Podcasts about transposing

Podcast PacketsIllustrationsLead SheetsPlay AlongsJazz Piano Skills CommunityKeywordsjazz piano, improvisation, transposition, music theory, jazz skills, Fly Me to the Moon, rhythmic challenges, melodic analysis, harmonic analysis, music education, jazz, improvisation, musical silence, tension notes, eighth notes, jazz piano, musical phrasing, lead sheetsSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence guides listeners through the intricacies of jazz improvisation, focusing on the tune 'Fly Me to the Moon.' The conversation covers essential jazz piano skills, including harmonic and melodic analysis, improvisation development, and practical tips for transposition. Dr. Lawrence emphasizes the importance of a structured approach to learning jazz, highlighting the seven musical facts that underpin all musical endeavors. The episode also introduces rhythm challenges and encourages listeners to engage in paper practice to enhance their skills. In this episode, Dr. Bob Lawrence delves into the intricacies of jazz improvisation, focusing on the importance of silence, the realism of musical phrasing, and the challenges of playing eighth notes. He emphasizes the role of tension notes in camouflaging arpeggios and discusses the seven musical facts that underpin effective jazz performance. Through practical examples and lead sheets, listeners gain insights into developing their improvisational skills and understanding the nuances of jazz language.TakeawaysWeek three is dedicated to improving jazz improvisation skills.The study of each tune involves harmonic and melodic analysis.Improvisation skills challenge our ability to create melodic lines.The seven musical facts are essential for understanding music.Paper practice is crucial for developing transposition skills.Transposing melodic ideas requires understanding sound and function.Listening to various artists is key to learning a tune.Self-imposed constraints help assess harmonic vision.Quarter and eighth note strings are foundational for improvisation.Everything we do in music should be approached musically. Silence is an integral part of musical expression.Mathematical silence can enhance the realism of music.Eighth notes present a new level of challenge in improvisation.Random silence helps disguise bar lines in music.Tension notes are essential for camouflaging arpeggios.Practicing stationary strings is crucial for mastering rhythm.The half step creates tension in musical phrases.Understanding harmony melodically is key to improvisation.The evolution of jazz language is vital for effective performance.Engagement with the community enhances learning and growth in jazz skills.TitlesMastering Jazz Piano: A Journey Through ImprovisationUnlocking Jazz Improvisation SkillsThe Art of Transposition in Jazz PianoExploring 'Fly Me to the Moon' in JazzJazz Piano Skills: A Comprehensive GuideImprovisation Techniques for Jazz PianistsSound Bites"We work on developing our improvisation chops.""Music is the production of sound.""We do not need to do the entire 32 measures.""Everything we do should be musical.""You should be feeling the silence.""It starts to sound more real.""It starts to sound like musical phrases.""It starts to look like legitimaSupport the show

Both sobering and cheering, this sermon carries us to the prophet Habakkuk, who saw all the dangers associated with ‘the midst of the years' and the impending judgments of God upon a sinful, sliding, sleeping people. Transposing it to a church which has enjoyed twenty-five years of God's blessing in association with the ministry of God's word, Spurgeon highlights tellingly the prophet's fear of the slackness and slowness that can afflict us in the middle passage (a clever title, for it also refers to the grief-ridden, wearisome part of the sea voyages of certain vessels, including slavers). He moves on to the prophet's prayer, that the Lord would revive his own work, and what that means for our own hearts and our knowledge and sense of the living God. Then there is the prophet's plea, primarily that God would in wrath remember mercy. Then Habakkuk, his heart at rest in his God, returns to his labour and gets on with his work content in the knowledge that God will be his God regardless of what the future holds. It is a potent sermon for those in the middle years of life, or of labour, for churches resting on their lees, for those concerned about the stagnation of religious life in a region or nation. May God set our hearts again to plead for a blessing in the midst of the years! Read the sermon: https://www.mediagratiae.org/resources/the-middle-passage Check out the new From the Heart of Spurgeon Book! British: https://amzn.to/48rV1OR American: https://amzn.to/48oHjft Connect with the Reading Spurgeon Community on Twitter! https://twitter.com/ReadingSpurgeon Sign up to get the weekly readings emailed to you: https://www.mediagratiae.org/podcasts-1/from-the-heart-of-spurgeon. Check out other Media Gratiae podcasts at www.mediagratiae.org Download the Media Gratiae App: https://subsplash.com/mediagratiae/app

Both sobering and cheering, this sermon carries us to the prophet Habakkuk, who saw all the dangers associated with 'the midst of the years' and the impending judgments of God upon a sinful, sliding, sleeping people. Transposing it to a church which has enjoyed twenty-five years of God's blessing in association with the ministry of God's word, Spurgeon highlights tellingly the prophet's fear of the slackness and slowness that can afflict us in the middle passage (a clever title, for it also refers to the grief-ridden, wearisome part of the sea voyages of certain vessels, including slavers). He moves on to the prophet's prayer, that the Lord would revive his own work, and what that means for our own hearts and our knowledge and sense of the living God. Then there is the prophet's plea, primarily that God would in wrath remember mercy. Then Habakkuk, his heart at rest in his God, returns to his labour and gets on with his work content in the knowledge that God will be his God regardless of what the future holds. It is a potent sermon for those in the middle years of life, or of labour, for churches resting on their lees, for those concerned about the stagnation of religious life in a region or nation. May God set our hearts again to plead for a blessing in the midst of the years!

Transposing is unique among the core skills in that it's the only one that is dependent on one of the other skills.  Being able to play well while reading music or by listening is required to give you a starting point.  The ability to take a piece of music from any source and change it to any of the other keys is a distinctive skill because it focuses on understanding music from a relative sense rather than absolute.  It requires you to think about WHY you're playing a certain note or chord rather than just WHAT to play.  As with the previous two episodes, there are 10 steps you can take to developing your core skill of transposing. This is the 3rd of a 5-part series.  If you missed it, check out the previous episode in this series: The Four Core Skills Part 1: An Overview of the Skills The Four Core Skills Part 2: Sight Reading The Four Core Skills part 3 - Playing by Ear Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit  If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Transposing the premise of The Wicker Man to a six-part TV serial set in Wales, is Toby Whithouse's latest any good? Presented by J.R. Southall, with Matt Barber and Jim Cameron The Red King on Wiki Where to Watch The Red King

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Welcome to the Digging Deeper Jazz Podcast. This podcast was originally released on December 25th, 2020, on the Jeff Antoniuk - Educator YouTube channel. Please subscribe to the YouTube channel and feel free to enjoy the video version as well.FOR ALL INSTRUMENTS!In episode #185, Jeff makes the case for the ability to transpose little musical ideas to be incredibly important, and VERY worth your time. Let's look a how, why, when and where. All your jazz heroes did this, and now it's your turn!Mentioned in this podcast:• www.JazzWire.net - Since we announced JazzWire back in 2017, it has become an incredible Community of hundreds of adult musicians from over 25 different countries around the world. If you are looking for a plan for your practice, regular insights and wisdom on playing jazz, and a huge COMMUNITY of jazz players from around the world, this is the place for you! • Digging Deeper Jazz - All of the DDJ episodes include a pdf. Just write us at diggingdeeperjazz@gmail.com, and we'll offer you the pdfs in bundles of 50, or all 200 for a discount! We will also put you on the list to receive each new pdf, weekly.  Amazing practice ideas, every week, for free. What's not to love!?

Doing a bribe at the front desk. Accepting tips at the front desk. The location where they pee. The rib sandwich is back. A lot of the big bagel boxes and food waste in the dumpster. Dumpster boxes. Found some keys in the parking lot. Still doing Halloween stuff. The oil bill. Oil for everybody. Transposing digits. Trip look-out person. Break the news to the kids about Thanksgiving. Replacing the door lock by the locksmith. Not allowed to build a shelter outside even without zoning. Talking in the phone is in it so it is real. Extra circumstances. Please search my room. Exigent circumstances. Transfer to the woman upstairs. Coin counter. Wasted Links: wastedshow.com wastedmemory.com rogueserver.com/wastedmemory rss www.wastedmemory.com/feed/podcast/wastedshow Dragonmere Links: corndown.com youtube.com/dragonmere rogueserver.com/dragonmere Other Links: rogueserver.com worldofprankcalls.com/liveshows worldofprankcalls.com phonelosers.org

In this episode, I talk about transposing on keyboards. Why is it such a big talking point and is it really a big deal?

