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tag:blogger.com,1999:blog-64818083893991923102018-03-06T02:38:48.906-08:00Bassbook BlogAlunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-6481808389399192310.post-3890429829504833582014-04-27T13:13:00.000-07:002014-04-27T13:13:19.361-07:00A blast from the pastHello! I've just realised that I've not posted anything here since October 2012 so thought it was about time I corrected that. The title of the post refers to two things - firstly the fact I've not posted anything in so long, and secondly because it relates to the fact I started working on this technique years ago but have recently revisited it.

I have always said that the weakest part of my playing is my picking, I've never been happy with my muting or my general ability really. In 2008, I was fortunate enough to attend a two day masterclass with the phenomenal Todd Johnson and one of the key things we studied was his right hand technique commonly known as "floating thumb". Rather than anchoring the thumb on the pick up, Todd's technique involves the thumb trailing with the picking hand, which allows it to mute the low strings as you play the higher ones. I worked on this for a while but over time resorted to my tried and tested (but not that great) picking technique.

If you're interested, there is a clip of myself and Todd from that masterclass here.

Recently I sat down to do some recording and became increasingly frustrated with my right hand muting, I kept getting sloppy little noises and it was driving me nuts so I decided enough was enough. I already do a lot of palm muting when picking with thumb and fingers, as well as using my hand in that position to play chords so decided to give it another go. The improvement it has made has been huge, and it means not having to change my hand position for palm muting or chordal playing. The nice thing with this technique is that the angle of your fingers doesn't change from string to string so the technique is much more consistent from the low to high strings.

The way it has developed isn't quite the same as Todd's, I tend to use the sides of my fingertips slightly more. Other great players who use this kind of technique include Steve Lawson, Janek Gwizdala and Gary Willis, who has a highly evolved three finger technique in addition to the floating thumb.

Here's a quick (and unplugged, so turn it up) video of this technique - http://youtu.be/ExLpBe5KS0I

Take care and I'll try to post a little more frequently!
Alun Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-11104687153647992302012-10-08T14:16:00.004-07:002012-10-08T14:16:58.192-07:00The Melodic SpiderHi folks, hope you're all well.

Today I thought I'd share a little warm up idea I've been using recently. I'm sure we've all come across the "spider" exercises in same form or another, various combinations of all four fretting fingers which are generally chromatic in nature and not particularly melodic, or of much use other than as an exercise.

I was messing about with some of these ideas recently and realised, by playing the first two notes on the G string, and the then the third and fourth finger notes on the D string, I was playing a fragment of the half whole diminished scale!

The half whole diminished scale is made up of alternating half and whole steps (or one fret and two fret intervals), so starting on A you get:

A Bb C C# D# E F# G

Another joy of the diminished scale is that patterns repeat inside it in minor thirds so you can play a pattern, move it up three frets and play it again and still be in the same scale.

So that's where this exercise comes from, simple as that. On the PDF below you'll find four exercises, all based around the A half whole diminished scale and all using all four fretting fingers. Each exercise features two patterns , one ascending and one descending but try switching them round and seeing what you like the sound of. They all make very handy diminshed licks too!

Ex 1. This was the first exercise I came up with, prtty basic two notes per string up and down.

Ex 2. As handy as I find the first exercise for fretting warm up, because it has two notes per string it means that you always start each string with the same finger/pickstroke (assuming you're alternating two fingers or up and down strokes). Yes, you could just repeat the exercise starting on the other finger/stroke but I wanted an exercise I could quickly play and get maximum benefit so this exercise uses three notes on one string and two on the other to ensure that you are swapping back and fore on each beat.
I must credit Laurence Cottle for giving me the idea of using groups of five to work on picking (he is also a master of the diminished scale and a great source of associated ideas!).

Don't be put off by the quintuplets ( 5 notes to a beat) in this exercise.This is more for conveniently outlining the groups of 5 than anything else but if you do want to play it as written, take it slow and make sure the notes are evenly spaced within the beat. To get used to the feel of five even notes, try saying "hippopotamus" on each beat (any five syllable phrase will work though, I just like that one).

Ex3. Back to groups of four, but this time skipping from the A string to the G string.

Ex4. And finally here's some string skipping quintuplets! No home is complete without them.

 http://www.alunvaughan.com/Bassbook-TheMelodicSpider.pdf

 So there we have it, a few diminished licks which are really handy quick warmups and, to my ears anyway, a little more interesting than the standard chromatic patterns.

Cheers
Alun Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-34147978405969694362012-07-01T12:38:00.000-07:002012-07-01T12:38:10.986-07:00Customer Service - The Reality of FreelancingHi all.

I'm getting more prolific - only 6 months between posts this time!

Anyway, I thought I'd write a little something on freelancing as a musician after reading this excellent post on the reality of being a mixing enginneer by Björgvin Benediktsson - Why Your Mixes Don't Really Matter.

The first lines of Björgvin's blog are really relevant to the life of a freelancing musician:

"It's a funny thing, customer service.

It doesn’t revolve around you. It’s all about the customer."

Why? Well, because it's true basically. Now, before I continue, I should stress that this is really about being a musician being hired to play a specific role in someone's music. If you're playing your own music, you are the customer so please yourself ;)

I'm lucky that I get to play with a lot of different artists, in a lot of different genres and although I'm being hired to play because I'm able to play/read/hear whatever it is they require, they are hiring me to fulfill the role they need in their music, not to play everything I know and try and steal the spotlight. I have seen many musicians try to do this - squeeze in every lick and trick they know, and guess what? They don't get called again.

When you get a call for a session or a gig, never forget you are there to play the role that bandleader needs. It might be that they want someone for their fusion gig who can play extended solos and read complex charts, it might they need someone to play whole notes all night under their country ballads. Be conscious of their needs and expectations, and play what feels right for the situation. And don't be afraid to ask if you're unsure (although some bandleaders won't need asking if they don't like it!).

So what can you do? The simple one word answer is "LISTEN". On the gig, listen to what's going on around you. Pay close attention to dynamic changes and analyse your own volume/intensity compared to what everyone else is doing. Is the drummer dropping his volume in the choruses? Is the soloist going in a certain direction? Also, if you've got written charts it's always safe to assume they might not be 100% accurate. Sometimes the band may have changed something or someone might just make a mistake. If you're not listening to what's going on, you can easily find yourself in a different place in the song to the rest of the band when the singer misses a cue or the band decide to loop the intro 4 times not the 2 on your chart.

Listening counts before the gig too, if you're playing in a genre you don't know that well do some research. With the internet, this is easy now. No more record libraries, borrowing from friends, etc just go to YouTube or Spotify (or whatever THE online resource is by the time you read this) and listen to a few tracks. Pay attention not only to the notes but also the types of tones and instruments used. Even if it's all upright bass and you only play bass guitar, you'll at least know the timbre that will be expected so might consider a more muted/dark tone than you may normally use.

So, to sum up, I'll quote Björgvin again:

"A happy customer is a repeat customer. Think about that when you’re doing your next project."

Take care
AlunAlunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-6515514390481095302012-01-08T12:01:00.000-08:002012-01-08T12:27:04.723-08:00A twist on chromatic warm upsLast post Dec 2010??? Oops! I knew it had been a while but not that long.

Anyway, as it's January and many people are still in their "must exercise more" phase after Christmas I thought I'd share a little warm up exercise I've been fiddling with.

