music. The MIT Press, 1974CHARLES, Daniel, “L'interprète et le hasard”. Musique en Jeu, n.º 3 (1971), pp. 45-51*DELIÈGE, Célestin, “Indétermination et improvisation”. IRASM, vol. 2 (1971), pp. 155-191HARBINSON, William G., “Performer Indeterminacy and Boulez's Third Sonata”. Tempo, n.º 169 (1989), pp. 16-20*JENSEN, Marc G., “John Cage, Chance Operations, and the Chaos Game: Cage and the I Ching”. The Musical Times, vol. 150, n.º 1907 (2009), pp. 97-102*MEDINA, Ángel, “Apuntes sobre la recepción de la música abierta en España”. Anuario Musical, n.º 51 (1996), pp. 217-232*MORO VALLINA, Daniel, “Aleatoriedad y flexibilidad en la vanguardia musical española”. Actas do I Encontro Iberoamericano de Jovens Musicólogos (2012), pp. 236-248: [PDF]NIETO, Velia, “La forma abierta en la música del siglo XX”. Anales del Instituto de Investigaciones Estéticas, vol. 30, n.º 92 (2008), pp. 191-203O'GRADY, Terence J., “Aesthetic Value in Indeterminate Music”. The Musical Quarterly, vol. 67, n.º 3 (1981), pp. 366-381*PEYROU, Mariano, Oídos que no ven. Taurus, 2022POLO PUJADAS, Magda y Josep Maria Mestres Quadreny, Pensamiento y música a cuatro manos: la creatividad musical en los siglos XX y XXI. Universidad de Murcia, Servicio de Publicaciones, 2015*REYNOLDS, Roger, “Indeterminacy: Some Considerations”. Perspectives of New Music, vol. 4, n.º 1 (1965), pp. 136-140*TRENKAMP, Anne, “The Concept of Alea in Boulez's Constellation-Miroir”. Music & Letters, vol. 57, n.º 1 (1976), pp. 1-10* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Success, but at a cost! After interrogating Falrinth, the party searches his quarters for the Orb and Sylric falls in the process.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

After befriending the bugbears guarding the lower chambers and getting a much needed rest, the Opal Order heads deeper into the temple to continue their search for a magical orb before the elemental cults get their hands on it.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

The gang is back, traveling further into the confusing passageways of the Temple with a new little friend in tow: Chandler the Halfling.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

In this episode, we have an insightful discussion with Carol Chen from Red Hat at the All Things Open conference. Carol, who works in the Open Source Program Office at Red Hat, shares her experiences and insights on her ongoing project, InstructLab, a collaboration with IBM aimed at applying open source methods to building and training large language models. The conversation covers the importance of democratizing AI, reducing the fear and misconceptions surrounding AI technology, and making AI tools and concepts more accessible and understandable for everyone, including those who are not tech-savvy. Carol also discusses the social responsibility associated with AI development, emphasizing the need for transparency and community collaboration.   00:00 Introduction and Welcome 00:17 Carol's Background and Role at Red Hat 01:00 AI and Open Source 03:13 Challenges and Opportunities in AI 06:43 InstructLab: Making AI Accessible 12:09 Personal Journey into AI 15:37 AI Ethics and Open Source Guest: Carol Chen is a Community Architect at Red Hat, supporting and promoting various upstream communities such as InstructLab, Ansible and ManageIQ. She has been actively involved in open source communities while working for Jolla and Nokia previously. In addition, she also has experiences in software development/integration in her 12 years in the mobile industry. Carol has spoken at events around the world, including DevConf.CZ in Czech Republic and OpenInfra Summit in China. On a personal note, Carol plays the Timpani in an orchestra in Tampere, Finland, where she now calls home.  

