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A (Not So) Brief History of Keytars
Because it's not fair that only guitar and bass players can have onstage get-togethers. Mark Jenkins traces these popular strap-ons through the ages.
Keytars – keyboards that can be worn strapped round the neck like a guitar – have a long and (let's face it) troubled history. They've been the subject of some derision over the years, but keep popping up in new models and varieties, so they must have some continuing appeal to keyboardists of all varieties.
Anthropologists disagree as to when the keytar was invented, but you may want to go all the way back to the Portative Organ, a small hand-pumped pipe organ (sounding more like a set of whistles) known from medieval times for its portability Catalina Vicens is one modern exponent.
Catalina Vicens on the Portative organ
From 1966, Mustad AB of Sweden offered the Tubon and it was played very early in the career of Kraftwerk – the electronic instrument has a long tubular body and a short set of keys. In the early 1970's Edgar Winter slung on a lightweight Univox electric piano by adding a guitar strap, and later used the independent keyboard of an ARP 2600 synth, as heard on "Frankenstein."
Not long after its launch in 1970, though, someone thought to separate and strap on the keyboard from a MiniMoog, played this way by Jan Hammer, Gary Wright, and Steve Porcaro among others. Hammer not only wore the keyboard like a guitar, but he made the synth sound like a guitar (primarily by playing it through a guitar amp) and worked hard on making his pitch bend technique sound highly guitar-like also.
On albums such as "Black Sheep," Hammer made the keytar sound fabulous as a lead instrument, and he worked on developing several new models such as the Probe, which could select new synth sounds remotely.
Our own Mark Jenkins with Moog Liberation, and Casio AZ1 in the background, 1995
Hillwood meanwhile had developed Edgar Winter's portable electric piano approach with the lightweight Rockeyboard, a piano with a filter, while George Mattson launched Syntar, more along the lines of a portable analog synth. In the jazz realm, both George Duke and Herbie Hancock played the Clavitar, while a later development of Jan Hammer's Probe was played by Roger Powell, famous for his work as an ARP endorsee and with Todd Rundgren's Utopia.
Two approaches to the keytar had emerged – either the sounds were created onboard, in which case you had to connect audio to an amp or mixer, or they weren't, in which case you had to connect via a control cable to some other audio source.
The Moog Liberation, introduced in 1980, offered the worst of both worlds. It did have sounds onboard, but it had to be wired to a 19 inch rackmounted base station, both to send its audio (and CV/gate to control other analog synths) and to get its power. This meant using a very specialized cable and facing disaster if this was lost or damaged.
The Moog Liberation with its interface box
Also, the Liberation, comprising basically a Moog Rogue monophonic synth plus a big chunk of wood painted usually black but sometimes white, was extremely heavy, and very demanding to play for long periods. Despite this it saw use by Devo, Rick Wakeman with Yes, Jean Michel Jarre, and many others, and there are some great Liberation solos on Jarre's album "The China Concerts."
All these designs were fairly specialized and costly, so in the 1980's a few other approaches to keytar design were tried out by different manufacturers. Dynacord didn't make synthesizers but had a sampled drum sound system and built this into the Rhythm Stick, a guitar-style drum sound controller.
Meanwhile Roland's affordable SH101 analog synth, which was very light and portable, appeared with an optional modulation grip (and in a range of colors: grey, red, or blue). The stubby handgrip controller didn't leave the synth looking very sleek and streamlined, nor could the SH101 exactly produce screaming leadlines, but it did represent the cheapest way to get into portable synthesis.
These days Behringer's MS1 clone of the instrument (again in various colors) offers exactly the same keytar possibilities but with MIDI.
Keytar design really took off with the development of MIDI and associated modules, making the connection method to a remote keyboard much more obvious and straightforward. Just before MIDI appeared, Dave Smith of Sequential offered a short remote keyboard for the Prophet 5, and for a change this not only looked professional but could control a full set of monophonic, polyphonic, and potentially screaming sounds. Dave Stewart was one prominent user in his duo with Barbara Gaskin.
Yamaha's KX5 was a popular modestly sized keytar
In the following year, 1983, Yamaha went the full MIDI route with the KX1 (offering full-size keys) and KX5 (offering mini keys). Depending on the physical size of the player, either of these could look highly professional and impressive.
The KX1 was not manufactured in great numbers, but the KX5 became quite popular and is still collectable today. It has great expressive controllers and a respectable medium-size layout, which means it doesn't dwarf the player.
At the time, Yamaha was offering FM digital sounds from the DX range of synths, so most KX players matched up their keytars with this type of sound source, sometimes with added guitar distortion (Chick Corea was a notable example).
Using analog sound sources, though, such as the contemporary MIDI-equipped Prophet 600, might have been much more effective. Tim Blake and Jean Michel Jarre played the KX5 very effectively, and Jarre also had a custom wood-paneled keytar instrument built by the guitar makers Lag.
Patrick Moraz, the Yamaha CS01 and Yamaha BC-1 breath controller – photo from 1982 by Mark Jenkins
Incidentally, Yamaha had an odd one-off entry into the keytar field a year earlier. The CS01 (Model 1 in grey or later Mk 2 in black and green, or black and gold) was a lightweight monophonic analog synth with a speaker, part of a range of compact studio equipment. It came with guitar strap locks so could easily be strapped on, and could be used with a breath controller, which gave amazing expressive possibilities. Patrick Moraz was one player who found no difficulty overcoming the instrument's miniature keys, and the CS01 in either version remains sought after today.
A couple of other small synths at the time were equipped with strap locks – notably the full size key Korg Poly 800 and the mini key Casio CZ101 – but neither of these looked particularly sleek for keytar purposes, nor had the cutting sounds they would ideally need.
No, the future of keytars lay with MIDI output, plus a connection to whatever synth or module you fancied taking on stage. With patch changing, good expressive controls, and 30-foot MIDI cables all becoming readily available, the keytar became a real on-stage proposition.
Guy Perry with the Roland AXIS in the Electric Six video "Synthesizer"
In 1984/5/6 Lync launched the LN1, a sleek and professional instrument with the look of the Powell Probe (later LN1000 and LN4), Roland launched the AXIS in silver with a distinctive double-braced controller arm, Casio launched the AZ1 in pearly white, and Korg launched the RK100 in black or red. All these were pure MIDI controllers that would sound like whatever synth you connected them to.
Since that time, Korg and Roland continued updating their keytar designs, while Yamaha and others dropped out of the field. The race then was to get high quality sounds on board the keytar (given battery power, you could then use a guitar transmitter and go totally cable-free). Roland's AX1 and later AX7 didn't do so, Korg's battery operable FM synthesis 707 keyboard (in white, blue, or black) did, but had a stubby not very guitar-like shape.
Yamaha's SHS10R – the red version
Yamaha's battery-powered SHS10 and SHS200 did get sounds on board, though these were 2-operator FM synth sounds and very weak. But both instruments had MIDI output, so while they looked a little toy-like (having mini keys coming in grey, red, white and rarely black) they could be matched with modules which sounded as professional as you liked. The red SHS10R in particular remains sought after and can fetch a couple of hundred dollars (or pounds, or Euros).
Yamaha's SHS500 is the latest keytar on the market
During this period there were some stunning keytar performances to be seen. Rick Wakeman became a specialist in playing them at blazing speed (often duetting with his son Adam). There are amazing clips on YouTube, for example from his concerts in Cuba, where he walks into the audience playing a Roland keytar – then gives it to an audience member to hold while he continues to thrash away on it.