So you've probably heard the advice before that learning material in All 12 Keys is a great idea, whether it be for the sake of playing jazz or any other style of music. You've probably heard this conventional wisdom before and wondered to yourself is it really worth my practice time to learn things in All 12 Keys, or is it really just this frustrating process that doesn't really have a lot of net benefit? Well, in today's podcast episode, we're going to talk all about playing in All 12 Keys, the pros and the cons, as well as some tips for going about learning material in All 12 Keys. In this episode:1. Pros of practicing in all 12 keys include developing instrument mastery and a fuller understanding of improvisation. 2. Practicing in all 12 keys expands options and allows playing in different keys.3. It enhances musical versatility and adaptability.4. Transposing music into different keys improves ear training and tonal recognition.5. It aids in understanding music theory and chord-scale relationships.6. Practicing in all 12 keys improves overall technical proficiency.7. It stimulates creativity and fosters new musical ideas in each key.8. Practicing in all 12 keys builds confidence for diverse musical situations.9. It inspires and opens up new musical possibilities.10. It deepens musical fluency and facilitates effective communication with other musicians.11. Transposing music into different keys promotes a deeper understanding of harmony.12. It cultivates a connection and appreciation for various musical genres and styles.13. Cons may involve the amount of work and transposing required, but the benefits outweigh the drawbacks.Important Links:Free Guide to learning standards by ear: Learn Jazz Standards the Smart WayLJS Inner Circle MembershipListen to the Learn Jazz Standards PodcastGet 50% off your first month when joining the Inner Circle: https://members.learnjazzstandards.com/sp/inner-circle-sales-page-podcast-direct/

Episode 48. How to Cope with Hard Times (Part 2) Welcome to the latest episode of the Empowering Working Moms Podcast with Dr. Prianca Naik, where she dives deep into the art of coping with hard times. In this second part of the series, Dr. Prianca talks about her upcoming first anniversary and how her podcast tackles topics that are only sometimes discussed, especially for high-achieving, exhausted women dealing with burnout. With insights on making peace with what's happening, taking control of our thoughts, seeking support, and practicing self-compassion, Dr. Naik emphasizes that while we can't control what happens to us, we can always control how we respond to it. So, join us today as we learn how to cope with tough times, emerge stronger, and become more resilient. In this episode, you will learn: Strategies for managing burnout in high-achieving working mothers Dealing with difficult times: tips for processing pain and finding peace of mind Taking control of your mindset: actionable tips for shifting your perspective in tough times Lessons from tough times: how to learn and grow from challenging experiences The power of self-compassion: why it's crucial for coping with hard times And so much more! If you want to work with Coach Prianca Naik, MD, Join Overcome Burnout For Good to end burnout and get your peace of mind back in 90 days or less  www.program.stresscleansemd.com/workwithme To get started on banishing burnout and find peace and joy every day, check out her free masterclass on 4 steps to ending burnout, getting rid of exhaustion and getting your peace of mind back.  https://program.stresscleansemd.com/4-secrets-to-living-a-life-you-ll-love-podcast Follow Dr. Prianca on social media: Facebook: https://www.facebook.com/prianca.naik Instagram: https://www.instagram.com/doctorprianca/ LinkedIn: https://www.linkedin.com/in/prianca-naik-md-0524a196/ Join her FREE Facebook group: https://www.facebook.com/groups/646992382603860   If you're listening to this podcast, you're probably a high-achieving type A mother and you're exhausted. Maybe struggling with exhaustion and burnout.   You have checked all the boxes of success and aren't happy. You don't have to feel exhausted anymore. Imagine a life with no more burnout, more confidence more peace of mind. That is possible for you because it has been for me and my clients.   With a little work, in 90 days or less, you can be out of burnout and enjoying your life again. Check out my free on demand masterclass 4 Steps to Overcome Burnout, Get Rid of Overwhelm, and Finally Get Your Peace of Mind Back.   Link in show notes.   In the last episode, we discussed categorizing hardships in life as Common hard: Hard/hard but also normal often a big change Out there hard where you might feel alone:   If you haven't listened to episode 47, definitely go back and do that..   Categorizing things takes away their burn. In this episode I'm going to walk you through processing pain and how to actually deal with hard times in a way that allows you to have peace of mind no matter what.   If you're driving come back to this but I would definitely grab a pen and paper and take notes on this…you might forget but there are some real pearls here that will help you when shit hits the fan…and it always does…because this is life!   Today I'm going to discuss mindset work and actionable tips Next week I will dive into mindfulness practices for hard times.   1. hard times happen…this is a part of life…nothing has gone wrong even if it feels like it…this is a part of my journey and is bringing me to where I need to go next. Hard times give us a barometer for the good…without them we wouldn't know what true joy and fortune are.   By doing this, we can make peace with what is happening that we can't control.   2.Hard times are temporary. Nothing lasts forever. The only constant in life is change. This, too, shall pass. This fact helps us to not get overly sucked in to the misery of a tough time. We can know that there will be relief at some point. Example: 3 years I took off between undergrad and medical school   3. One step at a time…one hour at a time…one minute at a time. First of all the experience of our life is happening right now. I don't plan super far in advance for regular things other than travel…because I'm dealing with and experiencing the now…and the universe as we know often laughs at our plans. When something makes us feel like we are overloaded, we can care for ourselves by taking things one baby step at a time to cope or perhaps solve for or take action.   Along with this   4.Take the pressure off This hard time isn't going to be solved in this minute…so how are you going to create peace in your brain to make it more bearable? Easy does it, ease up on yourself. Know that you are figuring things out You are okay and will be no matter what You don't have to have all of the answers today There is no pressure to figure it all out in this current moment. There is time.   5.Pre-emptive processing Imagine that much of this won't matter as much won't sting as much a few days from now a week, month, or year from now Transposing future attitude on the now…being able to put things in perspective.   6.Pain won't kill us (usually)     7.Acceptance of the tough time…shit happens. Life gets tough truly. People are dealing with all kinds of hardship like we discussed in the previous episode…so accept it as happening…it doesn't have to define you… Acceptance meaning don't fight the force…accept what's happening and you can take action as you see fit…   8.Acceptance of the fact that we can only control ourselves Trying to control what is outside of us doesn't work. Ex: addiction…we can't control addicts…we can only decide in what capacity we want to interact with them and create boundaries. But accepting that we can't control things outside of ourselves   9.Anti-isolation There are others who are dealing with the same thing seek help with a therapist, coach, friends, family   10.Self-compassion Not blaming ourselves for everything…giving ourselves grace if we are struggling or having a bad day. Knowing we are human beings and imperfect inherently and embracing our experience for better or for worse.   11.Thinking about lessons Asking yourself how this might serve you in the future or what are you learning? What have you learned?   12.Self-care and practical tips Sleeping if you need Sleep enough Eat properly, hydrate Exercise or take a walk   13.Belief in self and action mode: I can do this Think of all of the hard times you've emerged from before Know you can solve problems Can get into an action mode Deciding a course of action and what to do next This is empowering   14.Simplify: Say no to extra projects Be very picky about how you're spending time Be picky about who your spending time with Now this is important in general but especially when you're dealing with something hard   15.Take time For yourself To stop and smell the roses or whatever you want to do Take a personal day or two from work if you need.   16.Finding joy in hard times Nature Fresh air A scented candle Hugs with your children Wonder with you kids…they say and do the darndest things Humor…funny shows, movies, or call your friend who's funny Laugh at what your kids say Do a dance Hang out with friends Do something just for you Go to your favorite restaurant or other favorite place   There is a lot of material in today's episode Don't get overwhelmed…pick a couple of things you would like to try when dealing with a difficult time and see what a difference practicing these strategies will make. Feel free to message me on Instagram at doctor Prianca if you enjoyed this series on dealing with hardship.   Imagine a life free of constant exhaustion and fatigue, more confidence more peace of mind. That is possible for you because it has been for me and my clients.   With a little work, not much time, you can be out of burnout and enjoying your life again. Check out my free on demand masterclass 4 Steps to Overcome Burnout, Get Rid of Overwhelm, and Finally Get Your Peace of Mind Back.

Mikey is back to teach Dave the basics of Žižek's theory of ideology.If you have been learning Lacan 101 and now Žižek through Mikey and Dave's conversations, you might want to dive into the deep end.Check out the course on Žižek's For They Know Not What They Do, which starts on February 25th: https://theory-underground.com/courses/ftknwtd/ABOUT / CREDITS / LINKSWelcome to the Theory Underground. Theory Underground aims to make challenging philosophical and theoretical work accessible, not by summarizing, but by aiding those who seek to engage in this work as a way of life. Interested in getting involved?Join the Theory Underground open forum today. Most of the forums are closed until certain readings or courses have been completed, but this is the one that is open! Welcome.https://theory-underground.com/forums/forum/MAIN Help beta trial this at https://theory-underground.com/Check out the courses, patron tiers and books, as well as events listed at these links:https://theory-underground.com/courses https://theory-underground.com/supporthttps://theory-underground.com//events Also the Theory Underground instagram and TikTok are both where it's happening: https://www.instagram.com/theory_underground/https://tiktok.com/@theory_undergroundMUSIC CREDITS Logo sequence music by https://olliebeanz.com/music https://creativecommons.org/licenses/by-nc-sa/4.0/legalcodeSong: Bust Down Artist: 808 DEATH CLUB License: Creative Commons Attribution 3.0 - http://bit.ly/RFP_CClicense