Oops! All elves. Sylric, Timpani, and Baltana delve into the third level of the Temple and face a lamia. Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Human Bard Dhagmark, Dwarven Cleric of Morodin Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

After gaining information about a powerful magical artifact in the lower levels of the temple that is the key to freeing the demon at the temple's heart, The Opal Order further thin the ranks of the Fire Cult.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Bard Dhagmark, Dwarven Cleric of Morodin Sargulg, a Half-Orc Barbarian Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Attempting to follow a clue left in Sylric's bowcase, the Opal Order stumbles its way into the shrine of the Fire Cult.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Bard Dhagmark, Dwarven Cleric of Morodin Sargulg, a Half-Orc Barbarian Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Finally the heroes enter the Fire Clan's territory within the temple where they battle the temple's werewolf gatekeepers. Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Bard Dhagmark, Dwarven Cleric of Morodin Sargulg, a Half-Orc Barbarian Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

In a desperate attempt to cheer up his comrades, Timpani takes the Re-Slayer's Take on a shopping spree! The Re-Slayers Take is the story of six misfit mercenaries that are rejected from the elite monster hunting group, The Slayer's Take who band together, forming the second-coolest monster hunting group; The Re-Slayers Take battling supernatural creatures across the rugged continent of Issylra. Listen to new episodes of The Re-Slayer's Take every Monday anywhere you stream podcasts! Listen to this audio adventure two weeks early and uninterrupted by ads with Beacon! Sign up for a Beacon Membership today at https://beacon.tv/join! Game Masters: Nick Williams and George Primavera Cast Members:: Jasmine Bhullar, Caroline Lux, Jasmine Chiong Created by Nick Williams & George Primavera Produced by George Primavera, Nick Williams, and Kirby Winslow Logo Art by Jordyn Torrence Character Art by Elaine Tipping || https://elainetipping.com/ || @TriaElf9 (Twitter) || @triaelf9 (Instagram) “80s” Theme Song by Chill Carrier Additional Music by Zach Carlson “Famous Friend” || @famousfriend (Instagram) Devexian by Matthew Mercer (Guest Character) The Strief Emperor by Travis Willingham Various NPCs by Nick Williams and George Primavera Learn more about Hero Club: https://heroclubpodcast.com/ Follow us! Website: https://www.critrole.com Newsletter: https://critrole.com/newsletter Facebook: https://www.facebook.com/criticalrole Twitter: https://twitter.com/criticalrole Instagram: https://instagram.com/critical_role TikTok: https://www.tiktok.com/@criticalrole Twitch: https://www.twitch.tv/criticalrole Learn more about your ad choices. Visit megaphone.fm/adchoices

The Opal Order delves deeper into the temple and encounters the Earth clan. Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Bard Dhagmark, Dwarven Cleric of Morodin Sargulg, a Half-Orc Barbarian Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

The Opal Order sets out to cleanse the realm of the Temple of Elemental Evil and the paranoia grows.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Bard Dhagmark, Dwarven Cleric of Morodin Sargulg, a Half-Orc Barbarian Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Members of the Opal Order take action to free Timpani from the curse of the jiangshi pirate captain.  Featuring: Steve- GM Sylric Tarym, an Elf Squidder "Bagpipes" Cutbait, a Bard Dhagmark, Dwarven Cleric of Morodin Sargulg, a Half-Orc Barbarian Baltana, a Drow thief  Timpani, a Drow ranger Music: Action and Adventure by Shane Ivers - https://www.silvermansound.com

Tricked by the possessed mage, the Re-Slayers must face trials of a different kind, and save Timpani's friend from the aboleth's clutches. The Re-Slayers Take is the story of six misfit mercenaries that are rejected from the elite monster hunting group, The Slayer's Take, who band together forming the second-coolest monster hunting group; The Re-Slayers Take battling supernatural creatures across the rugged continent of Issylra. Listen to new episodes of The Re-Slayer's Take every Monday anywhere you stream podcasts! Listen to this audio adventure two weeks early and uninterrupted by ads with Beacon! Sign up for a Beacon Membership today at https://beacon.tv/join! Game Masters: Nick Williams and George Primavera Cast Members Jasmine Bhullar, Jasper William Cartwright, Caroline Lux, Jasmine Chiong Created by Nick Williams & George Primavera Produced by George Primavera, Nick Williams, and Kirby Winslow Logo Art by Jordyn Torrence Character Art by Elaine Tipping || https://elainetipping.com/ || @TriaElf9 (Twitter) || @triaelf9 (Instagram) “80s” Theme Song by Chill Carrier Additional Music by Zach Carlson “Famous Friend” || @famousfriend (Instagram) Duderonomous by Christian Navarro (Guest Player) Delphine by Rebekah Meyer Idrin's Orcish Shadow by Lelia Symington Delmi by Jackie Emerson Various NPCs by Nick Williams and George Primavera Learn more about Hero Club: https://heroclubpodcast.com/ Follow us! Website: https://www.critrole.com Newsletter: https://critrole.com/newsletter Facebook: https://www.facebook.com/criticalrole Twitter: https://twitter.com/criticalrole Instagram: https://instagram.com/critical_role TikTok: https://www.tiktok.com/@criticalrole Twitch: https://www.twitch.tv/criticalrole Learn more about your ad choices. Visit megaphone.fm/adchoices