But some (including those who never liked them in the first place) got the impression that the keytar had gone away, and from Roland's point of view there was indeed a gap in production until nearly the end of the decade. And then the AX-Synth put in an appearance, getting right up to date with high quality onboard sounds, MIDI and USB, and followed a year later by the AX-09 Lucina, a stripped down version intended more for entry level users and fun players.
The Lucina, with it cutout control arm design, looked a little odd compared to other keytars, but had decent preset synths sounds for leads, pads, and basses. After a period of being highly collectable, it's now changing hands at affordable prices (the black sparkle version being a little more highly valued than the more common white model).
Roland's AX Edge – competing with the guitarist at last
Roland's current pro model is the AX-Edge, a large and rather spiky design with customizable color front panel "blades" and even more powerful (editable) onboard sounds, while Korg's response was more or less to tack a guitar controller arm onto the virtual analog MicroKorg synth in the RK-100S (later with a wooden body model too). All these synths with onboard sounds could be matched with a guitar transmitter, so at least you no longer needed any audio output cable.
oland"s AX Edge with custom "blades"
Alesis entered the keytar field with two generations of the battery-powered Vortex (in white or black), which went truly remote with a Bluetooth dongle (claiming a range of 400 feet) plus a software suite offering powerful leadline and textural sounds. So that meant you weren't tied to anything at all on stage – except having to run a laptop (the instruments had MIDI as well, if you didn't mind running a MIDI cable).
The Vortex is a great controller – including an accelerometer sensor so you can use movement as a modulation source – and the instrument is still available including through Amazon.
That about summarizes the keytar field at the moment, with less than a handful of professional level models in production, a handful of cheap and cheerful alternatives, and a busy second-user market among those who want to get into portable performance. There are also some keytar-like toy keyboards, and many custom one-off projects from various musicians around the world.
The Alesis Vortex with Bluetooth
Note that MIDI-equipped keytars or those with onboard sounds may well have non-portable uses around the studio too, though if they have protruberant controller arms they tend to be not as compact as they may at first appear.
There are super-cheap alternatives too (let's face it, there are quite a lot of instruments you could screw a couple of guitar strap locks into, all Yamaha ReFace synths, and the Arturia Keystep come to mind). Look too for the discontinued Rock Band 3 game keyboard, they're actually great miniature MIDI keyboards with battery power, patch selection, and a controller strip. Or note the suggestive guitar strap locks on your Behringer UMA25S MIDI controller keyboard…
While stars like Lady Gaga have recently become great keytar exponents – sometimes using custom-built examples – sadly the most recent entries into the keytar field have been among the least successful.
Yamaha launched a lightweight instrument to run their Vocaloid vocal synthesis software, but since this approach only seemed popular in Japan, developed two keytar instruments from the same body shape, the Sonogenic SHS500 and SHS300.
These instruments unfortunately fell between almost every stool imaginable. The Sonogenic instruments were pleasingly lightweight, but looked stubbornly toy-like whether in white, black, or blue. These were aimed at entry level musicians, but were extremely expensive on release.
They had onboard sounds, but the sounds were terrible – only a handful of them (12 on the SHS300), and sounding worse than the 2-operator FM sounds of years before. Both instruments use Bluetooth and USB to help run play-along software called Chord Tracker. But while this is intended for entry level players, it's extremely complex to set up and run. The best thing that can be said about these instruments is that they are available much more cheaply now.
So the keytar may have taken a mis-step lately, but it's bound to return before long in one form or another. Wherever there are keyboard players who feel unfairly hidden behind their stacks of instruments, wherever there are guitarists who think they have no competition at center stage, wherever there are players who want to get the girls (or guys) regardless of their possibly more nerdy choice of career instrument… there will the keytar be. So play on!
Sonic Couture Geosonic II – Global Soundscape Synthesis (The Synth and Software review)
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Galaxy S8 Reviews: Full-Front Display Scores Top Marks, But Rear Fingerprint Scanner is Awkwardly Positioned
Tuesday April 18, 2017 10:17 am PDT by Joe Rossignol
Reviews of Samsung's new Galaxy S8 and Galaxy S8+ hit the web today, and given each smartphone's potential similarities to Apple's rumored iPhone with an OLED display, we have rounded up some of the impressions below.
Galaxy S8's Infinity Display (Image: The Verge)
The vast majority of reviews praised Samsung's so-called Infinity Display, which takes up over 80 percent of the front of the smartphones. The design results in smartphones with large 5.8-inch or 6.2-inch screens that are still easy to hold in one hand or put in your pocket, according to reviews.
Dan Seifert, reporting for The Verge:
… I'm a fan of the new shape and the fact that it lets me have a much larger display without making the Galaxy S8 too unwieldy to use. On top of that, the Quad HD Super AMOLED panel is wonderfully vibrant and sharp, and it's very bright, even outdoors under direct sunlight. It's no exaggeration to say this is the best smartphone display I've ever seen.
Brian Heater, reporting for TechCrunch:
I've been carrying the Galaxy S8+ around for a few days now, and it fits in my pocket every bit as comfortably as the 5.5-inch iPhone 7 Plus. And you're able to operate that phone with a single hand, so this device will be no problem.
Steve Kovach, reporting for Business Insider:
It's an impressive feat of engineering. At 5.8 inches, the Galaxy S8's screen is larger than the iPhone 7 Plus screen, but packed on a slimmer and more attractive body. The iPhone looks chunky and outdated by comparison. We're getting closer and closer to the dream of having a phone that's all display on the front.
Lance Ulanoff, reporting for Mashable:
A 6.2-inch smartphone sounds comically large. However, the Galaxy S8+ is unusually narrow, with a screen aspect ratio of 18.5:9. Plus, the edges are tapered — front and back — much in the same way the Galaxy S7's back edge was. The result is a phone that looks a bit long but is comfortable to hold and, at least to my hands, doesn't feel large at all.
Walt Mossberg, reporting for Recode:
Samsung has drastically altered the rule that big screens mean huge phones. Even this smaller of the new Galaxy S models has a larger screen than the biggest iPhone, but it's much narrower and easier to hold and to slip into a pocket.
In order to achieve the larger display without significantly increasing the physical size of the smartphone, Samsung removed the home button from the front of the Galaxy S8. Samsung then relocated the fingerprint scanner to the back of the phone, positioning it next to the camera.
Galaxy S8's rear fingerprint sensor (Image: The Verge)
Unfortunately, many reviews found the fingerprint scanner to be hard to reach and awkwardly positioned next to the camera.
Nicole Nguyen, reporting for BuzzFeed News:
The fingerprint unlock feature has traditionally been programmed into the device's home button. Seeing as the S8 ditched the button, it's now on the back of the phone. The S8's fingerprint sensor and the camera feel basically the same, which means I kept smudging the camera lens and unlocking the phone at the same time.
The high placement of the scanner makes it difficult and awkward to reach with my index finger, even on the smaller Galaxy S8. I have to practically perform finger stretches before I can reach it with any sort of regularity on the Galaxy S8+. Second, because it is right next to the camera and has a similar shape and feel to the camera module, I frequently touch the camera lens instead of the fingerprint scanner, smearing the lens with all of my lovely finger oils.
Apple is rumored to be working on a completely overhauled iPhone, and a display taking up nearly the entire front of the smartphone is a widely expected feature. Apple is also expected to remove the Home button, so it may too relocate Touch ID to the rear if it can't integrate it under the display.
Tags: Samsung, reviews, Galaxy S8
terrywfoster
Nobody likes it in the rear!