Many players use the one finger per fret method to play chromatic exercises, either playing a full chromatic scale or repeating the same pattern on each string eg Frets 5,6,7,8 on each string. These are great for getting your hands moving but, because they use an even number of notes per string, they only use one way of crossing strings. By that I mean if you're a 2 finger fingerstyle player you'll be starting on the E string going 1212 (or 2121) and then playing the same pattern on every string. The same applies with up and down strokes if you're using a pick.

This is fine but means that you have to repeat it all again starting on the other finger/stroke. OK, you don't have to, but I discovered a long time ago that the reason I found some passages more difficult than others was because I was trying to cross strings with my "weak" finger. As a result, I aim to practice leading and crossing strings with either finger/stroke.

So, to cover both possibilities, we need an odd number of notes per string. We could use 3, but then we lose warming up all 4 digits as much so this exercise uses 5 notes per string

Now,unless you're fortunate enough to have a spare digit lying about, one finger per fret won't be enough, we need to make little shift. Now this is where this exercise has another benefit - which finger do we shift with?

Most of us will have a preference, whether it's to slide the first finger from the 5th to the 6th fret and then play one finger per fret or play all four fingers and shift up with the 4th finger.

Your challenge for this lesson is to repeat it 4 times and each time shift with a different finger.

So, first time you play the 5th fret with your first finger, move it up to the 6th and play one finger per fret. On the way back down, play the 9,8,7,6th frets with one finger per fret and then shift the first finger down to the 5th fret.

I find first and fourth finger shifts fairly natural but shifting with the middle and ring fingers feels really weird.

At all times, ensure you are alternating with your picking hand so you take full advantage of the odd numbers of notes per string (eg E string might be 12121, the A string is 21212 and so on).

Have fun and I'll try not to leave it a year before the next post!!

PS If the four fret stretch from 5th to 8th fret is too uncomfortable, feel free to move it higher up the neck. And as always, if it starts hurting take a break.Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com1tag:blogger.com,1999:blog-6481808389399192310.post-74526065519432490572010-12-26T14:49:00.001-08:002010-12-26T15:47:54.157-08:00Under the influenceHi all.

Have realised I haven't updated this blog for ages, so thought it was about time I did!

I thought I'd use this post to recommend a couple of books I'm working from at the moment, and to show you how they are influencing my playing (apologies if you saw the title and hoped it was a tutorial on getting through gigs when you've had one too many!)

The first book I want to mention is Stuart Clayton's Solo Arrangements for Electric Bass. 204 pages of solo bass goodness - a load of really great transcriptions, plus interviews, a really good history of solo bass and some technique and "in the style of" etudes. You can also download all the audio files for free from the Bassline Publishing site.

I got this book a couple of weeks back and have spent a lot of time with it, the material is fantastic. Stuart is a great teacher and writer, so the performance notes are really well written and well worth reading before tackling the arrangements.

As well, as working through the material though I think the key to any tutorial is how you can apply it to your own playing. After playing a couple of the etudes I found myself noodling about with some harmonic and tapping ideas, seeing how they might apply to different melodies and grooves. Before long I found myself playing "Silent Night" and before long it turned into a nice little arrangement which you can now find on Bandcamp:

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I doubt I would have approached this arrangement in the same way without studying Stuart's book - thanks Stu!

The second book I want to talk about is Damian Erskine's Right Hand Drive which takes a detailed look at his picking technique as well as including most of (if not all) his previous "Bass Perspective" book. I have been fascinated by his percussive right hand picking for a while so it's really interesting to read how he uses drum-like rudiments to work through the different permutations of using his thumb and three fingers.

I have been playing with two fingers (and occasional thumb) for so long that it'll take a while to get comfortable with the technique, and I don't know at the moment if it'll ever fully replace my current method, but it sounds fantastic. I actually prefer the sound of constant 16th notes ( think "What Is Hip?" by Tower of Power) played by alternating thumb and first finger than with alternating first and second fingers, sounds punchier to me somehow.

To get comfortable with the idea of using my thumb and three fingers, I've been using one of my favourite rhythm exercises - moving from one note per beat to two, three, four and so on up to eight (32nd notes) and back down again. There's a chart of it, with the right hand fingerings that I'm using, here..

http://www.bassbook.co.uk/4fingerexercise26Dec2010.pdf

T=thumb
1=first finger
2=second finger
3=third finger

Even if you don't use this technique, this is a great exercise for rhythmic accuracy. To get the most out of it, use a metronome (or any other steady time source) and take it slooooowly. By the time you get to seven and eight notes per beat it can easily get unplayable if you start too fast. Plus, you want to ensure that the subdivisions are accurate and this can be tricky to hear accurately over a certain tempo.

Have fun with these ideas, and I really recommend checking Stuart And Damian out, both fantastic teachers and players.

Take care,
AlunAlunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-41705051804541308942009-11-30T12:53:00.000-08:002009-11-30T13:02:17.730-08:00Christmas Songs For Solo BassHi everyone.

Yes, that time of year is sneaking up on us at an alarming rate and soon the sound of relatives saying “play us something on that big guitar” will be ringing in our ears. With this in mind (and the fact that I’m a bit of a big kid where Christmas is concerned!) I thought I'd let you know (or remind you if you were around last year) that a collection of solo arrangements is available from http://www.bassbook.co.uk and is now also available at http://www.learnthelowend.com ( If you haven't already checked out Learn The Low End, I highly recommend it - it's a fabulous site with a range of courses and lessons from some truly incredible players. I'm really honoured to be involved!)

NB If you order from Bassbook, I'm afraid I'm doing everything manually so there may be a slight delay in emailing the file to you (but it should be with you within 24 hours at the most). If you register with Learn The Low End it's all there waiting for you :-)

So what is it? Basically,you get the following in PDF format:

10 Christmas chordal arrangements for solo bass in notation and tablature

Auld Lang Syne, Away In a Manger, Ding Dong Merrily On High/Deck The Halls, In The Bleak Midwinter, Jingle Bells, Joy To The World, O Come All Ye Faithful, O Little Town of Bethlehem, Silent Night, The First Noel

11 Christmas melodies specially transposed to “easy” keys ( ideal for less experienced players) in notation and tablature

As above, but “Ding Dong Merrily On High” and “Deck The Halls” are presented as seperate pieces

2 mini lessons

An introduction to natural harmonics and a lesson on the two handed tapping technique used for the arrangement of “Jingle Bells”

I also have a favour to ask of you – if you like the arrangements and use any of the bass forums or social sites, please tell people about it :-) Word of mouth is often the best advert an independent musician can get so any help is greatly appreciated.

Thanks for your time and take care,

AlunAlunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-38118482869290561102009-09-21T12:04:00.000-07:002010-10-14T04:31:30.973-07:00The Secret Guide to Sight Reading ( the bits they don't tell you)Hi all. I was asked recently for tips on sight reading and started to think about the things you need to know other than how to read notation. I know a lot of players who can sit down and work their way through a piece of notated music, but wouldn't feel comfortable turning up to a gig and having a pad of charts placed in front of them,so started to think about what else is involved.

Here's what I came up with, based on my own experiences of sight reading on gigs, which will hopefully be of use to you...