Timpani leads the Re-Slayers to meet his old friend on a desolate, wind-blown island after receiving a distress call. The villagers in the island town seem friendly enough…maybe too friendly… The Re-Slayers Take is the story of six misfit mercenaries that are rejected from the elite monster hunting group, The Slayer's Take, who band together forming the second-coolest monster hunting group; The Re-Slayers Take battling supernatural creatures across the rugged continent of Issylra. Listen to new episodes of The Re-Slayer's Take every Monday anywhere you stream podcasts! Listen to this audio adventure two weeks early and uninterrupted by ads with Beacon! Sign up for a Beacon Membership today at https://beacon.tv/join! Game Masters: Nick Williams and George Primavera Cast Members Jasmine Bhullar, Jasper William Cartwright, Caroline Lux, Jasmine Chiong Created by Nick Williams & George Primavera Produced by George Primavera, Nick Williams, and Kirby Winslow Logo Art by Jordyn Torrence Character Art by Elaine Tipping || https://elainetipping.com/ || @TriaElf9 (Twitter) || @triaelf9 (Instagram) “80s” Theme Song by Chill Carrier Additional Music by Zach Carlson “Famous Friend” || @famousfriend (Instagram) Duderonomous by Christian Navarro (Guest Player) Shoresight Isle Village by Jon Matteson Shoresight Isle Village by Gabe Greenspan Shoresight Isle Village by Hanah Fagerbakke Shoresight Isle Village by Ryan Bowers Shoresight Isle Village by Jackie Emerson Woman with Hat Shoresight Isle Village by Natasha Mercado Bartender Shoresight Isle Village by Chuck McCollum Shoresight Isle Village by Dylan McCollum Various NPCs by Nick Williams and George Primavera Learn more about Hero Club: https://heroclubpodcast.com/ Follow us! Website: https://www.critrole.com Newsletter: https://critrole.com/newsletter Facebook: https://www.facebook.com/criticalrole Twitter: https://twitter.com/criticalrole Instagram: https://instagram.com/critical_role TikTok: https://www.tiktok.com/@criticalrole Twitch: https://www.twitch.tv/criticalrole Learn more about your ad choices. Visit megaphone.fm/adchoices