Tycho24
You're dating the wrong people! =P
bigjnyc
Epic first post
Did I accidentally visit SamsungRumors.com?
No. But it looks like you accidently clicked on an article you weren't interested in then accidently commented and hit post reply. You have to be more careful to avoid accidents like this.
Mtmspa
Speak for yourself.
anthonymoody
The 8+ is exactly why Apple's iCloud ecosystem is so important for lock in. I had the "misfortune" to see and hold one of these things and it makes my 7+ feel like an antique, not dissimilar from the way my first iPhone made my old Blackberry feel.
I know you can port everything over, and operate within an iOS environment (my family all have iPhones, we share calendars, iTunes sharing/accounts, etc.) but doing so is a PITA despite what many of the "easy" switching guides indicate.
Said another way - if I could use iCloud on this I'd buy an 8+ so fast it'd make your head spin.
Apple better deliver with the iPhone X or whatever it'll be called. They have real competition on the hardware side now.
macduke
Apple will eat Samsung's lunch if they can get a huge display on the front with Touch ID integrated into the display. If they put the button on the back, then they're no better than Samsung. Why bother? It goes against every design principle Apple has ever had about the iPhone to put the button on the back. I don't think it will happen. Either we'll get a redesigned iPhone this year or we won't, but it won't have that stupid button on the back.

redpajama_set_name: RedPajamaCommonCrawl


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Cinemark Shares Hit 7-Month High After Boost From Analyst Predicting "Return To Normalcy" For Movie Theaters – Update
Budget Cuts Leave Staff Scrambling To Update California Film Commission's Unreliable Website
By David Robb
David Robb
Labor Editor
More Stories By David
Panels Set For Black Hollywood Education & Resource Center's 11th Annual Youth Diversity Film Festival This Weekend
Amir Talai Hosts Forum On Challenges Facing Actors During Pandemic
SAG-AFTRA Says Industry's Return-To-Work Protocols Have Been "A Remarkable Success"
Need contact or fee info about filming in the 30-Mile Zone around Los Angeles? You could try the California Film Commission — or you could take a wild guess. Either way, your chances of success are about equal.
The CFC bills itself as "your one-stop resource for film and TV production across the Golden State," but
its website's listing of contacts and fees for filming in the LA area is so out of date that it's virtually useless. Large parts of the site haven't been updated since February 2013.
Related: California Lost Over $1B To Runaway Production Last Year, Film Commission Says
Nearly all of the hundreds of fees listed on the site are outdated. In Pasadena, for instance, the location fee for shooting on public property is listed as $850.77 a day; but no, it's actually $913.20. And the daily fee for shooting on private property there is $716.96, not the posted $667.95. Likewise, every one of the site's 100-plus listed fees associated with hiring Los Angeles County Fire and Sheriff's Department personnel for film shoots is wrong.
Related: FilmLA: TV Production Soars In Q2 As Features Stay Steady With 2013
The site also contains names of many city officials no longer in their jobs. Don't bother trying to reach Vee Gomez, who's listed on the site as the contact person for the city of Santa Monica. "She hasn't been here for about a year and a half," said her replacement. Dinah Sampson, who's listed as the city of Hawthorne's contact, hasn't worked there for six months.
As if there weren't enough uncertainty about filming in the Golden State.
Related: Where Hollywood's Union Jobs Are Going: The Runaway 3 States
"We do this as a service to help filmmakers, and we do our very best to keep it updated," said Deputy Film Commissioner Eve Honthanerand, "but due to the fact that we're short-staffed, occasionally the information is not as updated as we would like it to be. But we do our best to provide services and vital information to filmmakers throughout the state."
The website, in fact, isn't "one-stop" at all. Filmmakers who try to use it as a resource usually are directed to contact each city's website to get the real lowdown on fees and regulations. And there are more than 90 cities and parts of three counties that fall within the 30-mile radius – centered at the corner of Beverly and La Cienega boulevards – used by union film projects to determine per-diem rates and driving distances for crew members.
Related: California's Film & TV Tax Credit Program
The commission says it's working day and night to update the chart. Hopefully they'll get the job done before Sacramento gets around to approving a new package of film incentives, which is pending in the state Senate, but budget cuts have reduced the CFC staff from 22 to 10.
California Film Commission
runaway production
James Murdoch Blasts "Media Outlets That Propagate Lies" In FT Interview
NRA Files For Bankruptcy; Gun Lobby Under Investigation Hurls Insults At NY State, Plans To Reincorporate In Texas


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Home » News » NJ Train Crash Investigators Release Preliminary Results
NJ Train Crash Investigators Release Preliminary Results
October 10, 2016 By: Jacky Gale Personal Injury
In the wake of the New Jersey commuter train crash that killed one person and inflicted injuries on more than 100 others, investigators have been scrambling to uncover the cause.
One event recorder, or "black box," was readily recovered from the rear of the train. The forward event recorder and forward-facing video camera located at the front of the train proved more difficult to recover because of the threat of asbestos toxicity. Now that these devices have finally been recovered, investigators from the National Transportation Safety Board (NTSB) have determined the cause, but not the reason behind it.
Speed was a major factor in train crash
As the train approached the station in Hoboken, the throttle was in the idle position and the train was traveling at eight miles per hour. Approximately 38 seconds prior to the crash, the speed of the train increased to 21 mph and the throttle was moved to the number four position. Immediately prior to the collision, the throttle moved back to the idle position.
"The NTSB has not determined probable cause and cautions against drawing conclusions from these facts alone," stated a press release issued by the NTSB. The engineer of the train has reportedly told investigators that he doesn't have any memory of the crash or the time prior to the crash.
A different New Jersey Transit engineer, who spoke to the Associate Press on the condition of anonymity, said that the throttle is supposed to be set to idle or the first position (the slowest) when entering the station. The fourth position on the throttle gives the train about half power. Because the tracks leading into this particular station are slightly downhill, the anonymous engineer pointed out that there is no conceivable reason why the throttle would need to be in a higher position than idle or the first position.
Additionally, trains are equipped with an alarm system that should have gone off when the train exceeded 20 mph. It is unknown if there were defects with the alarm system.
Recourse for victims of train accidents
Railroad collisions are among the most dangerous. Commuters rely on train engineers to follow safety protocols and on maintenance workers to ensure that the locomotive and all of its equipment is working as it should. When that trust is broken, lives can be lost. The NY personal injury lawyers of The Sanders Firm would like to extend our condolences to the family of the woman who lost her life in this unthinkable tragedy. Victims of the NJ railroad crash and other rail road crossing accidents may have options for legal recourse.
Experts say it could take a year or longer to complete the investigation into the crash, but victims should take action immediately to protect their legal rights. Once the counsel of an experienced lawyer has been retained, liability issues can be explored. After some railroad crashes, families may file lawsuits against the train's engineer or conductor for negligent actions. In this particular case, the engineer of the train might have been operating under the influence of drugs or alcohol, or he may have simply been acting recklessly when he allegedly increased the speed of the train. Alternatively, it's possible that there were defects or malfunctions in the equipment. If this is the case, then survivors may file a personal injury lawsuit against the entity responsible for maintaining the train.
The Sanders Firm has been providing effective legal advocacy services for New Jersey and New York residents for more than 46 years. If you or a loved one has sustained injuries due to the actions of another party, you can request complimentary legal guidance during a one-on-one consultation. Call 1.800.FAIR.PLAY today.