#13: In this episode, Axel chats with Francesca Cortesi, the CPO of Hemnet, one of the world's most popular property portals and one of Sweden's most beloved products. Through her career, she contributed to building some amazing digital products: from a global community for girls to express their creativity, to e-commerce platforms, a two-sided marketplace in its expansion phase, and a startup in the sustainability space. Francesca shares the story of how she seized the opportunity of becoming the CPO of Hemnet, what were the levers she used to make that move possible. We cover the foundations of a product transformation and how to create a movement in the organisation. She also shares her experience working with teams and providing clarity on goals, supporting their growth and progression.Where to find FrancescaLinkedIn: https://www.linkedin.com/in/francesca-cortesi/Website: https://www.francescacortesi.com/Where to find AxelLinkedIn: https://www.linkedin.com/in/axelsooriah/About PanashWe provide training and coaching programs to help product professionals unlock their true potential and become high performers.You can learn more about our programs here: https://www.panash.io/Our blog contains articles and free resources on key topics for product managers and leaders.Check it out here: https://collection.panash.io/Referenced in this episodeHemnet: https://www.hemnet.se/Inspired by Marty Cagan: https://www.svpg.com/books/inspired-how-to-create-tech-products-customers-love-2nd-editionShow notes and highlights(01:39) Francesca's background(04:24) About Hemnet, Sweden's #1 housing marketplace(10:11) Early transformation post acquisition by Private Equity(15:45) Importance of getting buy-in from C-Suite(23:55) Creating an environment for the product team to thrive(28:23) Supporting the growth and progression of PMs(33:16) Giving clarity to teams and setting goals(34:56) Transposing business outcomes into product outcomes(40:03) The danger in copy/pasting frameworks out of context(41:37) Francesca's Treasure Chest

Do you have endless forms that you need to input into Excel? Automate the process with Form to Excel today! Visit https://www.formtoexcel.com to get started. Form to Excel 1180 Lincoln Avenue 3031 Tisch Way #110, San Jose, CA 95125, United States Website https://www.formtoexcel.com/ Email formtocsv@gmail.com

Welcome to the Dior Talks podcast series themed around the seventh edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, 11 artists from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art.   First approached to collaborate with Dior for the Art'N Dior exhibition at the Museum of Contemporary Art and Urban Planning in Shenzhen, Shanghai, in 2021, Wang Yuyang for this new intimate project revisiting the Lady Dior through his world explores his fascination with the moon.    Using medium, small and mini formats, the bags feature recreations of the moon and the lunar surface using an array of traditional techniques and tactile effects including embroidery and inlay.   His five creations include a black Lady Dior with a white moon motif masterfully recreating the look of the artist's installation ‘Artificial Moon,' here reinterpreting the moon's cold white light using bead and sequin embroidery made by the Dior petites mains. Using a 3D printing technique, a pink bag, meanwhile, features a colourful surface evoking lunar craters, playing on the roughness and unevenness of leather. For the latter, Wang donned digital glasses that render the colours in black and white, creating a random colour palette that the artist himself only got to discover upon removing them.    Tune into the episode to hear more about his fascinating world. 

Welcome to the Dior Talks podcast series themed around the seventh edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, 11 artists from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art.   Born in Cairo, Egypt, raised in France and now based out of Harlem, New York, artist Ghada Amer — the first Egyptian artist to participate in the project — drew on her anger at women's exclusion from the history of art to develop her own language of painting based on embroidery.   The feminist artist, whose universe celebrates women, women's bodies, and women's rights, and whose mediums range from sculpture to gardening, describes her Lady Dior designs as “protest” pieces.    “That was more interesting for me than just making a beautiful bag,” says Amer who took inspiration from a garden installation titled ‘Women's Qualities,' created in different renditions for different locations around the world.    For the project, the artist used flowers and plants to spell out different qualities used to describe women that she gathered during polls with locals, forming “sculpture gardens.” A selection of these words, including ‘strong,' ‘resilient' and ‘determined,' are embroidered on her Lady Dior bags. One features a textured inside-out effect inspired by the tactile nature of her works.    “I want women to feel all of these qualities. For me, it's important to be empowered,” says Amer. “A bag is a very important object for a woman. It's with her all the time when she's outside. And when you are outside, you are the most vulnerable. So, it's important to always remember these qualities.”   The bags' handles, meanwhile, are based on the artist's ‘Thought Series' which featured sculptures created with her left hand. “They are colourful and abstract; they look like my thoughts,” says the artist whose name features in the bags' iconic charms.     Tune into the episode to learn more about her fascinating world. 

Welcome to the Dior Talks podcast series themed around the seventh edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, 11 artists from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art.   First approached to collaborate with Dior for the Art'N Dior exhibition at the Museum of Contemporary Art and Urban Planning in Shenzhen, Shanghai, in 2021, Wang Yuyang for this new intimate project revisiting the Lady Dior through his world explores his fascination with the moon.    Using medium, small and mini formats, the bags feature recreations of the moon and the lunar surface using an array of traditional techniques and tactile effects including embroidery and inlay.   His five creations include a black Lady Dior with a white moon motif masterfully recreating the look of the artist's installation ‘Artificial Moon,' here reinterpreting the moon's cold white light using bead and sequin embroidery made by the Dior petites mains. Using a 3D printing technique, a pink bag, meanwhile, features a colourful surface evoking lunar craters, playing on the roughness and unevenness of leather. For the latter, Wang donned digital glasses that render the colours in black and white, creating a random colour palette that the artist himself only got to discover upon removing them.    Tune into the episode to hear more about his fascinating world. 

Hello and welcome to this bonus episode of The HPP Podcast. Read and follow along with this reading of "Transposing" by Shanaé Burch, EdM by viewing the Supplemental Material associated with the article. With our July 2022 issue, Health Promotion Practice is proud to introduce a new, regular section of our journal, entitled “Poetry for the Public's Health.” The section has been imagined, curated, and brought to life by Shanae Burch, LeConte Dill, and Ryan Petteway - all 3 poets, scholars, and members of the HPP Editorial Board. You can access the poems from the HPP website, but you can also listen to many of the poems in the poets' own voices in this ever-growing series of bonus episodes. Follow us on Twitter @the HPPJournal so you know when new poems have posted, and enjoy this gift of Poetry for the Public's Health.

Are you interested in how the concept of stigmergy applies to human cooperation? Summary of the article titled Stigmergy in human practice: Coordination in construction work from 2012 by Lars Rune Christensen published in the Cognitive Systems Research journal. Since we are investigating the future of cities, I thought it would be interesting to see how the concept of stigmergy, the concept of coordination coming from the study of bugs translates to the study of humans. This article compares bug and human coordination and explores the utility of stigmergy for human practice through the example of construction work. As the most important things, I would like to highlight 3 aspects: Stigmergy is a concept of cooperation from entomology, but it can be translated to human context. In the human context, stigmergy means the distributed cooperative work tasks that are integrated by individual actions based on previous individuals' actions. The complex collaboration of construction work can be seen and interpreted as human stigmergy with the addition of forward-looking mindfulness to improve connected tasks. You can find the article through this link. Abstract: Stigmergy is a concept of coordination that may be employed to analyse human practice in complex work settings such as the building process. However, the concept of stigmergy was not originally developed in order to describe human practice, rather it was developed within the field of entomology i.e. the study of social insects. Transposing the concept of stigmergy from the field of entomology to the study of human practice raises a central question: Does the concept of stigmergy add anything to our ability to account for the coordination of human cooperative work? We will argue that it does. We will (1) explicitly compare and delimit the concept of stigmergy to well-established concept describing human coordinative practices and show that it differs from these concepts, and we will (2) apply the concept of stigmergy to an analysis of the coordination of construction work in order to explore the utility of the concept in the analysis of human practice. You can find the transcripts through this link. Connecting episodes you might be interested in: No.008I - Interview with Andrew Lizzio about swarm intelligence and stigmergy; No.018I - Interview with María Yanez about a different approach to development industry; No.057I - Interview with Amélie Uhrig about individual actions around climate change; No.073R - Smart communities initiatives about community involvement; No.083R - Operationalising a concept: The systematic review of composite indiator building for measuring community disaster resilience about the need for individuals' participation; What wast the most interesting part for you? What questions did arise for you? Let me know on Twitter @WTF4Cities or on the wtf4cities.com website where the shownotes are also available. I hope this was an interesting episode for you and thanks for tuning in. Music by Lesfm from Pixabay

Pastor Ian Graham invites us to use the musical concept of transposing as we look at the instructions given to fathers, children, slaves, and masters. Support the show

Are you facing a giant—financial troubles? Health issues? Relationship problems?—in your life right now? Listen to this message and be encouraged. Teaching from the familiar story of David and Goliath in 1 Samuel 17, special speaker Prof Doug Petersen dissects the story to highlight details spelled out in the Bible that reveal exactly how a shepherd boy with a slingshot successfully destroyed the giant warrior of the Philistines, and why Goliath really didn't stand a chance. Transposing this teaching to his own experience when his first school in Latin America was about to be shut down, Prof Petersen powerfully demonstrates the truth that is “the battle belongs to the Lord” (1 Sam 17:47). Prof Douglas Peterson is the Margaret S Smith Distinguished Professor of World Missions and Intercultural Studies at Vanguard University. He is also the founder of ChildHope (previously Latin America ChildCare) which has over 300 schools in 20 cities, and supports 100,000 children daily.

