Take Five- Surrounding Dion

IF YOU FEEL THE VIBE, PLEASE SUBSCRIBE!!! This is a just a quick video that we shot last week to keep you guys interested while we shoot our big project that we are working on. It should be ready the end of this month. Stay tuned!!! :)



http://www.youtube.com/watch?v=xE4izkUTInI&hl=en

Dave Brubeck （デイヴ・ブルーベック） 11 - 4

http://www.youtube.com/watch?v=6YUpbgVeJqQ&hl=en

My Favourite Things

visit my webpage - www.joolsscott.co.uk The song was a hit in 1968 by Herb Alpert & The Tijuana Brass on A&M 1001 (45rpm). The song has become a jazz standard, and has been performed by artists as diverse as John Coltrane, Stanley Jordan, Alice Coltrane, Carmen Lundy, Dave Brubeck, Kenny Rogers, Stringmansassy, Tanya Tucker, The Derek Trucks Band, Rod Stewart, Sarah Vaughan, The Supremes, Brian Setzer, Me First and the Gimme Gimmes, André 3000 of OutKast, Kimiko Itoh, Big Brovaz, Tony Bennett, Barbra Streisand, Tennessee Ernie Ford, Andy Williams, The Lennon Sisters, Lorrie Morgan, Luther Vandross, Tartan Specials [1], Amanda Palmer and, Björk (in the movie Dancer in the Dark). Coltrane's album of the same name has been a landmark in the history of jazz for numerous reasons, not least for the rediscovery of soprano sax. The song was mixed by audio-trickster collective Negativland on their album No Business, which was released in 2005. The Lennon Sisters' version of this song appeared in the film adaptation of Fear and Loathing in Las Vegas. The song is played during the beginning, juxtaposed with various images from the 1960s. My Favorite Things is also said to have been Michael Jackson's favorite song of all time. You can download my most recent 10 track piano album for $4 at http During 'The One Where Monica Gets A Roommate', the pilot of the sitcom Friends, Phoebe attempts to cheer up Rachel who has just jilted her fiance Barry after realising she didn't love him by ...



http://www.youtube.com/watch?v=TboULGOsDS8&hl=en

MacBook White Unibody Unboxing (Oct 2009)

Unboxing the all new White MacBook Specs: 13,3 '' 2.26 GHz 250 GB HD 2 GB DDR3 Ram Geforce 9400M (256 DDR3 Ram)



http://www.youtube.com/watch?v=KLRAGxAuI9Y&hl=en

Adventures in Music 04

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http://www.youtube.com/watch?v=oRYKJCT1uhk&hl=en

The Many Incredible Benefits Of Learning Chording Techniques On The Piano - Part One

Do you know the incredible benefits that come to you by learning chording techniques on the piano?

There are many -- way more than just 10. But due to space limitations, I'll just list 10 out of hundreds:

1. By learning chording techniques, you are at least quadrupling your chances of creating exciting new sounds on the piano -- sounds that most other piano players have no idea how to create. That's because arranging using chord techniques is open-ended -- there's no end to the styles and applications you can eventually learn and apply.

2. Learning chording techniques in NO WAY interferes with your ability to sight-read music. Some ill-informed people think it does, but not so! Ask any great jazz musician from Dave Brubeck to Andre Previn to Oscar Peterson to Chuck Corea to.... They ALL read music prolifically, yet choose to apply chording techniques to song after song, creating many of the great classic tunes we all know, like "Take Five", etc, etc.

Knowing chords and being able to apply techniques to those chords actually HELPS YOU TO SIGHT-READ FASTER, because instead of just seeing groups of random notes on the sheet music, you can see chord patterns forming and dissolving into yet another chord, another chord progression!

3. Knowing chords and applying chording techniques allows you to become a first-rate accompanist for singers and other musicians, should you want to do that. You will be able to "wrap the chords" around the singer to support them, rather than be in competition by playing the melody from the sheet music. You'll be able to create fills and counter-melodies and a host of other devices that can make you the most desired accompanist in your area.

4. By knowing chords and chording patterns you will automatically open the door to opportunities to play at places you never could if you only "play music as written". When people hear you play, they will immediately sense that "this person knows what they are doing", which can very well bring invitations to play in fraternal clubs, churches, community centers, and even weddings and funerals. I have had students of retirement age who have fulfilled their lifelong dream to play in public, even if in a small venue. I recall a CPA in Washington State who took lessons from me by cassette for a couple years and got good enough to play at a local restaurant-pub on weekends. He didn't need the money, but just LOVED the opportunity to play for folks and have them sing along.

5. Being able to apply chords to song after song means you NEVER HAVE TO PLAY A SONG THE SAME WAY TWICE! When people see me play, they often ask me to play the song again -- but are often surprised when I play it again, since I create new chord progressions and fills and improvisations each time -- so it never sounds the same.

There's a classic story about Erroll Garner, the great pianist and composer of the classic song "Misty". A lady came up to him after a concert and raved about how he played "Misty", and asked him to play it again the same way. His reply was "I can't remember how I played it last time -- but I'll play it again anyway", which greatly surprised the lady.

This article will be continued next week.

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. His book-CD-DVD course titled "How To Play Chord Piano In Ten Days!" has sold over 100,000 copies around the world. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He is the author of the popular free 101-week online e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions" with over 70,000 current subscribers.