Before starting a piece

Have a quick look at the whole thing and check
 - The time signature (and any changes to the time signature or tempo)
 - The key signature (and any key changes)
 - If there are any repeats or Coda signs, make sure you know where they go. Nothing worse than scrabbling to find where the repeat is, especially if it was two pages ago!
 - If the chart is really long, look if there's any way you can fold it into a book so you can flip the pages. Also look out for open strings or parts you can play with one hand while the other flips the page ( or even better - a few bars rest!)
 - Have a look what the highest and lowest notes are. This'll help you decide what position to play it in. If you can find a position where you can grab the highest and lowest notes easily, do so.
 - Check if there are any dynamic markings ( a lot of the bass charts I see don't include them) and follow them ( this also takes a bit of listening as different bands will decrease or increase volume at different rates)

 If you need to look at the neck, eg if there are a lot of position shifts, set the music stand up slightly to your left (assuming you're right handed) so that you can see the neck and music without looking back and fore. It can be really easy to lose your place if you're glancing away. Similarly, if you have a conductor, try and set the stand so you can see them over the music without too much movement.

If you get presented with a tricky piece, break it down. Start by just playing the rhythm then add the notes in. Believe it or not, an audience will notice an out of time note long before they notice an out of tune one. If you're working it out ahead of time, don't use a metronome until you're comfortable with it, otherwise you may find you end up missing things "getting it at speed".

If you are given a line of 16th notes that are not playable at sight, play the first one, use muted notes for the middle ones, and play any accented notes and the last one. Yes, it's cheating and ideally you should play them all, but this really works on gigs if something terrifying is put in front of you :-)

After a while, you'll get used to how certain shapes and rhythms sound eg a note on one line and note on the next line is a third, etc or an eighth note followed by two 16th notes is the "Steve Harris gallop". This allows you to read much easier in the same way that you read words and sentences rather than individual letters.

Read regularly

Like all skills, if you don't maintain it you'll lose it. If I haven't done a reading gig for a bit, I usually get the Bach Cello Suites, or some James Jamerson transcriptions, out for an hour to get my eyes and hands in synch again. Otherwise, I will be really rusty.

Above all though, make sure it's musical. When I first heard a recording of me reading a walking line it was awful - every note was dead on the beat but had no swing whatsoever. It's important to remember WHY you're reading the chart - to make music.

Hope that helps, any questions or comments, please feel free to post them below.

Cheers
AlunAlunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-70819838163565210672009-08-22T07:24:00.000-07:002009-08-22T07:57:31.769-07:00Neck Spanning Arpegg-a-thon...or somethingHi all. Apologies for the lack pf post recently, thing save been a bit crazy but I'm back!

Today I though I'd post a run I've been using to warm up and work on cleanly shifting positions up and down the bass neck. It utilises three major chords:

C major 7 - CEGB - Root, 3rd, 5th, major 7th
Ab major - Ab C Eb - Root, 3rd, 5th
E major - E G# B - Root, 3rd, 5th

which also make up the wonderfully wacky sounding C augmented scale - C D# E G G# B

I've always liked the sound of this scale and this run came about while trying to come up with different patterns based on it.

Here's the run for 4 string bass:

Click here

(Blogspot's layout makes the graphics unreadable so apologies for not embedding the notation)

The basic analysis is 7 notes of C major 7, then 3 of Ab major and 6 notes of E major, and then repeat up an octave.

The important thing is to sound every note cleanly and not to slur anything, especially where two consecutive notes are fretted with the same finger.

And here's the six string version which drops the first note by an octave and adds an extra octave at the end:

Click here

I love the sound of this pattern ( always makes me think of Steven Spielberg/George Lucas film soundtracks - it has that geat open mysterious sound) and it's really good for getting your hands used to cleanly shifting along the whole fretboard.

Until next time, have fun with this exercise and as always comments and questions are welcome!

Cheers
AlunAlunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com2tag:blogger.com,1999:blog-6481808389399192310.post-10561593403881189192009-06-15T09:50:00.000-07:002009-06-15T09:51:13.726-07:00Charity Webcast - June 20

Hi all. Hope you’re well. I just want to mention a charity event I'll be doing this week which I hope you'll want to support......

From June 20-27, Cancer Research UK are running a fund raising event called Busking Cancer where musicians busk ( as the name suggests!) and donate the proceedings to helping cancer research. When I saw it, I decided I definitely wanted to get involved in some way, but soon realised my diary is pretty full between those dates. The only free time was Saturday night and busking in a town centre on a Saturday night is probably a pretty risky venture!!

So instead, I will be busking….from my house. At 8.30pm UK time (International times can be found HERE ), I’ll be doing a 30-45 min live solo bass webcast which you can watch at http://www.ustream.tv/channel/alunvaughan. I’ll also be recording it so don’t worry if you’re not able to see it live, you’ll still be able to watch the recording at the same website (although miss out on heckling me via Ustream’s chatroom thing!)

All I ask is that you make a donation to Busking Cancer at their Justgiving site – http://www.justgiving.com/buskingcancer2009. You can do it any time, you can even donate in advance if you really want to  . When you donate, please enter “Alun Vaughan webcast” or similar in the Comments box so that we can identify the donations from this event.

I hope as many of you as possible can tune in for this, and help raise money for a really worthwhile charity.

Thanks in advance,
Alun

Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-26265404279362730072009-06-07T13:42:00.000-07:002009-06-07T14:08:09.776-07:00Freedom To FretHi. Today's post is a slightly weird one for me because there is no real way that I can give you a definite example of what I'm suggesting you do. Intrigued? Then read on....

As bass players, or indeed any instrumentalist, it can be very easy to allow our hands to fall into patterns they are comfortable with rather than playing what is right for the music. Then, when we try to escape the comfort zone, we may find that our playing suffers - notes are cut off or buzz, wrong strings are plucked. As a result, it's very easy to fall back into the same patterns as we know they are "safe".

So this exercise aims to free us up from playing "safe" and, if I'm honest, you may not want your nearest and dearest hear you playing this one! Basically, what I want you to do is play constant 8th notes but completely freely in terms of pitch. As soon as you find yourself playing a pattern, change direction - go in the opposite direction or change strings. Play chromatically, play tonally, skip strings, make sudden position jumps - just play! If you find something that makes you stumble, play it again :-)

So why am I making you play this free jazz nonsense? Simply because, you will be playing patterns which your hands may well find alien and won't be "built in" to your muscle memory. I have found that this exercise has not only improved my accuracy, playing it for several minutes also does wonders for your playing stamina and may well help you find new ideas that you can introduce into your everyday playing.

Until next time, have fun and comments/questions are welcome as always :-)Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com1tag:blogger.com,1999:blog-6481808389399192310.post-51535450593157960272009-05-10T04:48:00.000-07:002009-05-10T05:42:41.276-07:00Dynamic ControlWhile writing the previous post, I began to think about dynamics in general and how we can control them on our instrument. This is a really simple exercise but often overlooked.

The first thing to think about is how loud/soft our instrument can go. And by this I don't mean how loud your amplifier or preamp can go, I mean how loud or soft we can make the bass purely by how we play. For this exercise, you may want to plug your bass in. Personally, I nearly always practice unplugged but this will mean possibly not hearing the quieter end of the dynamic spectrum.

Start by fretting a G at the third fret of your low E string. Now pluck it as gently as you can. You should hear a very quiet note. Now progressively increase how hard you pluck the string. Pay careful attention to how hard your fretting hand is holding the note down. Our body's natural instinct is to say "one hand is using more energy, better make sure the other one does too" and, as a result, as we pluck harder we tend to grip harder. Concentrate on keeping the fretting pressure the same no matter how hard you pluck the string. It's surprising how little effort it actually takes to hold a note down.