NPR, New Jersey Commuter Train Was Speeding Before Crash, https://www.npr.org/sections/thetwo-way/2016/10/06/496947717/new-jersey-commuter-train-was-speeding-before-crash
ABC News, NTSB: Train in New Jersey Crash Was Going Twice Speed Limit, https://abcnews.go.com/US/wireStory/commuter-railroad-arrival-rule-station-crash-42609772
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Graphic: RFDS Medical Officer Dr Edi Albert
Flying Doctor Edi's Story
Driving home through knee-deep water after a night shift is nothing out of the ordinary for Broome-based Flying Doctor Edi Albert.
Nearly two-and-a-half years ago, Edi moved from Hobart to the top end of Western Australia in search of an adventure - and to take up a post with the Royal Flying Doctor Service.
Since then, he's had to contend with the humidity, the heat, and the wild storms and cyclones that lash the Kimberley region during the wet season.
Extreme conditions are nothing new for Edi, but the weather the Kimberley throws up is in stark contrast to a couple of Edi's previous jobs, where extreme cold was par for the course.
He worked as a doctor in Antarctica for six months and spent eight successive winters as a doctor at a ski resort.
So, it's perhaps no surprise that a doctor with such a spirit of adventure, and with such a wide range of experience and knowledge, through the RFDS was a natural next step to take.
In his role as primary healthcare provider, once a week Edi travels to some of the most remote and isolated communities in the Kimberley region on a fly-in, fly-out basis.
Since joining the RFDS in 2015, Edi has attended to a variety of patients, from impaled graziers to sick cruise ship passengers.
Exposed to the harsh realities of outback living, Edi says he regularly encounters patients who are suffering from chronic health conditions that have been left untreated, exacerbated by geographical barriers and socio-economic status.
"Many of the patients we pick up are suffering from chronic health issues and are in dire need of specialist care, as opposed to the dramatic time-critical emergencies you often hear about in the news," he said.
These are conditions like diabetes, obesity, heart disease, kidney disease, high blood pressure and infections unique to tropical environments.
While his immersion into these remote communities is fleeting, Edi says the conversations and the stories swapped with his patients have left a lasting impression on his world view.
"It never fails to amaze me how these remote communities make do with what little they have," he said.
"It's critical that we take the time to care, to make an effort to listen to the voices of those living in remote communities who are crying out to be heard."
The RFDS conducts 94 remote GP clnics per year at Gibb River Station, Mt Barnett, Mount House, Drysdale and Doongan stations, Mornington Wilderness Camp on the Gibb River Road and at the Indigenous communities of Djugerari, Koorabye, Kadjina, Yakanarra and in the East Kimberley.
During the last financial year. the RFDS has:
-Assisted and provided in-flight medical care to 1,708 patients in the Kimberley region alone, averaging 33 patients per week and making it our busiest transport hub in the north of the state.
-Reached nearly 2,000 patients through our GP, dental and nurse clinics in the Kimberley region


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Redranger Group's core focus is to be the supplier of choice in chassis, suspension and elastomer solutions to the automotive, mining, agricultural and marine industries globally. We will through innovative design, advanced material technology, best practice manufacturing and benchmark service levels support our partners. To that end we will provide everyone who works here with opportunities to exercise their accountability, integrity, and creativity and at the same time grow their careers, and our business. To this end we must have superior financial and operational performances whilst simultaneously conducting our dealings and relationships in the highest ethical manner.
Since 2007 the company has more than doubled in size. Our Nolathane brand remains the market leader in Australasia and our Whiteline brand is growing into a global brand. In April 2011 we acquired our UK distributor and Redranger UK was formed. Located in Dunfermline, Scotland, we have a sales office, warehouse & R&D centre. This enables us to efficiently service the UK & Europe with product sourced directly from our Asian manufacturing base.
In July 2011 Redranger USA was formed and similarly has sales, warehousing & R&D facilities based in Rancho Cucamonga, California. The North American market offers Redranger many unique opportunities with our brands, private branded customers and our new technology gaining year on year traction and growth. Simply Redranger's preceded reputation for product and service in Australia is translating in to new markets.
In 2014, Unired was formed, based in Long Thanh Industrial Zone, 45 minutes from Ho Chi Minh. This purpose built facility would be the manufacturing and distribution hub for Redranger and its many global customers. Linked by a cloud based ERP system and boasting ISO certification, Unired is a global benchmark operation for opencast polyurethane manufacturing and distribution.
Today Redranger Pty Ltd is Australasia's largest supplier of aftermarket replacement suspension bushings and performance suspension components. The company is behind the market leading Nolathane & Whiteline suspension component brands as well as manufacturing a number of recognised private labelled programs that are sold in over 61 countries. North American growth resulted in a warehouse relocation in late 2017 to Ontario California including the appointment of experienced industry management to lead the subsidiary's direction over the coming years. Investment into the UK/EU marketplace has seen the appointment of a new Business Development Manager with proven experience for Redranger in both Australian and North American markets.


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Mystery solved? To be, or not to be ... staccato
Discussion in 'Technique' started by musical-md, Dec 18, 2011.
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Physician, Chief Medical Officer
Biloxi, MS, USA
I have been puzzled for 25 years about a passage in the Ginastera Sonata Op.22 that I learned and performed that long ago, and am now relearning. Here's the situation: the second movement is a moto perpetuo (not called that) in 6/8 time with tempo marked Presto misterioso. Its opening 2-bar them is a single-voice melodic sequence doubled three octaves lower by the LH that goes through all 12-tones before repeating at the 3rd bar. When this returns for the last time 5/6ths of the piece later (and immediately after a 4-bar passage of ascending chromatic major 3rds for the RH), the voices are now 5 octaves apart, with the hands at the extreme-most limits of the piano. Here's the mystery: over the next 16 bars the melody begins to fragment in the RH, with notes progressively dropping out (the LH is marked legatissimo), the RH notes (except for its lowest starting-and-ending-note D) have staccato marks, but these notes cannot be played staccato due to the lack of dampers for all those high notes! I have penciled in my score the following: "Staccatos meaningless as there are no dampers above d#3/eb3 [on my Baldwin 7']"
You can try to hear what I'm talking about starting 5/6ths of the way through at the link to my recording (which I intend to replace when I have this ready again). Listen for what follows the chromaticaly ascending double-note major 3rds in the RH.
http://server3.pianosociety.com/protect ... -2-rio.mp3
Anyone care to speculate as to why this composer would indicate staccato where it is impossible to perform? :?: Maybe I've just been stupid all along. :|
(I thought about which forum: Techinique, Composing or Repertoire, this would best fit in and decided technique)
musical-md, Dec 18, 2011
rainer New Member
Staccato is not just about shortening notes and giving them a definite end. That aspect is indeed meaningless where there are no dampers. Staccato is also (not always, but in this case almost certainly) about shaping the front of the note, by giving it a kind of attack which differs from that which you would give if playing legato.
As an experiment, try playing the same RH passage legato. It will probably not sound the same.
rainer, Dec 18, 2011
I beg to differ with you. I will concede your point with other instruments, but not the piano. Given the same dynamic, there cannot be a difference in the sound due to the limited nature of the impeled, rebounding hammer and lack of dampers. After all, all the hammers can do is rebound off the strings with differing degrees of velocity, which translates into volume (ignoring the business of shifting the action as spoken of in another thread).
Rachfan Active Member Piano Society Artist
Chief Operating Officer, retired
Hi Eddy,
I listened to your very fine recording. Given the rapidity of the figuration which is also nearly leggiero touch, and also considering the inherently very fast tone decay in that uppermost, undampered register, I cannot think of any possibility of making the passage work staccato there. Maybe the staccato notation is an abstract matter of form with no expectation of actually being able to execute it?