DescriptionThe Birth of the Modern Timpani in 60 Seconds. Take a minute to get the scoop!Fun FactHandel incorporated the timpani in several of his compositions, notably enhancing the grandeur and dramatic impact. Key pieces featuring timpani include the "Music for the Royal Fireworks" and the "Messiah." In the "Water Music," timpani are used sparingly for festive occasions. The instrument's powerful sound added a majestic and ceremonial quality, underlining important moments and contributing to the overall dynamic range of his orchestral works.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Thanks for tuning in. The Drums and Rums podcast is coming back from a hiatus with a great guest who continues the legacy of the king of Latin percussion and its also his father, out guest is Tito Puente Jr.Don't forget to LIKE this video and SUBSCRIBE to our channelHELP SUPPORT the podcast.https://www.patreon.com/drumsandrums/postshttps://cash.app/$drumsandrumsCHECK out  https://www.drumsandrums.com/FOLLOW us :https://www.instagram.com/drumsandrumhttps://www.facebook.com/drumsandrums/https://www.tiktok.com/@drumsandrumshttps://twitter.com/drumsandrumsDon't forget to LIKE and SUBSCRIBE to the YouTube channel and FOLLOW US ON APPLE PODCASTS or where ever you listen to podcasts and don't forget to RATE us a 5 star and leave us a review.  The Timbales! 1. Tito Puente and the Timbales: Tito Puente, hailed as the “King” of Latin music, left an indelible mark on percussion. His signature instrument? The timbales—a pair of cylindrical drums with a distinct sound. Tito Puente's influence extended beyond Cuba, introducing timbales to audiences worldwide. Timbales Unveiled: What are they?Are played with the sticks and consist of two single-skinned, metal-shelled cylindrical-shaped drums. The "timbales" are actually a mutation of a drum that migrated originally out of India and Africa years ago in the shape of giant kettle drums that were strapped to the sides of camels, horses and elephants. Eventually this drum made its way to Europe and Spain, and had mutated and shaped to what is known today in Europe and the West as the, "Timpani" drums. Cuban music is a melting pot of African and Spanish (European) influences and cultures. The shells are made of either brass or steel and set on a stand. The larger timbale, called "hembra" (pronounced embrah), and the "cha cha" bell (smaller bell), are traditionally positioned to the left side of the "timbalero" (one who plays the timbales). The "macho" timbale (smaller drum), the "mambo" bell (larger bell), and the "cymbal" are traditionally positioned to the right of a right-handed player. "Cascara" literally means "shell" in Spanish, and the "paila" or cascara is the traditional pattern played by the timbalero player on the side of the macho timbale (smaller drum) It can also be played on the cymbal, cowbell or woodblock. In some cases, Cuban musicians will use the word "pailas" for the timbales and "cascara" for playing on the shell or sides of the drums. All patterns are based on the clave and emphasize the accents within the rhythm. Tito Puente's mastery of these drums significantly shaped Afro-Cuban music in America. Tito Puente Signature Series Timbales: In honor of this iconic musician, Latin Percussion (LP) created the Tito Puente Signature Series Timbales. Available in brass, bronze, or stainless steel, these timbales capture the essence of Puente's rhythm. Thunderous Beats: Puente's timbales produce a deep, complex tone with exceptional projection. Their 15-inch and 16-inch diameters, coupled with 10-inch extra-deep shells, create a sound that resonates like thunder. Legacy Lives On: Tito Puente's timbales continue to inspire percussionists globally. From the 1996 Olympic Games closing ceremonies in Atlanta to countless stages, these drums echo Puente's enduring legacy. So next time you hear the rhythmic heartbeat of timbales, remember the man who made them dance—the incomparable Tito Puente.Tune in for part 3 of celebrating the life and music of Tito Puente. Support the show

Check out this super rad interview we did with our buddy Danny Chavarin! Support the show

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. 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 a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

"Crypto Timpani is a work whose sound seed is the song of cicadas. I experimented with different digital synthesis and other processing techniques and effects to generate new approaches and sensations that could evoke new ways of perceiving nature. I mostly used processes and effects from GRM Tools and Puremagnetik, as well as audio stretching tools, pitch shifters, and effects like reverbs and delays.  Subsequently, I organized the new sounds from “more natural” to “more electronic” and in this way I began to distribute them in space, to give the sensation of a landscape that is progressively transforming into another, from one reality to another. The core section of the piece is almost entirely composed of digital synthesizers that emulate the hypnotic and murmuring sound of cicadas, and then reintegrate into their natural habitat. The work is spacialized in binaural format, for an immersive experience with a headphones." Greek village soundscape reimagined by Jorge Martínez Valderrama.

This week, timpani and his love for classical music - Steven Logan of the Auckland Philharmonia Orchestra talks about all this and more with Kadambari Raghukumar.