Keep plucking harder until the note begins to "clank" on the frets. How loud you can get before this point will depend on the setup of your bass. If you have a low action, you'll reach this point much earlier than if you have a high action. I keep my action reasonably high so that I can have a wide dynamic range before I start to hear that Stanley Clarke/Marcus Miller style clank. I can still get that sound by digging in but I like it to be by choice, not the only option.

Once you've reached the maximum volume without fret noise, progressively pluck softer until you can barely hear the note. You've now worked through the full dynamic range on that one note.

Now try taking a simple pattern, or maybe a scale, and try playing it as softly and then as loudly as possible ( using purely your hands - don't just turn the amp up!). Now try repeating the pattern - starting off playing as softly you can and slowly increasing the volume up to full volume and then slowly back down again.

In doing this, we're not only training our hands ( both in terms of picking technique and in being conscious of how hard we're fretting) but also our ears and brain as they recognise the different dynamic possibilities.

If someone plays at the same dynamic all the time, your ear soon tunes them out but if there is a good range of loud and soft it really makes their playing much more interesting and musical. Try it on your next solo - drop the volume level right down and slowly build it up ( or maybe have sudden unexpected accents before dropping back down). Or try taking a repeated pattern and playing with the dynamics - maybe fade it right down and back up will keeping the same pattern going.

As always, the aim is to play something musically interesting and have the music be the deciding factor in what you do, not your ability on the instrument.

Comments welcomed :-)Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-79853739448672878792009-05-09T12:58:00.001-07:002009-05-10T04:46:43.368-07:00Accenting exerciseIn this blog, we're going to look at a chromatic exercise which is great for getting your fingers and brain in gear. The idea of this exercise is to allow you to accent a passage as the music dictates, not as your hands would rather accent it.

To begin with, we're going to use a very simple one finger per fret pattern. I've place it at the 9th fret on the G string which should be pretty comfortable for most players. If you do find it a bit of a stretch, ensure that your thumb is behind the neck, parallel with either your first or second finger. If it's uncomfortable to hold all four fingers down, you can pivot on your thumb so that your hand is almost like a see saw - as the fourth finger comes down, the first lifts slightly.

If this is new to you, it may feel weird for a while but it will become more comfortable with time.Ideally, we're looking to try and hold all four down, but don't hurt yourself.

Play it a couple of times and listen to whether or not your accenting any notes. Chances are the first note may be slightly more accented than the others? This is totally natural, but I want you to aim for every note to be of uniform volume and length. Play through it slowly and really try and focus on getting every note even.

 OK, now that we've got all the notes of uniform volume, we can look at adding accents where we want them. In the next exercise we systematically accent each note in turn...

Try making the accents really extreme, as well as barely accenting them. The aim is to make your ear and brain conscious the accents and to be able to add them as you wish.

Try just looping one bar and really focus on where the first beat is - it's really easy for your brain to trick you into hearing the accent as "one" after a few repetitions.

Once you're happy with that pattern, reverse the notes and go through the same process...

So, that's one position and one string. As an extra exercise, try both over two or more strings. This adds more of a challenge as the first note on the new string will often come out a little accented if left to its own devices.

The final challenge for this lesson is to add in some position shifts. We're going to play a chromatic scale up the G string. How you finger this doesn't matter too much, whether you play one finger pre fret or use a more Simandl/upright bass fingering of first, second and fourth fingers. Start on the open string, work up to the 12th fret and back down.

As with the previous exercises, aim to get all the notes even in terms of tone, volume and duration. This is easier said than done as the natural instinct is to accent the first note after each shift, and possibly to cut the note before the shift short as you get ready to move. Again, do it slowly and really pay attention to the notes.

Once you're happy with that, we're going to start accenting. First try accenting in groups of 4. This will mean accents on the open string, 4th fret and 8th fret going up and 12th fret, 8th fret and 4th fret on the way back down. Using either fingering, not all of these will be on the first note after a shoft so pay close attention to the sound of the notes.

The final idea for this lesson is to do the same but this time accent in groups of 3. Now the accents will be on the open string, 3rd fret, 6th fret and 9th fret on the way up and then 12th, 9th, 6th and 3rd on the way back down.

And that's the basic germ of the idea. The possibilities are endless - try it across strings, move the accents or try different groupings (groups of 5 are fun as you'll change direction mid-grouping!). Try it on patterns and scales you already know.

Ultimately, it comes back to the idea of freeing your hands up to play what the music needs, not what they automatically might want to.

Comments welcome as always.

Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com0tag:blogger.com,1999:blog-6481808389399192310.post-18289042343627466082009-05-01T08:25:00.000-07:002009-05-01T08:37:50.046-07:00The Great Technique MythHi and welcome to the Bassbook blog. Here I'll be discussing musical ideas, concepts and exercises which will help you a better player, a better musician, or maybe just get you thinking.

For this debut blog, I thought we'd have a look at the myth and mystic of "technique" and whether developing your skills is really such a bad thing.....

Go on any internet musicians forum and you'll find the discussion of technique being discussed
for many pages. It's often seen as a dirty word,as if having a lot of technique turns you into a robot that just plays millions of mechanical notes with no emotion or sense of melody. In fact, there is an almost romantic notion that the non-technical will produce better, more honest music.

Technique is defined as "a procedure used to accomplish a specific activity" and when applied to our instrument it is exactly that - the procedure that allows us to play the music we want to play.

At the moment I'm sitting here with my laptop typing this. Using what? Yes, my typing technique. A technique which is, if I'm honest, not that great. As a result I make mistakes and have to correct things, and can't express the ideas in my head as fluidly as I'd like. If my typing technique was more precise I would be able to express my ideas more quickly and more accurately. Whether I decide to write a love poem or a technical manual full of long words, my typing will be up to the job.

And that is exactly how I see bass technique development – a way of allowing us to express the
ideas in our heads easily and effortlessly. If we then decide to play a slow ballad or a non stop flurry of notes at 400 beats per minute is down to our own sense of musicality, it has NOTHING to do with the ability in your hands. Our technical prowess is simply a way of realising the sounds in our heads.

Just remember that, no matter how much technique we have, we are trying to create music,not win the Bass Olympics.

Comments welcomed :-)Alunhttp://www.blogger.com/profile/07538212296818225935noreply@blogger.com4


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Broadband Communities

MAY-JUN 2014

BROADBAND COMMUNITIES is the leading source of information on digital and broadband technologies for buildings and communities. Our editorial aims to accelerate the deployment of Fiber-To-The-Home and Fiber-To-The-Premises.