Rachfan, Dec 18, 2011
musical-md said:
Staccato is also about shaping the front of the note, by giving it a kind of attack which differs from that which you would give if playing legato.
I beg to differ with you. Given the same dynamic, there cannot be a difference in the sound due to the limited nature of the impeled, rebounding hammer and lack of dampers. After all, all the hammers can do is rebound off the strings with differing degrees of velocity, which translates into volume.
Well, the hammers do what the hammers do, there's no arguing with that. Your deduction is correct given your premise, but I'm not sure the premise "Given the same dynamic" is entirely valid. Suppose you were to play that passage in a register where there are dampers, i.e. down an octave or two. The difference between playing it staccato and non-staccato (both at nominally the same dynamic) will not just be reflected in how each note ends but also in how it begins. The player will tend to make an automatic adjustment to the attack, making the staccato attack a little more accented than the non-staccato attack, in effect raising each staccato note's dynamic slightly to compensate for its shorter duration. What I'm suggesting is that, despite the fact that the notes cannot have a shorter duration where there are no dampers, the player would nevertheless be making accents similar to those which would be made if the dampers were present.
Does that way of putting it make more sense? Think of the staccato marks as being shorthand for accents, but perhaps not quite as strong as those you'd make if actual accent marks had been used instead.
Or look at it this way: The reason most pianos don't have dampers up there is that the notes decay so quickly that they don't need them. The composer recognises that any note played up there is going to sound staccato no matter how you play it, so he might as well mark it as such, to make you accent them slightly.
Good discussion gentlemen; thanks for responding. I think David appreciates the conundrum exactly and Rainer the fact that the composer went through the trouble of marking something that is argueably impossible, yet did so with full intent so should be observed. The difficult question would be to ask if Ginastera actually understood the business of the missing dampers. Let's presume he did. After recent meditation on this puzzling passage I came to the following.
First I should establish that this melodic content is prominent throughout the movement and would be easily recognized by the listener upon its final repetition. Then add that with this final presentation only the RH begins to fragment and dissappear. Last add that there are no dampers in the treble-most region where the indicated RH fragmentation is indicated to be played staccato.
Now for the "esoteric" part: A listener watching a pianist play this fragmentation with the hand gesturing as it had several times before, might think that the pianist is missing some notes, but if the pianist were gesturing staccato presentation (that is the hand is very active demonstrating attacks as if playing on a hot iron) then the fragmentation would not be misappreciated as missed notes. This is the only reason I can come up with for approaching the passage with a touch that cannot be translated by the mechanism of the instrument. To be sure, this is quite esoteric and only appreciated with direct line of sight to the player; this would not be appreciable in a recording. Could Ginastera have considered this transcendental aspect of performance? I don't know. It seems far-stretched to think so, but it seems better than the alternative of such a great composer writing something meaningless.
techneut Active Member Piano Society Artist
Breemer
I have penciled in my score the following: "Staccatos meaningless as there are no dampers above d#3/eb3 [on my Baldwin 7']"
That score will be worth a lot of money one day. You should precede your scribble with "Lecture to self: " :mrgreen:
But I don't understand what your problem is. Does the absence of dampers make it "impossible" to play staccato ? Or make it meaningless ? Surely they would sound much different if you played them legato or portato. I guess what Ginastera wanted to stress is a sharp contrast with the LH part marked legatissimo.
Maybe he just wanted a little air between these notes but could not be bothered to write 16th notes and rests (which I can well understand). Why make such a fuss of it ? Latin American composers often write impossible things, I think they have the effect in mind more than the nitty-gritty details.
As for the fragmentation, would you really be concerned that an audience would think you missed notes ? Hell, they SHOULD think that, because that is what you are doing - on purpose. I think the composer would want it to sound as if the RH part is disintegrating apart from sheer excitement and exhaustion. I don't think he would even care much exactly which notes you left out.
techneut, Dec 18, 2011
techneut said:
You should precede your scribble with "Lecture to self: "
I always write stuff in my scores, don't you? Perhaps it's just the teacher in me. In one passage of the same movement both hands begin at the upper register of the piano and end-up at the bottom, BUT, there is an ascending pitch-class throughout. So it both goes up and down at the same time! I have written in my score: "à la Escher" for his works like "Waterfall" 1961 which you can see at http://www.mcescher.com/ under -> Picture gallery -> Recognition and Success 1955 - 1972. BTW, if a pianist doesn't catch this, I think they fail to appreciate the voicing that should be performed.
But I don't understand what your problem is. Does the absence of dampers make it "impossible" to play staccato ?
Exactly, except I say it is "the" problem, not "[my]" problem. Try it yourself ... or just look inside your grand and try to explain how you can produce staccato sounds where there are no dampers.
Yes, obviously, this movement can not be performed properly without being a connoisseur of Escher's work
I'm curious though, where you find here a passage where both hands start in the upper register and end in the lower ?
No need to look into my grand to know there's no dampers up there. Sure you can't produce a true staccato sound up there but
I think Ginastera just meant to play them staccato. Or just maybe, he *did* have an instrument with dampers up all the way...
If so, you'll have to get one too !
On the subject of Escher, his cousin Rudolf was a gifted composer who wrote some splendid (if a bit too overly Ravel-influenced) piano music.
I think Ginastera just meant to play them staccato.
Yes, I think here lies the key to solving the mystery. Eddy seems fixated on the idea that staccato means one thing only, namely that you should achieve the audible effect of notes being cut short instead of ringing on. This is clearly impossible where there are no dampers. But it seems likely (to me at least) that the instruction to play staccato here merely means that you should make your hands do whatever they would normally do to achieve that effect. Of course without dampers it won't achieve that effect, but it will, I suggest, achieve some effect which is not exactly the same effect as you get when your hands don't try to play staccato, namely that each note will be a little accented. This way the RH notes will make themselves heard a little better above the LH accompaniment.
Eddy seems fixated on the idea that staccato means one thing only, namely that you should achieve the audible effect of notes being cut short instead of ringing on. This is clearly impossible where there are no dampers
Staccato is simply an articulation (like portato and staccatissimo), and one not unique to the piano, therefore it's definition is more fundamental than anything pianistic (this is different from spiccato or pizzicato for stringed instruments which involves a manner of execution unique to those instruments). Well Rainer at least you admit they won't sound staccato because the instrument can't make staccato there. The passage is directed to be played ppp, which I may add is difficult to accomplish and actually causes the pianist to be on the verge of dropping notes meant to be played. Perhaps more simply and straight forward (Occam's Razor (lex parsimoniae)), Ginastera just didn't understand the limits of the piano and I have been giving him too much credit. This all reminds me of when I have seen a pianist rediculously "try" to get vibrato out of a note by movement of his finger on the key! How stupid. Everyone knows that to get vibrato out of a piano you have to shake the whole instrument! :wink:
Anyone know of other "impossible" notations out there in the literature? It might make for an interesting thread.
Edit: some spelling
For those curious, if you can get a copy of the score, look at the last 4 measure of the first page of the second movement. The RH starts high, the LH just above middle-c, but four bars later they are in the bowels of the instrument and all along there has been a continuously ascending chromatic line. It's really quite remarkable, in my opinion.
Staccato is simply an articulation, and one not unique to the piano, therefore it's definition is more fundamental than anything pianistic. Well Rainer at least you admit they won't sound staccato because the instrument can't make staccato there.