Georg Druschetzky - Concerto for Six Timpani and Orchestra: Variazione Alexander Peter, timpani Dresden Philharmonic Chamber Orchestra Alexander Peter, conductor More info about today's track: Naxos 8.557610 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Synopsis Back in Bach's day, there were churchmen aghast at the thought that composers were trying to sneak flashy opera music into Sunday services. Church music was meant to be simple, austere, and, well , not “operatic.” So what would they have made of the three “church parables” – mini-operas, really, composed in the 20th century by the great English composer Benjamin Britten? The third of these, The Prodigal Son, debuted on today's date in 1968 at St. Bartholomew's Church in Orford, England. All three impart Christian values and were meant for church performance – scored for a handful of soloists, modest choir, and a small ensemble that would fit in front of and on either side of a church altar where church music was normally performed. But operas they are, and Britten himself let the “o” word slip when he commented in a 1967 interview that he was (quote), “doing another church opera to go with the other two, Curlew River and The Burning Fiery Furnace, to make a kind of trilogy.'” Britten took these mini-operas seriously, and dedicated The Prodigal Son to his new friend, the Soviet composer Dmitri Shostakovich, who in turn would dedicate his 14th Symphony to Britten. Music Played in Today's Program Benjamin Britten (1913 - 1976) The Prodigal Son Peter Pears, tenor; John Shirley-Quirk, baritone; Robert Tear, tenor; Bryan Drake, baritone; English Opera Group Orchestra; Benjamin Britten, conductor. Decca 425713 On This Day Births 1904 - German-born American musical composer Frederick Loewe, in Berlin; 1913 - Soviet composer Tikhon Khrennikov, in Elets (Julian date: May 28); 1960 - English composer Mark Anthony Turnage, in Grays, Essex; Deaths 1899 - French composer Ernest Chausson, age 44, after a bicycle accident near Limay; 1918 - Italian opera composer and librettist Arrigo Boito, age 76, in Milan; 1934 - British composer Frederick Delius, age 72, in Grez-sur-Loing, France; 1964 - American composer Louis Gruenberg, age 75, in Los Angeles; Premieres 1732 - Handel: opera "Acis and Galetea" (in an English/Italian version), in London at the King's Theater in the Haymarket, at the request of Princess Anne (Gregorian date: June 21); 1865 - Wagner: opera "Tristan and Isolde," in Munich at the Hoftheater, conducted by Hans von Bülow; 1921 - Stravinsky: "Symphonies of Wind Instruments" (in memory of Claude Debussy), in London at Queen's Hall, with Serge Kousevitzky conducting; Three days earlier, on June 7, 1921, Stravinsky had attended the British premiere of the concert version of his ballet score "The Rite of Spring," also at Queen's Hall, with Eugene Goossens conducting; 1939 - Bliss: Piano Concerto (with Solomon the soloist) and Vaughan Williams: "Five Variants of Dives and Lazarus," at Carnegie Hall by the New York Philharmonic, with Sir Adrian Boult conducting; These works (Along with Bax's Seventh Symphony, which premiered the previous day) were all commissioned by the British Council as part of the British Exhibition at 1939 World's Fair; 1941 - Poulenc: first public performance of Concerto for Organ, Strings and Timpani, in Paris; 1968 - Britten: church opera "The Prodigal Son," in Orford Church, near Aldeburgh. Links and Resources On Britten

Francis PoulencConcerto in G minor for Organ, Strings, and Timpani, FP 93Joseph JongenSymphonie Concertante for Grand Organ and OrchestraSylvia Keller, organGertrude Heinz, conductorCMD German Opera Company of BerlinRecording and Mixing by CMD RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com  

Riccardo Muti conducts two of Respighi's vibrant orchestral tapestries: his sumptuous homage to Rome's iconic neighborhoods and pine groves and his masterful evocation of Renaissance lute music. The program includes the vivid First Concerto for Timpani by American composer William Kraft, featuring CSO Principal Timpani David Herbert. Learn more: cso.org/performances/22-23/cso-classical/muti-herbert-and-pines-of-rome

Abandoned all hope ye who enter here. They may not serve breakfast in hell, but they may make you listen to the Relient K track Breakfast at Timpani's from the album The Anatomy of the Tongue in Cheek, which Danny and Jess will discuss. // Patreon: www.patreon.com/sadiehawkinspod // Merch: https://sadie-hawkins-pod.creator-spring.com // Voice Mail: (402) 95-SADIE // Email: sadiehawkinspod@gmail.com // Twitter @sadiehawkinspod // Instagram @sadiehawkinspod

The guys chat with Percussionist Jay Ritchie about the challenges of playing at the back of the orchestra, early morning rowing, and skiing.

In today' s episode of The Music Educator Podcast we are lucky to showcase a true professional in the field of music education, Mr. David Knott. Mr. Knott provides valuable, practical and relevant teaching strategies for everyone who teaches percussion. Take the time to listen to the entire interview for some helpful teaching techniques you can use tomorrow in class. In addition, Mr. Knott has provided listeners a valuable and downloadable resource which can be found in this episode's show notes. Enjoy! Want to ADVERTISE your SERVICE or PRODUCT to a highly focused Music Education audience. Then ADVERTISE HERE!  https://signup.libsyn.com/?promo_code=MUSICED Promo Code = MUSICED Do You Get Value From The Show? Consider Supporting the Show with a $3 Donation. https://glow.fm/themusiceducatorpodcast/