Show Notes:0:43 - Australia 0:46 and 1:07 - Verona 0:47 - Northern Italy1:14 - Italy 1:36 - Quilt Improv Studio 1:48 - Paula Macketa1:50 - Jovana Nikolai 1:53 - Carla Barretta1:56 - Paula Macketa1:56 - Priest 1:58 - Carla Barretta1:59 - Rome 2:00 - Jovana Nikolai 2:01 - Venice2:06 - Improv quilt challenges organised by Quilt Improv Studio 2:30 - Paula Macketa2:34 - MQG (Modern Quilt Guild)2:40 - Beyond Borders Guild2:51 - Doctors beyond borders2:57 - Sweden 2:58 - Italy 2:59 and 3:12 - United States3:13 - Modern quilting 3:36 - Quilt Buzz 3:39 - Amanda of Broadcloth Studio 3:40 - Anna of Wax and Wane Studio 3:41 - Wendy of The Weekend Quilter 3:59 - Beyond Borders Guild4:12 - MQG (Modern Quilt Guild)4:51 - Indonesia 6:44 - Kona Cotton in Acid Lime7:05 - Abstract artwork 7:06 - Abstract expressionists 7:09 - Robert Motherwell 7:12 - Lucia Clark8:50 - Kona Cotton in Acid Lime9:48, 10:56 and 11:50 - Ally's design course for quilters12:22 - Adobe Illustrator 12:23 - Adobe Photoshop 13:09 - Ally's design course for quilters13:22 - Adobe 13:23 - Adobe Illustrator 13:24 - InDesign 13:38 - Adobe 13:46 - Adobe Illustrator 13:49 - Canva13:52 and 14:04 - Microsoft PowerPoint14:08 - Canva14:12 - Quilt Buzz Bingo 14:14 - Canva14:21 - Microsoft PowerPoint14:27, 14:28 and 14:37 - InDesign 14:40 - Adobe15:01 - InDesign 15:02 - Adobe Illustrator 15:03 - Adobe Photoshop 18:16 - Ally's design course for quilters18:50 - Ally's design a quilt in 5 steps guide19:23 - Ally's quilt tracker 22:06 - Numbering in printmaking 22:20 - Ally's downloadable quilt tracker23:40 - Quilt shop outside of Boston 25:05 - Transposing columns on Microsoft Excel 25:22 - Concatenation formula on Microsoft Excel 25:33 - HST (Half-square triangle)25:34 - Log Cabin traditional quilt block 25:41 - Kona Cotton in Acid Lime25:49 - Kona Cotton 26:44 - Quilt Improv Studio 26:49 - Tree Estem? 26:52 and 26:58 - Patchwork Victim27:08 - Ally's design a quilt in 5 steps guide27:27 - Copic markers 27:28 - Micron pens27:48 - Bernina 350 Patchwork Edition sewing machine28:18 - Gutterman thread28:20 - Madeira thread28:22 - Bernina28:27 and 28:29 - Aurifil thread28:27 - Italy 28: 55 - Eva Stiner of Schnigsnag quilts 30:07 - Allah of Diddy and Meg Makes 30:15 - Season Evans of S D Evans 30:25 - Shadow study series by Ally 30:36 - Dumb servant rack31:25 - Matise of Mathisteis31:43 - Present and Correct32:06 - Kanggan Aurora32:08 - Ikea32:31 - Ally's design course for quilters32:44 - Special page for Quilt Buzz listeners from Ally Follow Ally:Instagram - @allyrydehttps://allyryde.com/Follow us:Amanda: @broadclothstudio https://broadclothstudio.com/Wendy: @the.weekendquilter https://the-weekendquilter.com/Anna: @waxandwanestudiohttps://www.waxandwanestudio.com/Quilt Buzz: @quilt.buzzhttps://quiltbuzzpodcast.com/Intro/Outro Music:Golden Hour by Vlad Gluschenko

SCRIPTURE READING: Acts 13:14, 43-52 SECOND READING: John 10:27-30 With advancement in information and communication technology, and with particular reference to the use of mobile phones, many of us are conversant with expressions like “missed call”, “rejected call” and “received call”. Transposing these expressions unto the spiritual plane, we can equally say there are different responses to the call of the Lord. There are those who continually miss the call of the Lord because they are so “busy” with other things. There are others who reject the call of the Lord because they have no faith in him and want...Article Link

Dr. Andrew Abernethy, Associate Professor of Old Testament and Director of the M.A. in Biblical Exegesis in Wheaton Graduate School, has authored Discovering Isaiah: Content, Interpretation, Reception, among other things. He helps us meditate on the rich and allusive Hebrew phraseology of Isaiah's song in chapter 12, which recalls the salvation song of Exodus 15.

Dr. Andrew Abernethy, Associate Professor of Old Testament and Director of the M.A. in Biblical Exegesis in Wheaton Graduate School, has authored Discovering Isaiah: Content, Interpretation, Reception, among other things. He helps us meditate on the rich and allusive Hebrew phraseology of Isaiah's song in chapter 12, which recalls the salvation song of Exodus 15.

This episode is also available as a blog post: http://lifelinkdevo.com/2021/09/13/transposing/ --- Support this podcast: https://podcasters.spotify.com/pod/show/pastor-john-van-gorkom/support