Indeed I do admit that, and I never intended to imply otherwise. As you rightly say it is an articulation, but there are nevertheless two aspects to it. One is the effect you get (or hope to get, i.e. shortened notes), the other is what you do to (try to) make that effect happen (though it may be a slightly oversimplified way of putting it, basically you "jab" at the notes, and this has the side-effect of making them louder).
The point I have been trying to get across is that generally on the piano you would tend to give a staccato note the same overall weight of volume (a term I would loosely define as the product of volume and duration (not a simple linear product, though, but one which takes into account the note's decay envelope)) as you would give a non-staccato note in the same context. Since a staccato note's duration is shorter, its volume needs to be increased in order to keep its weight the same. This is an important side-effect of trying to play staccato on the piano. Since in the present context the absence of dampers makes the primary effect (reduced duration) impossible to achieve, I suggest the composer may (or must) be aiming for the side-effect instead. By instructing you to try to play staccato, he expects you to "jab" at the notes as you would if you were playing in an octave with dampers.
The passage is directed to be played ppp, which I may add is difficult to accomplish and actually causes the pianist to be on the verge of dropping notes meant to be played.
Aha! This is most interesting, and I believe it favours my proposed solution to the mystery. By inviting you to "jab at" the notes, the risk of such unintentional drop-outs is reduced.
Perhaps more simply and straight forward (lex parsimoniae), Ginastera just didn't understand the limits of the piano and I have been giving him too much credit.
Hmm, I'm not sure about that. It may be simpler to dismiss the composer as ignorant than to try to understand what he had in mind, but it's not an approach I would take lightly. Every self-respecting composer should be aware of the limitations of all the instruments he writes for, and from the guy's biography it seems he was also an eminent teacher of composition, so I suspect you would be unjustly disrespecting him.
Rainer, your view of staccato is IMO tethered to a dynamic in a manner that may be real for you but is not a necessary phenomenon for a highly-trained pianist. Are you aware of the techinique of "scratch staccato"? Simply to demonstrate, with your hand resting in a natural position on a flat surface, suddenly and with the most rapid velocity possible, draw your fingers inward to form a fist. This is the mechanism, except finger by finger, of scratch staccato. This performs a glancing tangential attack that does not necessarily produce any "jab" or increased volume of attack. This is especailly useful in certain places where the one hand is required to perform both a legato line that is sutained and voiced prominently against a subordinate moving staccato line, such as in the 3rd variation of Rameau's Gavotte et six Doubles (my manner of interpretting it, others may do differently).
Regarding,
It may be simpler to dismiss the composer as ignorant than to try to understand what he had in mind, but it's not an approach I would take lightly.
I think that is a bit unfair given all the development I gave to trying to make sense of the senseless before allowing for the simple explanation.
Anyway, I do appreciate the discussion, regardless of our differences.
Rainer, your view of staccato is IMO tethered to a dynamic in a manner that may be real for you but is not a necessary phenomenon for a highly-trained pianist.
I do accept that not all staccatos are the same (and I did say my description of it involving jabbing was an oversimplification) and that a raising of dynamic may well not be associated with all of them. But I strongly suspect that it is in this particular case, because if so, it would certainly be a plausible explanation of your mystery. I don't understand why you seem to want to close your mind to that possibility.
Are you aware of the techinique of "scratch staccato"? Simply to demonstrate, with your hand resting in a natural position on a flat surface, suddenly and with the most rapid velocity possible, draw your fingers inward to form a fist. This is the mechanism, except finger by finger, of scratch staccato. This performs a glancing tangential attack that does not necessarily produce any "jab" or increased volume of attack.
I don't recall the term, but I do believe I've come across the technique in some Czerny studies where it mostly involved repeated single notes. Unless you're applying this technique in Ginastera's piece (are you? I don't think you are, because that would seem to be incompatible with the "visual effect" explanation you posited) I don't see why you choose to mention it now.
Let me apologise in advance if I'm doing you an injustice, but the impression I've been getting in this thread is that you have not been earnestly trying to make sense of it at all, but that you've made up your mind that undamped staccatos are impossible and that's all there is to it, and therefore Ginastera is an idiot for writing them; my feeling is that all the "explanations" you've come up with were deliberately weak so that you can shoot them down, thus proving your initial position. Your phrase "trying to make sense of the senseless" is a case in point: it pre-supposes a senselessness, and because you believe there can be no satisfactory explanation, you refuse to even consider any explanation which could be plausible.
I'm glad. I don't want this to escalate into a flame war. At least if I've been unfair to you I can apologise, but if you've been unfair to Ginastera you can't, because he's no longer with us. De mortuis nil nisi bene. Perhaps he is a devil, and I'm not sure how I've become his advocate. :|
undamped staccatos are impossible
Yes, this I believe, by definition. In the same way that vibrato on a piano is impossible (the gesture doesn't transmit mechanically into a difference in sound production), so too "staccato" where there are no dampers. If releasing the key doesn't stop the sound ... oh, well. What a difference an octave register makes on the instrument.
Eddy, I think you ought to give Ginastera some credit instead of labeling his staccato 'senseless'. Let's instead assume he well knew what we was trying to achieve. I imagine he would laugh heartily about this hair-splitting and opinionated discussion over the true definition of staccato. Just my 2 cents here :wink:
Hair-splitting? Choice one: sound decays indefinitely; Choice two sound is quickly shortened. Hmm? It may be my very reserved manner of playing (meaning no histrionics, swaying back and forth, no mannerisms or affectations {or as viwed in a video by one of our own: playing slowly and deliberately with the hand palm-up to strike a singular note with the flat nail of the finger!}: mine is an extreme economy of gestures) that leads me to think that it is utterly rediculous, on its face, to pretend staccato where it is not physically possible on the instrument. FYI, I'm not philosophically a Relativist, and I believe that words, even musical jargon, have meaning. Oh well. How anyone could argue whether or not staccato is possible where there are no dampers is beyond me. I thought this subject was actually going to be interesting! It is amazing to me (and others too I'm sure) what can wrap us around the axle in discussion. Fortunately, the silence on the subject seems to indicate agreement that vibrato is not possible on the piano. :mrgreen:
No histrionics ? Booooring .....
Anyway it was an interesting discussion, and you sure have made your point (whatever it was :mrgreen: )
... no mannerisms or affectations { ... playing slowly and deliberately with the hand palm-up to strike a singular note with the flat nail of the finger!}:
Really! There is no need to play palm up, when it's perfectly possible to strike a note with the flat fingernail palm-down! All you need to do is curl your fingers so that their tips are at 180 degrees to the palm. :wink:
How anyone could argue whether or not staccato is possible where there are no dampers is beyond me.
If you think that's what Chris and I argued then you have misunderstood us. What I've argued is that it may be possible that what Ginastera meant by putting staccato marks on these particular notes is not a simplistic "Play these notes short" (because I presume he knew this to be impossible), but rather "Do whatever you would do to play these notes short if it were possible" (and I have offered what I still believe to be a perfectly plausible reason why he might do so {and I should add that it is only plausible; what the true reason is, or indeed whether there even is one, I concede we will never know}, namely that a side-effect of the different form of attack would be to make dropped notes less likely - in other words it's an execution hint, in the same way a suggested fingering might be, to apply a technique which you may well have thought of independently: "What can I do to prevent these ppp notes from failing to sound? I know, I'll play them a bit more marcato. Oh, but wait a minute, this will boil down to raising the dynamic above the printed ppp. But this is contrary to instructions! What should I do?" By writing this "quasi-staccato" in for you, he is telling you that it's OK to do that). You may well ask "In that case why didn't he just write pp instead of ppp?" Perhaps he didn't want you to go all the way up to pp, but wanted to limit you to 2.5p, or 2.718281828p.