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Contents of this Issue

Page 81 of 86

MAY/JUNE 2014 | | BROADBAND COMMUNITIES | 73 T he connected home has the potential to dramatically change many aspects of daily life as next-generation services continue to proliferate and home networking evolves. However, the fact that new networked consumer electronic devices operate on diverse networks carries a high risk of consumer confusion. Te connected home needs to be developed as a fully integrated platform, with all industry constituents working together, for people to continue to access digital content and enjoy new digital services. At the center of the connected home lies the home network, which makes services and devices interoperable. However, because home networks use a number of diferent technologies, designing and confguring a home network is beyond most people's capabilities. Many consumers don't even realize the true potential of their devices. Today's connected world demands reliable, secure solutions that are easy to use and control, that accept devices made by multiple vendors and that balance comfort, convenience and cost. Consumers expect a clear proposition of what a device is, how it will beneft them, how it will ft into their lifestyles and how they will use it. Tey don't want to be limited to buying connected devices all of the same brand, nor are they willing to live with technology islands that cannot communicate with one another. HOW UPNP CAN ENHANCE CONSUMER EXPERIENCES Devices in home networks that are based on UPnP (Universal Plug and Play) technology provide easy access to one another and to sources of content. UPnP technologies provide the foundation to complement a variety of management gateways and device control scenarios, incorporating well-vetted mechanisms for security, discovery and service advertisement. UPnP enables digital products from multiple brands to interoperate and share digital content, making it easier for consumers to connect and enjoy their music, video and photos. Tat being said, UPnP is not a single solution but rather an enabler that empowers audiovisual devices or any other IP-based devices to communicate with anything on an IP network. Within a home, UPnP acts as the enabling machine-to-machine language between set-top boxes and gateways, communicating with retail devices such as TVs, tablets and mobile phones to ensure the successful delivery of entertainment content. UPnP Forum provides a standard that enables UPnP-certifed products to be compatible with one another in a home network environment even if they are manufactured by Many consumers don't even realize the true potential of their connected devices. Consumer Experience In Connected Homes If devices don't play, consumers will unplug them. Service providers and manufacturers must work together to create seamless plug-and-play experiences for consumers. By Alan Messer, Clarke Stevens and Wouter van der Beek / UPnP Forum BROADBAND APPS BBC_May14.indd 73 5/29/14 9:19 AM

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Tuesday, February 23, 2010

Feb 15: Nanaimo to Courtenay

This morning I hopped on another ferry from Horseshoe Bay, this time to Nanaimo where my good buddy Jukka Jantunen picked me up for a few days of upper island birding. We started off at Piper's Lagoon where my Dad suggested Rock Sandpiper could be a possibility. Almost immediately Jukka spotted a small sandpiper of some sort feeding amongst turnstones and Black-bellied Plovers well offshore on some rocky islets. "YES!" I thought, this was surely my long-awaited lifer. All of a sudden the flock took off and wheeled towards the mainland only to disappear behind a headland. In the flock we counted 11 calidris-sized birds in the flock... could they be?? We scrambled over the hill and refound the flock right below us... ooo.. ooo.... ahhh no they're all Dunlin! So there ya go, never judge a bird only by its habitat. This also explains why we didn't notice the characteristic white wing-bars when the birds flew.
Another year bird at the lagoon was a single RHINO AUKLET that buzzed past us offshore.

From there we headed up to Parksville to check all the gull hotspots... we browsed through thousands of Glaucous-winged Gulls, Thayer's Gulls, and Mew Gulls with me hoping hoping hoping for a Slaty-backed, but we had to settle for smaller numbers of Herring Gulls, California Gulls, a few Bonaparte's Gulls, and a leucistic adult Glaucous-winged Gull. Still fun, don't get me wrong... but I've been checking every gull flock between Chilliwack and Abbotsford, all over Vancouver, the Sunshine Coast, and now on the island... and still no dark darker birds (other than a few Western Gulls of course). Anyways, we'll just keep pushing. At least I finally found some WHITE-WINGED SCOTERS (that was getting a little worrying!).

Definitely a great tour of the waterfront between Nanaimo and Courtenay today with perfect weather. My other yearbird tick came from a fivesome of GREATER YELLOWLEGS working the shoreline at Deep Bay. --stayed up late tonight watching the Olympics despite the fact that we need to leave the house at 4:30am to be sure we get to Ucluelet for first light!

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lunes, 11 de febrero de 2013

Little Red - 1,3 and 8

These are three illustrations from the first sequence of Little Red.
Acrylic on grey BFK Rives. Click to see them larger.

Little Red - 1

Little Red - 3

Little Red - 8

Little Red - First sequence

First sequence of “Little Red”.

This is clearly influenced by the illustrations from “Birgit” I wanted to investigate further in sequences and transformations. I think I’m not done with both things yet. I feel very inspired by the concept of metamorphosis.

It’s pretty strange when you look back and you noticed how your work progress. Sometimes the evolution is very obvious, sometimes there are breakthroughs, but you don’t notice it in the moment.

When I’m working on a book, I hardly can explain what I’m going to do before I’ve done it, which can to be a real problem when you have to show storyboards and explain your project, but, after all is done, I can see clearly a lot of things I didn’t see before. Everything has sense when you look back.

Anyway, this is the first sequence of the book. The sequence is called “Going Red”.

Acrylics on grey BFK Rives

domingo, 10 de febrero de 2013

Little Red - Cover

Cover for “Little Red”.
This is the cover for my just published picture book, “Little Red”.
It’s the only illustration no belonging to one of the three sequences  of the book.
The technique is acrylics. It’s been a little hard for me getting comfortable with acrylics since I love oils and watercolors, but they have their own strenghts and I’m glad to have used them for this book.
The final cover as it's in the book is very clean, with just the title and my name. I like it a lot.

Little Red - Cover

Little Red

Little Red is alredy out and running.
This is the second picture book of my own, done both as author and illustrator. It barely has text, just a title for each of the three sequences. It’s about Little Red Riding Hood, of course. Some years ago I illustrated the Grimm’s text and I felt in love with the story. It’s funny. It was not, by all means, my favourite tale when I was a child but now I can not stop thinking of stories and images about Little Red.
The book is made of three sequences, “Going Red”, “the Game of Questions”, and “Going out”.  Illustrations are like photograms, stills in a silent film.
It’s been published in Italy by Logos.
ISBN: 978 88 576 0529 6
If you want to acquire a copy, it’s in Amazon, and in the publisher’s site

sábado, 2 de febrero de 2013

Dracula's Brides

Inner illustration for "Dracula" by Bram Stoker.
The three brides are quite fascinating.
I'm sure each one of them had a little sad and interesting story.

I liked the drawing a lot, so I scanned it before apply the painting. The original work in acrylics is almost identical to the final work, which only has a little adjust in computer, but I've uploaded both versions anyway to be true to the process.

 Final Work


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[ARITAUM] Poremaster Sebum Control Powder 2 Color 5g

1. Very fine powder containing natural-derived minerals covers the pores and gives a shine to the skin.
2. A base containing botanical extracts that is effective for skin care as well as pore care.
3. No. 1 White - From the face to hair, body and oil, it will effectively control oil where ever needed.
No. 2 Pink Beige - The makeup that has been shattered by sebum and oil, corrects the skin tone which is dulled by the sebaceous glow.

Color Option
#1 White
#2 Pink Beige

How to use
1. Use the built-in puff or brush to apply a small amount of content, then apply gently to the area of sebum and oil.
2. It is possible to cover more naturally by applying along the texture of the skin.

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[Paypal] : Payment through Paypal account or credit cards

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  • Shipping Cost : International Shipping Fee
  • Shipping Time : 15 - 40 days

  • Dear customers,

    There had been a major shipping price and method adjustments in shipping industries of Korea, so we have listed below a new shipping policies and information that you, as our customer, need to be aware of.

    Korea Post

    Tracking - No

    Weight restriction- up to 2kg

    Delivery time- Up to 20-40 business days

    Tracking - Yes

    Weight restriction- up to 2kg

    Delivery time- up to 10-20 business days

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    (African Continent, Kuwait, Puerto Rico, Colombia, Moldova, Italy, Bolivia, El Salvador, Ecuador, Tajikistan etc)

    If  you have any other questions, please let us know.

    Best Regards,

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Monday, March 8, 2010

Meet My new crafty friend.... Anne!