Warning, practicers:Spawn of the Five Aggregates —Don't be fooled again!* * *The original plan for this podcast series comprised a condensed commentary in six segments. This turned out to be impossible, given the scope and importance of the teachings therein. I decided to add a coda, as is often done in musical composition, to include the appendix on Buddha's warnings to practitioners, or “practicers.” I find them compelling and affirming, in terms of my own experience in zazen. The last section boasts the cheerful title, “Fifty Demonic States of Mind,” with a similarly comforting subtitle, “Dangers May Arise with Advanced Practice.”Here we are, trying to encourage people to practice meditation, and suddenly we have graphic content alerts. Buddha himself cautions that you may find these experiences unsettling, and your interpretation of them can lead to disaster. The fifty mainly warn you to avoid getting stuck, thinking are enlightened.This puts me in mind of Carl Bielefeldt's “Dogen's Manuals of Meditation,” a line-by-line comparison of the two extant versions of Fukanzazengi, and the Chinese version from which he adapted the text. One line he chose not to use in his translation for his Japanese students says something like “As the path grows higher, demons flourish.” Bielefeldt speculates that Master Dogen wanted to accentuate the positive, and eliminate the negative. To say nothing about mister in-between.Finally we get to the good stuff, Buddha's descriptions of various experiences that may occur at the far reaches of meditation, when the barriers of discriminating sense faculties he has been detailing begin to break down. These are grouped as Ten Demonic States of Mind associated with each Aggregate, namely Form, Sense-Perception, Cognition, Mental Formations, and the Aggregate of Consciousness. In conclusion, he reminds us once again that all five arise from delusion.We will not be able to go into all fifty of these demonic states of mind. But I would like to touch on a few that caught my attention many years ago. When I first read the Surangama Sutra, I was gobsmacked by its direct relevance to zazen, and its descriptive power, illustrating the analogy of the Zen Mind to the limitations of one-sided interpretation of the nature of the senses. When I came to the fifty warnings, however, I could see that several of them dealt with issues that had arisen for me in my practice of Zen, and that have since come up with many of my students, in dharma dialog. This section features an unusual description of Buddha's behavior at the beginning. Buddha rises from his seat, seeming ready to bring the dialog to a close, but then apparently changes his mind and reseats himself, saying:You who still need instruction, you Hearers of the Teaching and you Solitary Sages, have now dedicated yourselves to attaining a great awakening — the supreme and wondrous enlightenment. I have now taught you the right method for practice. But you are still not aware of the subtle demonic events that can occur when you undertake the practices of calming the mind and contemplative insight. If you do not purify your mind, you will not be able to recognize demonic states as they arise. You will not find the right path, and you will fall into the error of wrong views.He points out that “Demons may arise within you from the five aggregates. If your mind is not clear when this happens, you may well take a burglar to be your own child. Or you may feel satisfied with a small accomplishment, as did that monk who was ignorant of the Dharma. Having only reached the level of the fourth dhyāna, he made the false claim that he had become a sage. When his reward of celestial life had run its course and the signs of decay had appeared, he vilified the Arhats' enlightenment, and so he was reborn in the Unrelenting Hell.” So the stakes could not be higher.Buddha insures Ananda and the others that the demons have limited power, and cannot harm you unless you let them. The power of your meditation will protect you from possession. Then he takes us through the five Aggregates in order, outlining 10 such demonic episodes that may occur in each. The first, in Form, is that you may have an out-of-body experience. Then he issues a boilerplate admonition:This state is called “the essential awareness being able to emerge into one's surroundings.” What the practitioner has gained is temporary. It does not indicate that he has become a sage. There is nothing unwholesome about his state unless he thinks that he is now a sage. If he does think he is a sage, he will be open to a host of deviant influences.This introduces the essential warning: Don't be fooled. You are not done yet. Keep on keepin' on. He goes on to cover such events as hearing voices preaching the Dharma, cosmic visions of all sorts, seeing in the dark, the cessation of all sensation, clairvoyance and clairaudience at great distances, visions of oneself as a “good and wise teacher,” and a chameleon-like ability to change form and appearance. And all this, just in the Skandha of Form.Next, transcendence of the skandha of Sense-Perception elicits depressive and manic reactions, confusion, the superiority complex, and/or becoming overjoyed and arrogant, sometimes arising simultaneously. Unchecked, these inevitably lead to erroneous and extreme behaviors. Such views as illusory infinite serenity, that there is no existence after death, and license to indulge all levels of satisfaction of desires may follow, along with indulging in the power to sway others. All end badly.In Cognition, the litany of afflicted states continues, with dire consequences, even though one is now free of harmful anxiety, which brings about a state of wonder. It is as if Buddha is reporting recent scandals in televangelism, and misguided leadership of various sects and cults, including some Zen lineages. In every case, gravely misinterpreting implications of meditative states leads to reckless and lawless behavior. Misidentification of self or others as Bodhisattvas or Buddhas appearing in the world is familiar, as in the false prophets of other religions. Claims to enlightenment, and guaranteeing success or salvation to others, at a price, are contemporary examples. Buddha faults the power of wielding mass hypnosis, owing to delusional charisma, or gravitas, stemming from deep meditation.Various paranormal powers, siddhis in Sanskrit, such as reading minds, knowing previous lives, levitating, walking on water, passing through walls, performing magic or miracles, etc., may indeed be achievable in meditation, but they are not to be valued or pursued. They are no more miraculous than the ordinary senses, and may lead to severe psychic dysfunction, including overweening infatuation for one's teacher, and visions of living together in a better world. Think David Koresh, or Jim Jones.Introducing Mental Formations, Buddha makes a startling statement:Ānanda, when a good person who has been practicing samādhi has reached the end of the aggregate of cognition, the usual cognitive processes involved in dreaming will disappear from his mind. For him there will no longer be any difference between waking and sleeping… He will view all the phenomena in the world — the mountains, the rivers, and everything else — as mere reflections that briefly appear in a clear mirror… Only the true essence of consciousness remains.”This resonates throughout the teachings of Zen, as in Dongshan's Precious Mirror Samadhi, wherein “Form and reflection behold each other.” This section also gets into first causes of existence and life, and the ending of life; falling into the mistake of non-causality; denying the principles of rebirth and evolution across species; or that the mind and experience are everlasting, eternal. Or conversely, that all comes to a permanent end. Or that some entities are permanent, others impermanent, e.g. that your mind is permanent and everlasting but the beings within it are not. The same delusion applies to whole worlds. After confusing eternity versus impermanence, comes infinity versus finiteness, e.g. of one's own mind. Such speculations regarding spacetime rarely result in anything positive. As Master Dogen says in Genjokoan:Similarly, if you examine the myriad things with a confused body and mind, you might suppose that your mind and nature are permanent. When you practice intimately and return to where you are, it will be clear that nothing at all has unchanging self.Forewarned is forearmed. The special confusion that may arise in wannabe sages is: “If someone seeking to learn his methods should come to ask him about his theories, he will reply: ‘I both come into being and cease to be. I exist and yet do not exist. I both grow and diminish.' What he says is so confusing that no one can understand what he means.” Matsuoka Roshi once commented, with great irony, that, “There are people who can talk themselves out of existence.”The good news is that we have the capacity to penetrate to this inner sanctum of reality; the bad news is that we can misinterpret it based upon self-striving desires. Buddha becomes minutely descriptive:… he will be able to perceive the origin that is common to all lives. This origin will appear to him as a subtle, glimmering, vibrating mirage. This is the ultimate point, the pivotal point, at which the faculties and their objects meet… He will have reached the end of the aggregate of mental formations. He will be able to transcend the turbidity of individual beings… None of the ten kinds of celestial demons will have any chance to influence him.Master Dogen points to this same inflection point in Jijuyu Zammai; Self-Fulfilling Samadhi: “In stillness, mind and object merge in realization and go beyond enlightenment.” Mental Formations also representing the underlying motives, intent and desire impelling our behavior, at this point one sits in zazen with no identifiable reason for doing so. It is the “…making effort without aiming at it… sitting without relying on anything” of Master Dogen's Zazenshin, Lancet for Zazen. This being liberated from our demons is what is meant by becoming “unassailable” in Zen.However, even at this point the practitioner may be assailed by internal confusions, such as denying causation, for example that of all beings coming and going, or for the ending of life, or distortions of the principle of rebirth, all of which are clarified in full awakening. And on again reprising confusions that yet may arise regarding the Four Elements, as well as the sixth, seventh and eighth consciousnesses, the 10 dhyanas, entering nirvana, etc. Terminal confusion. Again, too soon. Going to hell.Finally transcending Mental Formations, our intrepid explorer enters the aggregate of Consciousness, or consciousness only, having left the other four skandhas far behind:… when a good person who has been practicing samādhi has reached the end of the aggregate of mental formations, he may observe, within the clear light in the deep recesses of his mind, the vibrations which are the shared foundation of the nature of all beings in the world. Then suddenly the tiny hidden knot that holds together the intricate net of karma of his individual being during his many lifetimes will burst open, and he will lose his connection to the vibrating resonances of that karmic net.Free at last, free at last! Sounds a bit like string theory, those “vibrating resonances,” the foundation of all beings. Then Buddha describes the shift in awareness in no uncertain terms:He will now be on the verge of experiencing a great illumination in the sky of nirvana. It is as if he is gazing at the pale light of dawn in the eastern sky just as the rooster has finished crowing… The duality of observer and observed will have ceased… The pale light that he observed will not fade, and it will illuminate what has heretofore been hidden. This is the region of the aggregate of consciousness.This recalls Master Dogen's later expression in Jijuyu Zammai, that “When even for a moment you express the Buddha's seal in the three actions by sitting upright in Samadhi, the whole phenomenal world becomes the Buddha's seal and the entire sky turns into enlightenment.” Note that here we finally witness the “tiny hidden knot” of the net of karma bursting open, liberating us from entanglement. “The pale light that [s]he observed will not fade, and it will illuminate what has heretofore been hidden. This is the aggregate of consciousness.” We know that Dogen read the Surangama, but suspect that his effusive description, so similar to Buddha's, is based on his own direct experience, not mere parroting.The last about illuminating what has been hidden reminds me of an odd statement by Matsuoka Roshi, that “The light by which you see things comes from you.” This internal light pops up from time to time in the literature, but never as explicitly described as in the original mention here by Buddha himself. But wait, there's still more:At this point, although he has already done away with the coming into being and perishing of mental formations, he has not yet completed the journey to the wonder of his essential nature, which is nirvana. However, he will be able to merge his perceptual faculties so that they can function as one or function interchangeably.This claim is attested to by a stanza in Sekito Kisen's Sandokai, Harmony of Sameness and Difference. “All the objects of the senses transpose and do not transpose. Transposing they are linked together; not transposing each keeps its place.” It is as if the senses overlap like a Venn diagram, and we are all syntesthetes at base.But alas, even at this point the advanced practitioner can fall into insidious beliefs leading to rebirth, for example that his consciousness is immortal, becoming “one of the adherents of the doctrines of the god Ishvara,” which I take to be the equivalent of some theism's notion of the immortal soul. Or that awareness is universal, or that the elements are the source of existence, and thus appropriate to make “ritual offerings to water and to fire.” These beliefs were apparently touted by other teachers of the day.Running down another litany of such erroneous interpretations of the teachings, Buddha mentions one that may apply most directly to us today, which is mistaking realization of the cessation of suffering as the end goal, missing the whole point of the Bodhisattva Path. “His companions will be ignorant members of the Sangha and supremely arrogant practitioners.” We have been witness to this effect, in the propagation of Zen to America. This is one form of Trungpa Rinpoche's “spiritual materialism.”Then following reassurances that in spite of all these barriers to overcome, everybody has the capability of transcending them, Buddha once again recommends the Surangama Mantra, and a cautionary tale:If they cannot learn to recite it from memory, teach them to write it out and to place it in their meditation halls or else to wear it close to their bodies. Then no demon will be able to disturb them… You should hold in the greatest reverence all the teachings of the Thus-Come Ones of the ten directions. These are my final instructions.Final instructions? Ananda summarizes briefly his eidetic memory, and Buddha recapitulates much of what has gone before, including detailing the delusory nature of each of the Five Aggregates in turn:The Five Aggregates Arise from Delusion… In the subtle, true, wondrous understanding, in the fundamental, awakened, perfect purity, no death or rebirth remains, nor any defilement, not even space itself. All these arise out of deluded mental activity… The notion that things come into being due to causes and conditions and the notion that they come into being on their own are mere speculations born of beings' deluded minds.Finally, finally, Buddha closes with “The Merit of Teaching the Śūraṅgama Dharma,” similar to plugging the Surangama Mantra earlier in the program. In sum, the merit is incalculable.Perhaps one of the most directly relevant implications to contemporary Zen practitioners, as outlined in the Surangama Sutra, is that the process of zazen progresses through the aggregates one at a time, leaving behind the prior, which “have already ceased functioning.” It suggests that we segue from sitting in the realm of Form to that of Sensation, then Sensation-only, leaving Form behind. Then on through Perception and Formations until we find ourselves sitting in Consciousness only, transcending the prior four. You could say that Consciousness is the uber-aggregate, subsuming the others, in that we are conscious of Form, conscious of Sense-Perception, of Cognition, Mental Formations, and ultimately conscious of consciousness itself. But there comes a turning point in which even consciousness no longer obtains.In the original translation of the Hannya Shingyo into English that we used at the Zen Buddhist Temple of Chicago, was the concluding line at the end of the long list of “given emptiness,” no this, no that, which said “… until we come to no consciousness also.” This is the singularity of Zen practice, that end-state that is not at all a state, but entry into the inconceivable. The point of awareness in which we cross the even horizon, and all known laws of reality collapse inward of their own mass. At this point, all such words as “awareness” and “inward” require quotation marks. The Way is beyond language, as well as concept. Please allow your mind to surrender to this possibility, especially when you are in meditation.* * *Elliston Roshi is guiding teacher of the Atlanta Soto Zen Center and abbot of the Silent Thunder Order. He is also a gallery-represented fine artist expressing his Zen through visual poetry, or “music to the eyes.”UnMind is a production of the Atlanta Soto Zen Center in Atlanta, Georgia and the Silent Thunder Order. You can support these teachings by PayPal to donate@STorder.org. Gassho.Producer: Kyōsaku Jon Mitchell