Fortunately, the silence on the subject seems to indicate agreement that vibrato is not possible on the piano. :mrgreen:
Oh yes it is! That's not too difficult a challenge to rise to: If the strings for every note are deliberately made out of tune with each other, so as to produce a difference-frequency beat, this can sound somewhat like vibrato. Moreover, if only one string (the third) is de-tuned, you can then use the una corda pedal to avoid striking it, thereby switching off most of the vibrato effect. Cool, eh? - Don't try this at home, kids!
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Valse Mélancholique
Venezia e Napoli
Lutoslawski, Witold ( 1913 - 1994 )
Five Dance Preludes
MacDowell, Edward (1860 - 1908)
Fireside Tales
Four little poems
Twelve Virtuoso Studies
Woodland Sketches
Madetoja, Leevi
Three Romances op. 17
Magnard, Alberic (1865-1914)
Martinu, Bohuslav ( 1890 -1959 )
Etudes et Polkas
Mayerl, Billy (1902 - 1959)
Medtner, Nikolai (1880-1951)
Eight Mood Pictures
Forgotten Melodies
Mendelssohn, Felix (1809-1847)
Fantasy in Fsharp Minor
Organ Sonatas
Variations sérieuse
Molenaar, Peter (Psalms for organ)
Messiaen, Olivier (1908-1992)
Couleurs de la Cité Celeste
Meyn, Till
Piano Suite
Miguez, Leopoldo (1850 - 1902)
12 Peças Características
Moeran, Ernst John (1894-1950)
Mompou, Federico (1893 - 1987)
Cançons i dansas
Dues Impressions 1910
Impresiones Intimas
Impressions de La Garriga
Impressions de Muntanya (1910)
Impressions Sobre La Vida D'un Miner (1914)
Musica Callada
Pessebres
scénes d´enfants
Variations on a theme by Chopin
Additional fotos
Moszkowski, Moritz (1854 - 1925)
Mozart, Wolfgang Amadeus (1756 - 1791)
Violin Sonatas
Muczynski, Robert ( 1929 )
Mussorgsky, Modest (1839 – 1881)
Nazareth, Ernesto (1863 - 1934)
Tangos and Waltzes
Nepomuceno, Alberto ( 1864 - 1920 )
Fohas d´Album
Quatro peças líricas (Four Lyric Pieces)
Suite Antiga Op.11
Nielsen, Carl ( 1865 - 1931 )
Five Piano Pieces Op.3
Nin-Culmell, Joaquin (1908-2004)
Tonadas
Ornstein, Leo ( 1893 - 2002 )
Nine Miniatures S.72 (1915)
Oswald, Henrique (1852 - 1931)
Album Op. 36
Trois Morceaux, Op.23
Pachelbel, Johann (1653 - 1706)
Choral Preludes
Paderewski, Ignacy Jan (1860 - 1941)
Humoresques de Concert - Op.14
Palmgren, Selim (1878 - 1951)
Finska Rytmer (Finnish Rhythms)
Kevät (May) - Seven Piano Pieces, Op. 27
24 Preludes Op.17
Pann, Carter (b.1972)
Fantasy Inventions
The Bills
Peterson-Berger, Olof Wilhelm (1867 - 1942)
Op.16 - Frösöblomster
Piazzolla, Astor (1921)
Ponce, Manuel M. (1882 - 1948)
Poulenc, Francis ( 1899-1963 )
Barbar the Elephant
Les Soirées de Nazelles
Sonata for clarinet and piano (1962)
Suite Francaises
Three Novelettes
Trois Mouvements Perpetuels
Prokofiev, Sergei (1891-1953)
Four Pieces Op. 4
Visions Fugitives op.22
Sarcasms Op. 17
Sonata for Piano and Flute Op. 94, No. 2
Ten Pieces, Op.12
Ten Pieces Op.75
Rachmaninov, Sergei (1873 - 1943)
5 Pieces Op. 3
Etudes-Tableaux
Moments Musicaux op.16
PIano for 4 Hands
Suite: Bach E major Violin Partita, BWV 1006
Variations on a theme of Corelli. Op.42
Rameau, Jean-Philippe (1683 - 1764)
Nouvelles suites
Pièces de clavecin (1724)
Pièces de clavecin en concert
Rangström, Ture (1884-1947)
Legends of Lake Mälaren (1919)
Ravel, Maurice (1875 - 1937)
A la maniere de...
Gaspard de la Nuit (1908)
Le Tombeau de Couperin
Ma Mère l'Oye
Valses Nobles et Sentimentales
Rebikov, Vladimir (1866-1920)
À la brune (In the Twilight) Op. 23
Autumn Leaves, Op. 29
Rêves de bonheur
Respighi, Ottorino (1879 - 1936)
Antiche Danze ed Arie per Liuto
Rimsky-Korsakov, Nikolay (1844 - 1908)
The Tale of Tsar Saltan
Rodrigo, Joaquín (1901 - 1999)
Cinco Piezas del Siglo XVI (1938)
Tres Danzas de España
Rozsa, Miklos (1907 - 1995)
Bagatelles Op. 12
Rubbra, Edmund (1901-1986)
Rubinstein, Anton (1829 - 1894)
Six Soirees a St. Petersburg
Saint-Saëns, Camille (1835-1921)
Satie, Erik (1866 - 1925)
Chapitres tournés en tous sens
Descriptions Automatiques (1913)
Embryons desséchés
Trois Gnossiennes
Trois Gymnopedies
Sonneries de la Rose+Croix
Three Pieces in the shape of a pear
Scarlatti, Domenico (1685-1757)
Scharwenka, Xaver ( 1850 - 1924 )
Five Polish National Dances, Op.3
Schoenberg, Arnold (1874 - 1951)
Piano Concerto Op.42 (1942)
Piano Pieces Op.11
Six Little Piano Pieces, Op. 19
Schubert, Franz (1797-1828)
Fünf Klavierstücke
Winterreise D911
Drei Klavierstücke
Schumann, Robert (1810-1856)
Album für die Jugend op.68
Dichterliebe op. 48
Davidsbündlertänze, Op.6
Fantasy in C major Op. 17
Fantasiestücke op.12
Fantasiestücke op. 73
Faschingsschwank aus Wien
Kinderszenen op.15
Nachtstücke Op.23
Novelletten
Etudes after Paganini Caprices
Symphonische Etüden, Op.13
Waldszenen
Schumann, Clara (1819 - 1896)
Preludes and Fugues
Scott, James (1885 - 1938)
Scriabin, Alexander (1871 - 1915)
Shostakovich, Dimitri (1906 - 1975)
Three Fantastic Dances Op. 5
Sibelius, Jean (1865-1957)
5 Piano Pieces Op. 75 (1914-1919)
Five Sketches Op. 114
Ten Piano Pieces Op. 24 (1895-1903)
Pensees Lyriques, Op.40
Thirteen Pieces Op. 76
Siloti, Alexander (1863 - 1945)
Bach - Transcriptions
Miscellaneous Transcriptions
Sinding, Christian (1856 – 1941)
Frühlingsrauschen (Rustle of Spring)
Smetana, Bedrich (1824 - 1884)
Polkas
Rêves (Dreams)
Soler, Padre Antonio (1729 - 1783)
Sousa, John Philip (1854 - 1932)
The stars and stripes forever
Stanchinsky, Alexei (1888 - 1914)
12 Sketches Op.1 (1911)
Stenhammar, Wilhelm (1871 - 1927)
Late Summer Nights, Op.33
Three Small Piano Pieces
Stevenson, Ronald (1928 - 2015)
Peter Grimes Fantasy (1971)
Strauss, Richard (1864 - 1949)
Stimmungsbilder (Moods and Fansies) Op. 9
Stravinsky, Igor (1882 - 1971)
Le Sacre du Printemps
Suk, Josef (1874 - 1935)
About Friendship, Op.36 (1920)
About Mother (O Matince), Op.28
Szymanowski, Karol (1882 - 1937)
Four Etudes Op.4
Twenty Mazurkas, Op. 50
Tajcevic, Marko (1900 - 1984)
Seven Balkan Dances
Takemitsu, Toru (1930 - 1996)
Piano Pieces for Children
Tchaikovsky, Pyotr Ilich (1840-93)
Album for the Young Op.39
Eighteen Pieces Op.72
Nutcracker Suite, Op. 71a
Six Pieces Op.19
The Seasons - Op.37b