This is so exciting for me. (I know I get excited easily) but I decided I really wanted to do some blog swaps and get to know other crafters who I feel like I have a lot in common with. So I asked Anne first, and guess what she said yes. I love the tutorial she did for us. I mean really, I love it. Just to prove how much we have in common, I actually got stuff out to make clippies sat, and then realized my daughter is to old. but I think she would really love these small and sweet little hair accessories.

So without further ado. Meet my new craft blog buddy ANNE

Hi to all the readers at Becky's Craft Closet!!!

I am so excited that Becky wanted to blog swap with me today! My name is Anne and I blog over at I am pretty much a craft fanatic...I especially love to crochet and sew (although, I don't like sewing anything too complex---sleeves, zippers, that kind of thing is not exactly my forte. :-) I am the mother of 2 cute kids, and the wife of a super hard working and handsome guy. And I think I am addicted to blogging. I'm trying to cut back----but we'll see how that goes.

So today I thought I would share a simple tutorial on how to make felt flower hair clips. (I have been on a bit of a flower kick lately so that's what you get! he he.)

So here is what you will need:

* Felt circles cut into various sizes and shapes (and of course you will want lots of colors)
* Buttons
* Alligator Hair Clips
* Ribbon
* Needle & Thread
* Hot glue gun (not pictured. ha ha.)

1. After you cut out your felt circles, hand sew them together to form a cute little flower:

Then cut out and sew up a few more :-)

2. Then hot glue coordinating ribbon onto your alligator clip: (The flat side is the side that will go against your head...and if you are making this for someone with fine hair, you may want to leave this side "ribbon free" as it will help the clip not fall out.)

3. Now all you have to do is glue your cute ribbon covered alligator clip onto the back of your cute flowers

and then Voila! You are done! How easy what that!?!

Here are a few other tutorials I have on my blog that you may be interested in checking out! Make sure you say hi, and let me know you came from Becky's Closet!

How to Make a Ribbon Flower

How to Make a Baby Shower Wreath (Also, check out the baby wreath that Becky made using my tutorial!)

Thanks again Becky for letting me post on your awesome blog!!!

Anne said...

Thanks again! Blog swapping was a ton of fun! =)

Emily said...

Nice to meet you Anne! I'm Becky's sister-in-law and one of her biggest fans! I love your adorable clips! You've got talent!

Tracy said...

Hi Anne! I've been making hair clips but can't find those kind of alligator clips. Can I ask where you go them?

And Becky, thanks for introducing us to Anne!

Anne said...

Hi Tracy...I bought the clips at Sally's Beauty Supply here in Utah. I would look at any beauty supply store or online... (maybe ask your stylist where they purchase theirs) The name on the box is actually "metal double prong clips" not alligator that might help you in your search.

You can get 100 for only $6.00. That is a lot of hair clip making fun!

Good luck!

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Bin Wash System

Storage Bins and Intermediate Bulk Containers Wash Stations :
Bin Wash Station from Bectochem is the only way of maintaining your Intermediate Bulk Containers in their optimum clean state. Using PLC systems you can optimize the Bin Wash Station cycle times to ensure absolute cleanliness yet minimize water detergent consumption.

A Bectochem Bin Wash Station would be configured to deliver the optimum cleaning cycle for your Intermediate Bulk Containers. Bespoke in design, they are designed manufactured to the highest standards in each case the following parameters will be considered.

To clean bins ranging in size from 50 to 2000 liters. The materials of construction are chosen to match the duty and are varied through the build depending upon the purpose. Normally the contact parts will be 316 L Stainless Steel, but 304 Stainless Steel may be employed for IBC cradles, pipe - work, Pump casings etc. Air - handling ductwork and fans for the Bin Wash Station will generally be constructed from PVC coated aluminum, whilst non-contact component will be from painted carbon steel.

a. Double wall wash station to contain one IBC at a time.
b. Water tanks, pipe work, valves and pump on a skid.- Generally Mounted in the technical area.
c. Hot and cold air handling system.
d. Tank external sprays (fixed)
e. Tank (traversing) 360 degree internal spray (pneumatic cylinder mounted)
f. Pipe work and valves.
g. Drum cradles to carry the various IBC sizes.
h. Control panel.
i. Two doors – unclean loading door and clean unloading door.
j. Doors complete with laminated glass.
k. Drain tray to base.
l. Bin Wash Station Internal lighting.
m. Cylinder mounted inlet and exhaust air-ways.

 a. Inlet HEPA filter.
 b. Steam/Electric or Hot water heated heat exchanger.
 c. Inlet blower and ductwork.
 d. Air chiller.
 e. Actuated dampers.
 a. Door proximity switches.
 b. Pump outlet pressure transmitter.
 c. Tank temperature transmitter.
 d. Bin Wash Station pump outlet temperature transmitter.
 e. Air temperature transmitter.
 f. Flow transmitter.
 g. Tank level transmitters.
 h. Sump level switch.
 i. Air pressure switch.
 j. Tank jacket safety valve.
 k. Emergency stops.
 l. Photo-electric sensors, for man-way location sensing.

Bectochem work very closely with our Clients to develop a Bin Wash Station wash cycle which delivers an optimum cleaning cycle both in    terms of time, water and reagents. In general the following steps will be employed -
    - Process hot water rinse at a pre-set duration, temperatures, pressure and flow-rates.
    - Hot detergent wash at a pre-set duration, temperatures, pressure and flow-rates.
    - Process hot water rinse at a pre-set duration, temperatures, pressure and flow-rates.
    - Pure water rinse at a pre-set duration, temperatures, pressure and flow-rates.
    - Compressed air rinse.
    - Hot air blowing for pre-set time.
    - Cold air blowing for pre-set time.

It is important to keep your Intermediate Bulk Containers (IBCs) as clean as possible to revent the cross contamination of products. A Bin Washer from Bectochem offers repeatable cleaning every time as well as reducing water consumption and cleaning times. The use of PLC based control systems optimizes the Bin Wash Station performance allowing a number of wash, sterilize, and rinse cycles for different cleaning operations.

All rights reserved © Bectochem.                                                                                Design By RED ANT Design Studio.


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Topic Archives: Belgian Style Brown

Posted in Avery Brewing, Badass Women In Beer, Funkwerks, New Releases, Odell Brewing, Prost Brewing, TRVE Brewing, Twisted Pine Brewing, Wynkoop Brewing

Colorado All Female Collab “Ellegance” Taps Today

Today the first kegs of Ellegance, a very special all female beer collaboration taps today.

Brewed especially for Colorado Craft Beer Week by a collection of women in the local craft beer scene. The collab features Wynkoop’s Bess Dougherty, Natalie Lesko of Funkwerks, Sydney Skilken of Denver’s TRVE Brewing, Linsey Cornish of Odell Brewing, Reva Golden from Twisted Pine, Ashleigh Carter of Prost Brewing and Melissa Antone and Sara Ferber from Avery Brewing. Ellegance is the first all female collaboration in Colorado.

Elegant and highly quaffable, the 5% ABV beer features a creamy beige head, a glorious tea/garnet color, aromas of fruit and hops, flavors of toast and light caramel, hints of spice and a refreshing, lingering hop bite on its finale.