In Episode 3, Rebecca talks to Rowan Jackson at the School of GeoSciences, University of Edinburgh about his work on how the Norse adapted their way of Scandinavian way of living to the harsh climate of Greenland. We talk about the hows and whys of these lifestyle choices, before discussing the successes and failures of the Vikings in Greenland. Moving on from this, we talk more generally about Rowan's work on global change research and climate change archaeology. 730 - audiogram -915 7,15 Value of archaeological record. 9,30 Why did the Norse move to the North Atlantic? 12,00 Pull to Greenland - walrus ivory & (relatively) mild climate 13,30 Population estimates & peak settlement in Greenland 16,00 Viking farming toolkit 18,00 Hunting strategies & adaptation strategies 19,00 Landscape learning 22,00 Greenland's short active season 26,45 TEK (Traditional Ecological Knowledge) & cultural landscapes in Greenland 29,00 Adaptive toolkit responds to changes in seal populations 30,45 Transposing children's learning landscapes, Viking v Thule - cultural transmission 34,00 Miniature objects - toys & material culture 37,30 Children in urban contexts 40,30 Hegemonic masculinities & identities in urban contexts 49,00 Climate changes in the 14th century & TEK becomes less relevant 52,00 Cultural path dependence leaves the Norse less able to react to these changes 54,00 Changing European demands and politics affect Greenland 56,00 Population changes impact the abilities of the Norse to get to those resources that they need 60,00 Norse adaptive capacity is pushed to the limit, beyond capacity? 65,00 Evidence for leaving? Or a bias in the record? 72,30 What's the most important thing you can tell me about this? 75,00 The hermeneutic cycle of interpretation and reinterpretation 77,45 What is Global Change Research? What is Archaeology's role in GCR? 80,00 Shifting baselines, e.g. cod fishing & contribution of archaeological research to reconstructing historical cod populations 82,00 Discrete archaeological examples of change/adaptation/collapse and the lessons we can learn from these examples for the future. 85,00 Adaptation, vulnerability, and social context. 87,30 Social Contract & working with local communities 90,30 Relationships between communities, museums as trusted spaces, and potential for archaeologists to engage via exhibitions.

We've got a huge announcement this week and Ryan and Jason dig into everything you need to know about transposing.

We've got a huge announcement this week and Ryan and Jason dig into everything you need to know about transposing.

Secrets of Saturn Live Stream - 58 - March 10, 2021 - Transposing the Mind by Jason Lindgren

Episode 11 explores how the instruments in band and orchestra can appear to be playing in different key signatures in a score, when in reality some parts are played on transposing instruments. (1:10). Therefore, each instrument ends up playing the same concert pitches and harmonies together. (3:30). Eliscia concludes the episode with an example of two melodies played on two different instruments (4:32).Question of the day: (7:02) What traditional band instruments are transposed in FThank you for listening to The APsolute RecAP: Music Theory Edition!(AP is a registered trademark of the College Board and is not affiliated with The APsolute RecAP. Copyright 2020 - The APsolute RecAP, LLC. All rights reserved.)Website:www.theapsoluterecap.comEMAIL:TheAPsoluteRecAP@gmail.comFollow Us:INSTAGRAMTWITTERFACEBOOKYOUTUBE

This week Larry Gentis takes on the role of Nicodemus, Malcolm Guite reads a poem on "Transposing", Michael Berkeley talks to William Sieghart about the power of poetry, and Damian Thomson quizzes Norman Lebrecht on his book about Jewish history. Finally Tim Carter discusses how we should celebrate the modern harvest.

Learn how you can Transpose easily by playing Simon with the Circle of 5ths. A question leads the guys to discuss Transposing, 5ths, Movable chords, and even some 90's Games. Another member asks for the Magic Secret to Pinky Mutes. When someone asks Aldrine if he plays low G, he gives some hidden examples that people may not be aware of. At the end of the podcast, Aldrine spends some time talking about unique ukuleles in his collection and where around the world they may be. Podcast Show Notes and Links: https://ukuleleunderground.com/2020/07/tll-podcast-116-simon-circle-of-5ths/

On this Strong Songs mailbag episode, Kirk answers your most pressing questions on subjects ranging from horn transposition, to why audiences have a hard time clapping on 2 and 4, to what the heck that sound is on the bridge to "Every Little Thing She Does is Magic." DISCUSSED ON THIS EPISODE: “Thunderstruck” by AC/DC from The Razors Edge, 1990 “Roll” by Fatai from Undone - EP, 2015 “Take My Breath Away” by Berlin from Count Three & Pray, 1986 “We Will Rock You” by Queen from News Of The World, 1977 ‘Every Time We Say Goodbye” by Cole Porter, sung by Ella Fitzgerald “Horsepower” by Justice from Audio, Video, Disco, 2011 “Hallelujah” by Leonard Cohen as sung by Rufus Wainwright “Every Little Thing She Does Is Magic” by Sting and the Police from Ghost in the Machine, 1981 “You Don’t Know What Love Is” as played by Sonny Rollins from Saxophone Colossus, 1956 “Desafinado” by Antonio Carlos Jobim feat. Stan Getz from Getz/Gilberto, 1964 “Home Fries” by Joshua Redman from Freedom in the Groove, 1996 “Children Go” by Chris Potter from Traveling Mercies, 2002 “3-in-1 Without The Oil” by Rahsaan Roland Kirk from Domino, 1962 “Singin’ the Blues” by the Original Dixie Jazz Band, feat. Frankie Trumbauer on C Melody Sax, 1920 “Lingus” by Snarky Puppy feat. Cory Henry from We Like It Here, 2014 “Warriors” by Aaliyah Rose from She-Ra and the Princesses of Power, 2019 “What Have We Done” by Shook Twins from Some Good Lives, 2019 BLACK LIVES MATTER As Kirk mentioned on the show, below are some things to read and watch to learn more about America's shameful history of systemic racism. Just three things, actually: The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander, which should be required reading in all U.S. high schools - https://en.wikipedia.org/wiki/The_New_Jim_Crow An excellent new NPR video explaining the history of the New York Cabaret Card, which was used by the NYPD to discriminate against black jazz musicians: https://www.youtube.com/watch?v=AUFWf-63kNk&feature=emb_logo Wesley Morris's 2019 Times essay about white appropriation of black American music: https://www.nytimes.com/interactive/2019/08/14/magazine/music-black-culture-appropriation.html There's a huge number of additional articles, books, and videos a person could check out to better educate themselves about this often overwhelming subject. But if you listen to this show and are looking for somewhere to start, start with those three. OUTRO SOLOIST: You? A bunch of listeners have requested a solo-free version of the Strong Songs outro music to play around with. So, now there is one! You can find it on Kirk's Soundcloud: https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-solo STRONG TWEETS You can now follow Strong Songs on Twitter at @StrongSongs. So, do that! http://twitter.com/strongsongs NOW ON SPOTIFY Strong Songs is now on Spotify! You can find the show here: https://open.spotify.com/show/5umVTiMQIg2bDpTZaHZqbI?si=mNYpIYq2TqaXSSeUv_JRdQ 'GRAM BY 'GRAM If you're interested in occasional music and Portland-related photos and videos, as well as teases for upcoming Strong Songs episodes, follow Kirk on Instagram @kirk_hamilton. https://www.instagram.com/kirk_hamilton/ NEWSLETTER/MAILING LIST Sign up for Kirk's mailing list to start getting monthly-ish newsletters with music recommendations, links, news, and extra thoughts on new Strong Songs episodes: https://tinyletter.com/KirkHamilton STRONG PLAYLISTS Kirk has condensed his Strong Songs picks into a single new list, which you can find on both Spotify and Apple Music. You can also find a recent playlist Kirk specifically designed for listening while staying home and not spreading viruses on Spotify, Apple Music, and Google Play (thanks Thomas for making that last one) SUPPORT STRONG SONGS ON PATREON! Thank you to all of Strong Songs's Patreon patrons! You're making all of this possible. For more information on how to become a patron, go here: https://Patreon.com/StrongSongs STRONG SONGS JUNE 2020 WHOLE-NOTE PATRONS AccessViolation Aidan Coughlan Andre Bremer Anne Britt Bill Rosinger CALEB ROTACH Chad Barnard Christer Lindqvist Craig J Covell Dan Apczynski Dave Florey David Zahm Doug Paton Erin Glenn Jeanneret Manning Family Four Kyle Starr Mark Schechter Matt Butler Merlin Mann Mickey Clark Narelle Horn Nathaniel Bauernfeind R Watson Robert Paul Ryan Torvik Simon Cramp Viki Dun STRONG SONGS JUNE 2020 HALF-NOTE PATRONS Adam Conway AJ Schuster Albukitty Alexander Geddes Alexander Polson Amanda Furlotti Andrew Baker Andrew Lee Arjun Sharma Bill Fuller Bill Thornton brant brantphillip Brendon Oliver-Ewen Brett Douville Brian Amoebas Briony Leo Brooke Wilford Caro Field Chas Lednicky Chris Brown Clare HOLBERTON Cyrus N. White Darryl Stewart Dave King David Stroud David Zucker Dhu Wik Diane Turner Duncan Earl Lozada Eero Wahlstedt Elliot Jay O'Neill Emily Williams Forrest Chang Gavin Doig Geoff Golden Georgia Livesay Gerry Nelson Jaehoon Jeong Jake Tinsley James Johnson Jarrod Schindler Jeffrey Olson Jenifer Carr Jennifer Bush Jeremy Dawson Joe C John and Sharon Stenglein Jon O’Keefe Jonathan Daniels Juan Carlos Montemayor Elosua Judith Stansfield Judy Chapple Jules Bailey Justin Liew Justin McElroy Kate Albury Kendra Reid Kevin Morrell Kevin Pennyfeather Latifah Makuyi Leigh Sales Malory Mark Haberlen Mark Perry Mark Steen Markus Koester Matt Betzel Matt Gaskell Melanie Stivers MH Michael Blackwell michael bochner Michael Flaherty Miriam Juskowicz Mueller Nate from Kalamazoo Nicholas Schechter Pascal Rueger Randy Souza Richard Toller Robbie Ferrero Robyn Fraser Sam Fenn Shane DeLeon Sheilah SP Stephen Steven Maron Stuart Terry SUELLEN MOORE Tanner Morton Tom Clewer Tom Coleman Tom Lauer Toni Isaacson Wayne Marsh Zoe Little