When Doctors Rule the World

In 2005, Sami Timimi, a pediatric psychiatrist, suggested in the British Medical Journal that British and American psychiatrists are inappropriately imposing the West's views of mental illness and child rearing on the rest of the world. Mounting evidence of the role played by powerful drug companies in shaping modern medicine makes Timimi's views then, and in subsequent publications, compelling reading.

Timimi is eerily well situated to comment on the imperialistic aspects of American psychiatry. Born to an Iraqi father and an English mother, he lived in Iraq until the age of fourteen, when his family relocated to England. There, as a child from another world, he experienced extreme cultural confusion. He recalls the efforts of well-intentioned social service professionals to impose upon him a view of child development that seemed utterly foreign.

Years later, in his training to become a psychiatrist, he found the profession's lack of ability to engage with difference in stark contrast to the cultural tolerance and openness of his upbringing. He describes psychiatry, which prescribes a rigid code of conduct for new recruits, as nothing less than a dictatorship.

"My wish," Timimi writes, "is to question the assumptions, the universals, the constructs, the clinical applications and all those things that make up my job as a child and adolescent psychiatrist... as a profession we must be able to appreciate the relative nature of the belief systems we use in our work (and therefore hopefully be able to make positive use of other belief systems)" (Pathological, p. 14). Deconstructing accepted mental health wisdom, he explores its meanings as well as the global consequences of imposing it on humans regardless of culture.

Timimi is also critical of the top-down attitude many practitioners assume toward their clients. Which do patients find more effective, he asks, the hierarchical, authoritarian approach or the horizontal, egalitarian, side-by-side therapeutic relationship?

And what about the costs and benefits that Western cultural values have brought youth and communities? When we British (and Americans) promote independence, autonomy, self-determination, separation, individuation, and self-expression from infancy onward, he argues, we drive a wedge between children and their families. We also sever each nuclear family from kin, as if it were expected to survive without assistance.

Such Western values intensify isolation and alienation while robbing children of clear-cut adult role models. But in our time, interdependence has become a watchword. Dependability and community increasingly count for more than autonomy and independence. When society treats kinship as being of paramount importance, a broad cultural framework organizes individual, family, and community experience.

Traditional Western psychiatry serves many power hierarchies and functions as a cultural defense mechanism, an imperialistic tool that both denies difference and inflicts on other countries the social miseries associated with our own: juvenile delinquency, alcohol and drug abuse, sexually risky behaviors, and ever proliferating diagnoses of mental health problems in our youngsters.

One-size-fits-all assumptions about child rearing and pathology, Timimi notes, invite us to impose invalid interpretive frameworks on other people. When we do so we worsen common problems and simultaneously keep ourselves from learning from alternative viewpoints. Practitioners need to become more sensitive to the different cultural meanings of mental illnesses and the different culturally specific ways of treating them.

Western culture, Timimi argues in a second book, Naughty Boys, actually breeds antisocial behavior by refusing to tolerate it in the very young. Adults demand that children function independently very early on. In contrast, Muslim parents traditionally approach children with acceptance, soothing them, avoiding shocks to their systems, and voicing limited expectations until the child is about seven years old.

Aboriginal parents accommodate childish behaviors for even longer, impart cultural values (the importance of sharing food, for example) by role modeling, and greet aggression in a low-key manner. In many non-Western cultures, undesirable behaviors are viewed as a social, communal problem rather than as evidence of pathology.

The label of attention deficit /hyperactivity disorder (ADHD) has stakeholders in the West, Timimi suggests. It lets mental health professionals cast themselves as experts and disempowers clients. It also-surprise, surprise-enriches pharmaceutical companies. And finally, it conveys social discomfort with the natural behaviors of childhood and especially those of boys.

The answer? Psychiatrists "should support parents in finding effective ways to enforce discipline in their children using their own parental value system providing we are happy with the level of security and love for that child in their family," Timimi writes. "How much of what we do as child mental health practitioners has become a colonial exercise, that of prescribing for children, families and allied institutions ways of acting that are based on the best interests of capitalist society and not necessarily the best interests of our clients? The West's values may be good for adventure loving middle-class, white males who like having individual gratification, freedom and minimal responsibility, but [are they] good for children?" (pp. 213, 219).

Timimi insists that, in working to help people with their problems, doctors must remain mindful of context at all times. His deeply humane, provocative books-must reading for mental health providers and their patients-should help us create a richer dialogue between the members of our societies and between the constituent nations of the world.

Discussed in this article: Sami Timimi's article in volume 331 of the British Medical Journal (July 2, 2005), entitled "Effect of Globalisation on Children's Mental Health"; Timimi, Pathological Child Psychiatry and the Medicalization of Childhood (New York: Brunner-Routledge, 2002); Timimi, Naughty Boys: Anti-Social Behavior, ADHD, and the Role of Culture (New York: Palgrave Macmillan, 2005); and Timimi and Begum Maitra, Critical Voices in Child and Adolescent Mental Health (London: Free Association Books, 2006).

This article was written by Marcia E. Brubeck, who sees adults and children in her Hartford, Connecticut, private practice. You can learn more about me at http://www.MarciaBrubeck.com