Style: Belgian-style Brown Ale
Hops: Nelson Sauvin, Motueka, Eldorado
Malts: Simpson’s Golden Promise

Availabilty: Draft only. Colorado only
5% ABV

If you go:
Tapping party 5-7 PM Today (3/18) upstairs at Wynkoop Brewing
1634 18th St,
Denver, CO 80202


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Unless otherwise stated, the content of this page is licensed under Creative Commons Attribution-ShareAlike 3.0 License


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Sunday, July 22, 2012

Homily: 16th Sunday of Ordinary Time

Readings: Jer 23:1-6; Ps 23; Eph 2:13-18; Mk 6:30-34

Watching the news yesterday morning, I caught an interview of a young pastor named Darrel Wilmoth who had been in the theater in Colorado when the shooting began. Calling on his military training, he and several others took it upon themselves to treat many of the wounded with first aid and to help get them to ambulances. He mentioned that once they had taken care of the survivors’ physical needs, he realized there were a lot of unmet spiritual needs. He and several others moved from person to person, comforting them, asking if they could pray with them. Not a single person said, “No.”

Like so many in our world today, these distraught, confused people were like sheep without a shepherd, and this young, faith-filled pastor readily accepted his calling to be the presence of Jesus Christ in their midst, offering them the peace they needed and sought. During the interview he also remarked how all the experts were offering their opinions on TV, opinions as to the causes of all the carnage. As they tried to make sense out of what had happened, all they could provide was a kind of worldly understanding to others. But neither we nor the experts can understand such things, because they will never make sense. Referring to St. Paul's Letter to the Philippians, Pastor Wilmoth added,
“We were promised not peace and understanding, but the peace that surpasses all understanding.” [See Phil 4:7]

This, brothers and sisters, is the peace that Jesus Christ gives us. We don’t need to understand why men do what they do because the peace of Jesus Christ surpasses all understanding; it transcends all the evil in the world. And so today, we should follow this young pastor’s example and pray for peace, not for peace as the world understands it, but for Christ’s peace, for peace in our hearts. This is the peace so sought after by the survivors and by the families of those who lost their lives. The need to turn to God in prayer was this pastor’s first inclination, and judging by his comments it  remains so today, days after his on-the-scene work as a shepherd was done.

In today’s Gospel passage from Mark we encounter the Apostles as they return to Jesus from their first mission. It was a mission of healing and teaching and preaching, and they were no doubt exhilarated by the experience. They had witnessed firsthand the power of God's Word, the power of Jesus' Name. But they were also hungry and exhausted, in need of rest, as well as physical and spiritual refreshment. They needed time alone, time to pray, time for peace.

Jesus, too, needed a break from the crowds who constantly pressed in on him, demanding his attention. Can you picture the scene? Listen again to the words of the Gospel:
"People were coming and going in great numbers, making it impossible for them to so much as eat." [Mk 6:31]
It must have been chaotic. To make matters worse, Jesus knew that his cousin, John the Baptist, had just been executed by Herod. This surely affected him deeply.

Yes, Jesus and the Apostles needed some time alone, a period of retreat, brief respite from the world. As Mark tells us,
"So Jesus and the Apostles went off in the boat by themselves to a deserted place." [Mk 6:32]
But that’s not the way it worked out, is it? The crowd figured out where they were going and arrived before them. And it was a huge crowd, over 5,000 people. Most of us would have been annoyed to have our plans disrupted that way. But not Jesus. Instead of telling them to go home, that He’d done enough for one day, He sees their need, places it above His own and that of the Apostles, and takes pity on them. For the crowd, too, needed that same physical and spiritual nourishment. Jesus provides food for their souls with His teaching, and food for their bodies with His miraculous multiplication of loaves and fishes. In doing this, Jesus sends us all a message: If there’s no rest for Him, there can be little rest for His followers either.

For the Christian, the disciple of Christ, the needs of others must always outweigh his or her own. I think again of that young pastor in Aurora, Colorado. Suppressing his own need to get to safety, to escape the carnage and chaos and danger, he shepherds those in dire need of Christ’s peace.

How often do you and I place others’ needs above our own? Once a week? Once a day? That’s nice, but Jesus is telling us to do this always. You see, by virtue of our baptism, we all received a calling. Like the Apostles we’ve all been sent into the world on a mission. Indeed, that’s the very meaning of the word "apostle": one who is sent out. And like Jesus, we all have a certain amount of shepherding to do.

This doesn't mean we are all called to work in the foreign missions. For most of us, our mission is much closer to home; actually, it begins right in our homes. We can feed, clothe, and care for our children physically, but if they’re not nourished spiritually, if they’re given no Christian direction, they’ll lose their way and wander aimlessly through life without lasting purpose. And husbands and wives, do you know your primary mission is to help each other get to heaven? That’s right, all else is secondary. Husbands, shepherd your wives. Wives, shepherd your husbands.

How sad that so many people, the young and the not so young, people from nominally Christian homes, lead empty, self-centered lives devoted only to pleasure or the accumulation of material wealth. Is there no one to shepherd them? Perhaps even worse, we see people throughout the world, many of them Christians, seemingly motivated only by national or ethnic hatred. Where are the shepherds in their lives?

In today's second reading from Ephesians, St. Paul tells us explicitly that through the sacrifice of Christ, all people are brought near to God in a covenant of brotherhood. Listen again to his words as he describes how Christ destroys that which separates Jew and Gentile and brings peace:
"It is He who is our peace, and who made the two of us one by breaking down the barrier of hostility that kept us apart...reconciling both of us to God in one body through the cross which puts that enmity to death." [Eph 2:14-16]
Our mission extends beyond home and family. It extends to the workplace, to friendships, to those seemingly chance encounters with those in need.

In the first reading we heard Jeremiah tell of God's promise to send shepherds to His people, so they will no longer live in fear. It’s a promise fulfilled by the gospel, with the arrival among us of Jesus, the Good Shepherd, the Son of the Living God.

Jesus calls on each of us to continue His work, to be shepherds of God's people. But being a good shepherd can be a hard line of business. And so He gives us a road map with the path clearly marked. We’re asked only to obey His commandments and to love -- to love Him with all our being and to love each other.

Loving God demands that we find a quiet spot in our lives where we can be alone with Him in prayer. Like Jesus and the Apostles, we sometimes need to refresh ourselves spiritually, to get away from the pressures that bear down on us, to listen to God's healing voice. If we allow Jesus to make His home in our hearts, He will give us the strength we need to cope with the challenges of life and the courage we need to accept our calling. He will give each of us a new heart, a heart filled with the Spirit of God.

Do this, brothers and sisters, and He’ll take care of the rest.

In the midst of a senseless, chaotic world, only Jesus Christ can give us peace, the only true peace, the peace that surpasses all understanding.

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You'd think a bar mitzvah would be the last place I'd see interesting tattoos but, over the years, I've posted photos from work that I have encountered at such events. Today we have the third, from my friend Max's bar mitzvah, earlier this month in Brooklyn.

I was at the reception in the evening when I met Donna, who shared this, one of her many tattoos:

Donna credited this to Brian Paul, who works at Kings Avenue Tattoo in Massapequa. He splits his time between Kings Avenue's Long Island and Manhattan locations.

For those unfamiliar with this design, it's called a hamsa, and it is a popular talisman in Middle Eastern cultures, as well as in Judaism.

Donna explained a little bit more about the tattoo:
"By nature I am not a religious person but I am however a touch superstitious. I think it comes from growing up with a Jewish mother and a Jewish grandmother ... I felt like I really wanted something to help keep the 'evil' eye away. I really like the look of a cross but because I am not Christian I felt like it wouldn't be appropriate to get it tattooed on me. I like the clean lines of the hand and the tattoo artist and I personalized the inside of the hand. It took me a few months to get used to having it on my wrist but I absolutely LOVE it now!!! I get a lot of compliments on it."
Indeed, it's not a huge piece, but it's very well done. I'd expect no less from an artist working at Kings Avenue - they're a top-notch custom shop.