It is not enough, when working on self mastery, to replace unwanted behaviors by keeping busy, getting a hobby or working toward simple goals. We must learn to “bridle your passions that he may be filled with love”. Passion Project Training landing page: https://h0ei5jxu.pages.infusionsoft.net/

Keys are everything in a film score. Learn about why and how to work with them as a basic element of composing dramatic sounds. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/hausoffilm/support

On Monday of this week I posted these questions in my Facebook Group: How do you decide the right key for a song? Are all your songs in the same key? Does it depend on the mood of the song? The reason I reached out to my group for help on this is because I am writing songs in preparation for recording and releasing them next year. This year I released five singles and really didn’t give much thought to the keys they were in, they just kind of landed where they landed. The whole reason I started releasing my own music again after a 10-year break was to find my voice, which seemed to be disappearing into function singer oblivion. I believe an integral component for rediscovering my voice is through understanding where my sweet spot is. The members of my FB group are all brilliant in their own rights, and many of them are singers and songwriters, so I felt I would get some answers that I could apply to my process. Wow, was I right. Keith Simon, singer extraordinaire said, “For me I think it’s about being able to utilize your vocal range to its maximum potential ... every song is different and unique ... and you wanna be able to comfortably sing/perform a song that brings out the best parts of your range.” My very first vocal coach and piano teacher, Pat Tyson, had this to say: “I tend to write in keys that are comfortable for my voice, but I also write in keys that are easy. Transposing is a gift that I'm grateful for!” And then, Amba Tremaine, Singer, Songwriter, Vocal Coach, Choir Leader and Teacher took me to school. She dropped a word on me that I had never heard before, Tessitura. Thankfully, she broke it down for me: Tessitura is the range within which most notes of a vocal part fall. An area of your voice that is comfortable and most commonly used. Amba goes on to say, “I have discovered that being able to sing high or low is one thing, but being able to do it well and for it to sound good is another thing entirely. Reaching those high whistle tones may seem impressive but 9 out of 10 times it sounds bloody awful. Every now and then we’ll need to pull out some impressive height for certain songs but it really does make a huge difference when you know where your voice sounds the best. This is where Tessitura comes in.” Amba’s process is to go to the piano and start talking about everything and anything. She then finds the note (more) --- Send in a voice message: https://anchor.fm/gloria-miller-music/message

Transposing Picking, Add9 vs. Add2, Pinky Exercises and What to Expect at the UU Retreat This week, Aldrine starts the…

Mediation Station's show on Sunday April 7, 2019 from 8 p.m. to 9 p.m. EST was titled "Transposing Life and Court into Words and Melody" with our visitor Victoria Flie-Clancy. Victoria has been navigating through the family justice system as a litigant and has experienced a range of challenges and concerns that first presented themselves with so much negativity to more recently become more empowering and positive. With her background in music and the arts, she has found a way to process her moments through words and melody. Listen in to hear both Victoria's spoken word conversation and her music and prose. Tune in to listen to Mediation Station through the free Radioplayer Canada app http://radioplayer.ca/app/ (connect under CHHA 1610 AM). As well, you can tune in at www.chha1610am.ca (Click LISTEN LIVE icon) or Rogers Digital Cable Channel 951. Give us a call at 416 785 0680 to contribute to the conversation. Podcasts are available at https://soundcloud.com/transformag and at iTunes Podcasts and searching for Mediation Station in Arts. Twitter @FentenMediation

We briefly explore how electricity started to build the grid on GE's assumption that more use cases would come after the light bulb. We further look at how the Internet started with email, light browsing and chat as the initial use cases in 1996. Transposing those innovations onto what blockchain could look like, gives us a reminder that use cases come well after the infrastructure is built.

This episode is all about bunker play. In basic terms, we handle bunker shots a lot like pitch shots, but there are a few important variables we'll need to learn to account for. First, everything is determined by the lie. Learning to assess what you're capable of from different lies comes with practice and simple trial and error. If the ball is sitting down, we need the club to dig into the sand. If we've got a good lie, we'll want the club to slide into the sand. Digging: We need the club to do more digging when the ball is sitting down. Sliding: We need the club to avoid digging when we're in soft sand. Bounce angle is part of the anatomy of a sand wedge where the leading edge of the club is raised off the ground. We can moderate bounce by opening or closing the face. Open Club Face: More bounce, less digging, soft sand, good lies. Square Club Face: Less bounce, more digging, hard sand, poor lies I like the comparison of a peeler taking the skin off of a carrot - we don't want the club to dig so much that it stops dead. Conversely, we also don't want the club bouncing off the sand, or the peeler failing to grab any skin at all. My bunker line drill is a great way to practice and learn about how consistent you are with impacting the sand (or turf). Practicing by setting up square to a target, opening the club face, and hitting a few shots will reveal how far to the right the ball tends to come out. Transposing that angle to the other side...meaning aiming that much to the left will mean the ball comes out at the flag. Questions: cbourque@pga.com --- Send in a voice message: https://anchor.fm/golf-essentials/message

This question was sent by Jeremy, and Jeremy is on our team of people who transcribe our podcast conversations. So one day, he wrote that he received word that he passed the CAGO examination from the American Guild of Organists. And I asked him what the requirements were, and he writes: I found out about three years ago that I need some type of long term goal to work towards in my life. The easiest thing was to become certificate in something. It began with my Masonic organization, which I received a Masonic Instructor in the state of Iowa. I have been playing the organ for church for about ten years now and two years ago, I decided to take it more seriously by seeking out a teacher. Dr. Christiansen got me involved in the local AGO chapter, and encouraged me to work towards the Service Playing Certification and continued my education to get the Colleague certification. We now have a blood pact! If I take the Associate exam next year, he will take the Fellow exam. That being said, the certification program up to this point has been very practical for me as a church musician--standard repertoire that I have used quite a bit in the service, hymn playing, transposing passages of music, sight reading, harmonization, and improvisation. All of these things I have used at some point in the last year. The most work for me came in the improvisation and transposition portions of the exam. I was introduced to this in the past, but it always remained theoretical and not practical. I have now incorporated these into my daily practice sessions. Your courses have helped out a lot with them, but I still have miles to go! 3 pieces of repertoire: Bach In dir ist freude; Parry Chorale prelude on Omnium Christe Redemptor, and Alain Variations on a theme of Clement Janequin. 2 anthems: Britton's Jubilate Deo and Dupre's Ave Maria. Improvising an 8ish bar piece modulating between two keys. Sight reading a short three staff piece. Harmonizing a folk tune. Short prelude and hymn playing on two hymns. Transposing a hymn into two keys. A half step up and a step down. The improvisation and transposition were the most difficult part. I am reviewing your transposition course and your prelude in Baroque style course. Also, the complaints for the most part were about tempi. Too slow.

Dennis McCarthy Interview.   Dennis McCarthy defined the sound of Star Trek by composing 257 episodes and movies of the franchise. However, the road to Trek was paved with hard work and trial-by-fire education sessions. McCarthy learned how to compose and orchestrate while on the road as a young man, playing various musical shows. McCarthy ever refers to his education as the  "college of the road." After working with composers such as Nelson Riddle and Alex North, his first big break would come with the 1983 phenomenon V: The Final Battle. Dennis showcased his ability to write good quality music quickly, and this would lead him to many other opportunities, which continue to this day. In this episode of Melodic Treks, host Brandon-Shea Mutala has an in depth discussion with Dennis McCarthy, the person who has composed the most Star Trek episodes and films. We talk about getting into the business, working with Kevin Kiner, as well as his extensive career composing for Star Trek. Chapters Intro (00:00:00)  Welcome to Melodic Treks (00:01:14)  "Good Question" (from The Curse of Oak Island)(00:02:44)  What's Up With "Yo!"? (00:02:54)  Education (00:04:17)  "Main Title" (from V) (00:11:50)  Brass (00:14:34)  Transposing (00:16:58)  "Suite from "Voices in the Earth") (from The Twilight Zone) (00:23:21)  "About Your Words" (from The Curse of Oak Island)" (00:26:50)  Kevin Kiner (00:28:37)  "Main Titles" (from "In A Mirror Darkly") (00:32:12)  "Archer's Theme" (00:33:50)  Musical Alzheimer's (00:35:09)  The "Haven" Score (00:38:32)  "I Have a Gun" (from "All Good Things...") (00:41:42)  Stand Out Scores: "The Arsenal of Freedom" and "Conspiracy" (00:42:58)  "Surface Jaunt/Image/Encased" (from "The Arsenal of Freedom") (00:43:48)  "Worf Down/Invader/Dinner Treats/Retching Remmick/Recovery/Cliff Hanger" (from "Conspiracy) (00:45:47)  Emmy Award Winning Main Title (00:47:35)  "Star Trek: Deep Space Nine Main Title (Seasons 1-3)" (00:50:02)  "Farewell" (from "What You Leave Behind") (00:53:31)  "Generations Overture" (from Star Trek: Generations) (00:57:41)  Thank You, Dennis (00:58:56)  Closing (01:05:30)   Host Brandon Shea-Mutala   Guest Dennis McCarthy   Production Tony Robinson (Editor and Producer) Brandon-Shea Mutala (Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Bobby Tucker (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

This episode was first recorded as a webinar on 2 July 2018. We take stock of the UK Government's efforts to define the post-Brexit world - domestically and internationally - before everyone heads for their summer holiday.  The EU Withdrawal Bill, which has passed its last parliamentary hurdles, will be one of the most significant pieces of legislation in a generation. Transposing around 19,000 pieces of EU legislation into UK law, it will become a touchstone of the UK's legal system. The UK Government plans to make retained EU laws fit for a post-Brexit UK using around 1,000 statutory instruments to tweak the rules as they move onto the UK statute books. What will this 'storm' of secondary legislation mean for businesses? How can you prepare and protect yourself? The Brexit White Paper, expected after the 28-29 June EU Summit, is billed as the most comprehensive statement of UK Brexit policy since the referendum with detailed and precise explanations of the approach in a range of areas. What should you look out for? What's missing? 9 months to go with no prospect of a UK/EU deal being agreed before the EU Summit in October. It is not surprising that there is increasing focus on the risks of a no deal Brexit. What could that mean? Is "Armageddon" a real possibility? What should businesses be doing in practice?

Having trouble hitting the high note? Check this out! Transposing Hack! --- Send in a voice message: https://anchor.fm/simply-mary/message

Transposition, the act of changing a piece of music to a different key or mode, can be one of the most useful tools any musician can have in their kit. In this episode, we will discuss diatonic and chromatic transposition, as well as when and why we use them. We will also have a discussion on transposing instruments, instruments that sound out different notes then what is written on paper. It's time to change it up a bit! It's time for transposition!

Today Doug shares a bit of a conversation he had with John Summerville from Trans World Radio about the spiritual climate in North Korea. Also Doug is taking a look at "Eight of the Most Common Worship Leading Mistakes", an article written by Jamie Brown Jamie Brown.Read More →

How to transpose a swing bassline using rootless chords.

So much in this episode! I IV Vs! Transposing! Alternate Picking! Telecasters! Walk The Line is an incredibly well written song, and we look at the whole thing. Download the Chord Chart here www.guitarbytheglass.com for more more chords, tabs, and videos.  

G’day listeners, we have had a ton of stuff come in over the last month, so, we decided to finish the year with a bumper edition with an extra hour, might be best to delve into the music in two sessions. Mick said “some might call him a humbug, but there will be no takes on Christmas classic songs this year, he’s not a fan of this in electronic music” It’s been another exceptional year of some truly great sounds from not only our regulars but many of the new artist we’ve promoted throughout the last twelve months. We would like to thank all the musicians and listeners who have supported us in 2015, bring on 2016. Have a great Christmas, see you all next year. Sequences Podcast No79 01.03 Sequential Dreams ‘Across Dimensions’ (album Lost Dimensions) *** http://www.bordersedge.com/news/sequentialdreams-lostdimensions 17.00 Sequential Dreams ‘One Thousand Years’ “ “ “ 22.54 Dreamweavers ‘ Til The End Of Time’ (album Love Fusion) https://dreamweavers7.bandcamp.com/ 28.49 Dreamweavers ‘Melt Into You’ (album Frequency) 37.20 Andreas Meyer ‘Das Labyrinth’ (album Irrgarten) *** https://kontinuumproductions.bandcamp.com/album/irrgarten 48.12 Vanderson ‘Vandisphere’ (album Vandisphere) http://vanderson.bandcamp.com 60.12 Vanderson ’Something That Never Happened’ 65.17 Alpha Wave Movement ‘Harmonic Currents’ (album Harmonic Currents) *** http://www.hrresonance.blogspot.com 78.15.Seifert & SteinbÅchel Anamorphic (album Softlock ) www.mellowjet.de 86.46 Seifert & Steinbuchel ‘Reverberation’ “ “ 89.36 Seifert & Steinbuchel ‘Motion Artefact’ “ “ 97.32 Binar ‘Floatylite’ (album Mushroom Vimana) https://andypickford1.bandcamp.com/album/mushroom-vimana 105.09 Binar ‘Vimanarama’ “ “ “ 116.27 The Tower Tree ‘One Day We Will Walk Together’ (album Transposing) *** http://thetowertree.bandcamp.com/releases 124.49 The Tower Tree ’Tower’ “ “ “ “ 135.20 Moonbooter vs Wellen ‘Vintage Attack’ (album live Munster Planetarium, Germany, 2015) www.mellowjet.de 141.49 Moonbooter vs Wellen ‘Welcome To The Past’ “ “ “ “ 148.30 Michael Allison ’Loss’ (album Remember The Sultana) www.spottedpeccary.com 151.09 Michael Allison ’Numbers Game’ “ “ “ 153.53 Michael Allison ’First Light’ “ “ “ 155.26 Marconi Union ‘A Distant Light’ http://www.marconiunion.com/ 161.51 Phobos ‘Awakening -Evening Sky’ (album An October Evening) http://phobos.bandcamp.com 170.28 Ivan Black ‘At My Heart’ (album A Paradise Lost) http://soundcloud.com/ivan-black 177.08 Vansound ‘Arp2’ https://soundcloud.com/search?q=vansound 180.30 Vansound ‘Strangers’ 186.11 Nord ‘Radiation’ (album Bells Of The Sun) http://www.nordmusic.ro 197.44 Nord ‘Solar Wind’ “ “ “ 208.10 Ivan Black ‘Going West’(album Compass) *** 219.08 Rene Van Der Wouden ‘Prosa’(10 Years) *** www.renevanderwouden.net 225.11 Rene Van Der Wouden ‘Gruga Platz’ “ Edit***

Eddie Inzauto, Jason Fanelli, and Tyler Cameron laugh through a discussion about morality in videogames, but still manage to think critically about the topic at hand. In an interesting discussion, they approach the material from a variety of angles and come out with some good insight and a better understanding of what makes such systems better or worse. 00:00 - Welcome. Introductions. Weather. 01:48 - What we've been playing. Assassin's Creed II, Uncharted 2, Left 4 Dead 2, inFAMOUS, Prototype, and a quick breakdown of Modern Warfare 2's multiplayer. 07:56 - Morality systems in games. 09:11 - What makes a videogame morality system a good one? 13:40 - Fitting polar "good" and "bad" roles. Shades of gray. Missing out on aspects of gameplay. 17:00 - Embracing neutrality. Why have a morality system at all? 19:39 - From a narrative perspective rather than a gameplay perspective. 21:07 - Morrigan's facade, and how women want to sleep with men who are mean to them. The morality of infidelity. 22:43 - Conversation DERAILED. 23:00 - Transposing one's own morality onto characters who have a limited range of responses. 25:54 - Choices bridging multiple games in a series. How Mass Effect 2 will do this. 28:37 - Back to morality. Alternate definitions of right and wrong. 33:43 - Games that would be improved by adding or removing a morality system. 37:23 - Micro-consequences vs. game-changing choices. Obvious vs. ambiguous choices. Save/load tactic vs. forced closure. 40:59 - What do you want to see implemented in future games? 45:27 - Thanks, upcoming GamerNode STUFF, and outro. Intro: "Mass Effect Theme" by Jack Wall and Sam Hulick for BioWare and EA Games' Mass Effect, 2007. Outro: "Santa Claus is Coming to Town," performed by David Seville, 1980. Links: Gameplay's Uncanny Valley - http://www.gamernode.com/columns/11-/8548-/index.html GamerNode's Twitter - http://www.twitter.com/GamerNode Eddie's Twitter - http://www.twitter.com/EddieInzauto Jason's Twitter - http://www.twitter.com/bigmanfanelli --- Send in a voice message: https://anchor.fm/gamernode/message

Jacob Dayan, Consul General of Israel; Hagai Levi, Steve Levinson, Rodrigo Garca, Blair Underwood, Rick Rosen, Moderator: David R. Ginsburg