Thanks to Donna for sharing her hamsa with us here on Tattoosday!

This entry is ©2012 Tattoosday.

If you are seeing this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

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Monday, December 12, 2011

If You Could Fly

The other day, Iris made a play-date with her little friend David. They would spend time together playing music, reading books, baking cookies and whatever else came to mind...

I sit at my desk coding. It's one of those amazing afternoons where I get to not deal with people. I'm translating the new subcutaneous heart-attack detection algorithm from Visual Basic (the language we use to prototype the system) into C++ (the language we use to implement the system on an implantable medical device or IMD).

The task is a bit more challenging than basic translation. The prototype takes full advantage of all the power you get with the latest and greatest PCs. The IMD has less processor power than a Commodore-64.

To make things more challenging, I have to take into account how my code will consume battery. The IMD needs to run for four years on a single battery (without a recharge). If not careful, I could easily write software that drains the battery in an eighth the time.

I'm in heaven.

As I consider how to efficiently implement a slope-of-the-slope calculation without floating-point capabilities I hear Iris' truck roar up the driveway and into the parking lot. A minute or so later, I feel a barometric change as the front door swings open and Iris and David bound into the house. The house shakes as the door slams shut (Iris has been into weight lifting lately) and just in case I'd missed their arrival, Iris calls out, "We're here!"

I shout from my office. "Welcome home, baby! Hello, David!"

Patter, patter, patter. David (who's never been to my office), rambles down the steps, races to my desk, and says, "iPhone" as he grabs mine.

For perspective's sake, I'll tell you that I'm blazing fast with computers and the like; when it comes to user interfaces, I can fly. Yet, I can never imagine being as fast as David is with my iPhone. Within seconds, he flips through all my applications, calling them out as he goes. Next, he jumps through all the settings, again calling them out.

I almost miss the part where David starts to delete the applications that he deems unnecessary. As I see the icons start to jiggle and his index finger torpedoing toward one of the circled X's, I divert the missile with the top of my hand as I palm the screen and say, "David, this is my iPhone. I use it for my work. I need those applications. You can play with my iPhone, but not if you delete applications. If you do, then I won't let you play with it. OK?"

I press the iPhones return button, the icons settle. As if to make sure he understood me, David sets them into motion again and looks at me as his index finger targets another circled-X.

"Wow, he's really fast", I think as I just barely head him off.

"David, remember what I said about deleting applications?"

David acknowledges me by pressing the return button. The icons quiesce. He heads back to the phone's settings and begins a little ritual. Each time he presses an icon or text-link, he calls out its name and then circles the room once running at a full clip.

"Airplane Mode, Off!"

Patter, patter, patter.

"WiFi, On!"

Patter, patter, patter.

"Choose a Network"

Patter, patter, patter.

On one of his circuits, David spies the settings icon on the display of my Mac Tower. He sees the keyboard which unlike most desktop computers has a trackpad in the center. He glides the cursor over the settings icon and clicks.

"System Preferences!"

Patter, patter, patter.

Patter, patter, patter.

David's ease with the iPhone and the Mac are remarkable. When it comes to trying out new system, you've got two types of people: the ones who click quickly, but haphazardly and the ones who click slowly and deliberately. You rarely see someone who clicks quickly and deliberately and you never seen anyone as fast as David.

This morning, I've been thinking about David's finesse with my iPhone and Mac. I imagine that the activity would be considered an example of "stimming" (short for self stimulation), an effect of his being on the autism spectrum. Common examples of stimming include rocking back and forth, head-banging, finger-flicking, spinning in circles, humming, repeating words or sounds and complex body contortions.

Stimming helps you to regulate your sensory systems, to quiesce them when they get over stimulated. People may stim to relieve discomfort and stress, but they may also stim to express emotion.

Pretty much everyone stims from time to time: tap your feet, crack your knuckles, wring your fingers, twiddle your thumbs, get lost in the ticking of a clock, count the tiles on a floor or in a ceiling). However, the stims of people on the autism spectrum are often more pronounced and may seem downright strange. Therefore, we often discourage stims or try to replace them with other, more desirable behaviors.

Yet, as I watched David racing through the icons with such confidence, precision and skill, it was as though he were flying. Sure, I can see that you might want to discourage David from pressing icons, calling out their names and running in circles around the room. You might want to get him to do something else, something more socially engaged or educational or productive. But why would he want that?

Imagine if you could fly. You race through obstacle courses without hesitation or even slowing down to take a corner. You get from home to work in seconds instead of hours. You feel an unparalleled sense of freedom and empowerment.

However, you're strange. People feel uncomfortable around you. No one else flies; you shouldn't fly. Why don't you just forget about flying and walk like everyone else?

But why would you ever want to walk, when you can fly?

Happy Monday,

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Monday, March 12, 2012

The Best Day Ever

Carla, the woman at the registration desk says, "Welcome to the Wynn, Mr. Tuomenoksa."

I pause a moment before responding. She doesn't look Finnish, but she just pronounced my name after looking at my driver's license.

"Thank you", I say. "We're glad to be here."

"I have a room for you on the fifth floor. However, if you'd like I can upgrade to a suite one of the higher floors for just fifty-dollars per night."

Iris tugs on my arm and says, "Let's stay on the fifth floor. That's where the rest of the band will be."

I thank Carla for the offer, but decline. She completes our registration, hands me our keys and then holds up a little map that will guide us through the casino to the guest elevators.

I slot the keycard into the door, listen to the tumblers click. As we enter, I hit the light button. Lights all over the brighten slowly like an accelerated sunrise. The curtains automatically draw open. The music system plays quiet jazz. The room welcomes us.

Iris and I look at each other and then pan the room. It's gorgeous. It's huge. The view is great. There are more than ample plugs for our Macs, iPads, Droids and music gear. There's beautiful desk and glass-topped table.

I ask her, "Gee, I wonder what a suite on the upper floors would have been like?"

I catch myself. We've just entered the nicest hotel room ever. We're staying here for free as a part of our compensation for the gig. I'm about to dim that experience by thinking about what we might have missed.

I stop myself. I look at Iris and say, "This is the best hotel room, ever."

Iris and I sit with my dad on a dock-side restaurant in Sea Bright New Jersey. We're on the river side of the narrow strip of land that separates Rumson from the sea. It's 75 degrees. A cool breeze stirs the awning above us. We all stare as the sun slowly sinks below the horizon.

Our waiter comments, "Isn't it beautiful."

We all nod and continue staring.

A few moments later, I hear him at the table next to us. He makes a similar comment.

I hear a nasally reply that sounds almost annoyed. "I guess so. Still, it's not as nice as last night."

The funny thing about the word "best" is that we tend to use it literally in situations where there's no way we reasonably could. We rarely (if ever) perform the data collection and analysis to justify the use of best. Yet we use the word often.

I'm not suggesting that we not use the best. I'm suggesting that we recognize that best does not represent a quantitative evaluation. It doesn't even represent a qualitative one. Typically we use the word "best" to represent our experience of the moment. Best is an experiential phenomenon.

The reason I suggest this is that it allows us to increase the frequency best-ness in our lives. Quantitatively, you can only have one best-day-ever. Experientially, you can have as many best-days-ever as you have days. For that matter you can have as many best-meals, best-sunsets, best-hotel-rooms, best conversations, best-anythings that you want.

Wow, this is my best post ever. Isn't that cool?

What will you make best today?

Happy Monday,

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