Tcherepnin, Alexander (1899 - 1977)
10 Bagatelles Op. 5
Telemann, Georg Philipp (1681 - 1767)
Suites for Harpsichord
Turina, Joaquin (1882 - 1949)
Danses Gitanes Op. 55
Femmes d' Espagne, Op.73
Femmes de Seville
Por las Calles de Sevilla, Op. 96
Tveitt, Geirr ( 1908 - 1981 )
Hardanger Tunes
Ullmann, Viktor (1898 - 1944)
Williams, Ralph Vaughan (1872-1958)
Villa-Lobos, Heitor (1887-1959)
Bachianas Brasileiras
Carnaval das crianças brasilieras
Guia Prático
Prole Do Bebe
Vladigerov, Pancho (1899 - 1978)
Aquarelles for Piano, Op. 37
Novelettes, Op. 59
Suite of Five Pieces, Op. 51
Three Pieces for Piano, Op. 15
Walther, Johann Gottfried (1684 - 1748)
Organ Chorale Preludes
Wagner, Richard ( 1813 - 1883 )
Warlock, Peter (1894-1930)
Capriol Suite
Weber, Carl Maria von (1786 - 1826)
Four Hand Pieces
Webern, Anton (1883 - 1945)
Yevlakhov, Orest (1912-1973)
Leningrad Sketchbook
Zipoli, Domenico (1688 - 1726)
Sonate d'Intavolature per Organo e Cembalo, Book I
Bach's Notation of Tempo
Bach - Music Manuscript Notation (ornaments etc.)
Beethoven: the Man and the Artist
Brief biographical sketch
Concerning art
Concerning texts
On composing
On performing music
On his own works
On art and artists
Beethoven as critic
On his own disposition and character
On sufferer
Wordly Wisdom
"Forbidden Childhood" by Ruth Slenczynska
Piano Roles
Chopin's Works - Complete List
Kreisleriana op. 16
Letters of Franz Liszt
Table of letters, Vol 1
The letters, Vol 1
The Letters of Mozart
Italy/Vienna/Münich 1770-1776
Münich/Augsburg/Mannheim Sept. 1777-March 1778
Paris Match 1778-January 1779
Münich/Idomeneo November 1780-January 1781
Letters listed by date
Life of Chopin by Liszt
Mozart: The man and the artist
The significance of Mozart
Chips from the workshop
Concerning the opera
Musical pedagogics
Touching musical performances
Expressions critical
Opinions concerning others
Wolfgang, the German
Self respect and honor
Strivings and labors
At home and abroad
In suffering
Research - Chopin's Waltzes
Scriabin - Extensive Biography
Study Guide - Chopin's op.10
About Piano Society
Recording Guidelines
Copyright & License


Beck's assessment of Cruz as President is as funny as it is accurate.
Glenn Beck is like a stopped clock, except he's not right twice a day. More like twice a decade or so. His remarkably candid answer to a question about Ted Cruz' candidacy was one of those times.
Surprisingly, Beck said that he believes that Sen. Ted Cruz would also be unable to govern if he became president.


The French expression ce n'est pas terrible is a weird one, because the word terrible is a semi-faux ami par excellence, as it can mean either "terrible" or "terrific." Yes, it's true—if someone says c'est terrible ! they might mean "it's great!" or they might mean "it's awful!"
In the negative, ironically, terrible is usually positive, so ce n'est pas terrible (or, more familiarly, c'est pas terrible) most commonly means "it's not so great, it's nothing special."
Georges adore ce vin, mais à mon avis, ce n'est pas terrible.
Georges loves this wine, but I don't think it's that great.
- Qu'est-ce que tu as pensé de ce film ? - Pas terrible.
- What did you think of that movie? - (It was) nothing special.
What Does "Impossible N'est Pas Français" Mean?
The French Expression for "Yada Yada"


text:
actor, singer, photographer, knighted, hall of fame
Richard Starkey
Sir Richard Starkey
Sir Ringo Starr
Age today:
Traditional Zodiac Sign:
Cancer ♋ - the Crab - people born June 22 through July 22
Dingle, Liverpool, Lancashire, England, UK
husband of
Older than Barbara Bach by 7 years.
Details - all relationships
List - people connecting
Drummer for the group Rory Storm and the Hurricanes and the rock band The Beatles. Later, his own band Ringo Starr & His All-Starr Band. Received MBE. Movies Help, A Hard Day's Night, Yellow Submarine, Sgt. Pepper's Lonely Hearts Club Band, Caveman. Book Photograph. Knighted in 2018 New Year Honours. Percussive Arts Society Hall of Fame 2002. Rock and Roll Hall of Fame 2015. Hit Parade Hall of Fame 2007 as a member of The Beatles.
London Avenue of Stars 2007 as a member of The Beatles.
Rock and Roll Hall of Fame 1988 as a member of The Beatles.
The Vocal Group Hall of Fame 2004 as a member of The Beatles.
UK Music Hall of Fame 2004 as a member of The Beatles.
Hollywood Walk of Fame:
A star at 1750 Vine Street for contributions to the recording industry; ceremony: 8 February 2010.
See the page at Hollywood Walk of Fame for more information.
A star at 7080 Hollywood Boulevard as a member of The Beatles for contributions to the recording industry.


text:
Diabetes drugs linked to higher risk for rare but deadly complication
June 8, 2017 / 1:54 PM / HealthDay
A new class of type 2 diabetes drugs called SGLT2 inhibitors could increase the risk of a rare, life-threatening complication of the disease called ketoacidosis, a new study warns.
SGLT2 inhibitors include prescription medications such as canagliflozin, dapagliflozin and empagliflozin. Brand names are Invokana, Invokamet, Farxiga, Xigduo XR, Jardiance and Glyxambi.
These drugs first became available in 2013, but in 2015 the U.S. Food and Drug Administration issued a warning about an increased risk for diabetic ketoacidosis when SGLT2 inhibitors are used.
The condition typically occurs in people with type 1 diabetes. And while it is uncommon in people with type 2 diabetes, case reports have shown it can occur with type 2 disease, according to the study authors.
Drug makers accused of insulin price hike collusion
Ketoacidosis can cause vomiting, abdominal pain, shortness of breath and swelling in the brain. Left untreated, the condition can be fatal, the researchers said.
The new study "essentially confirms what doctors had already suspected," said diabetes expert Dr. Stanislaw Klek, an endocrinologist at NYU Winthrop Hospital in Mineola, N.Y.
"Fortunately, the rate of diabetic ketoacidosis is still very low and should not prevent the usage of this medication class," he added. "It is important to be aware of this potential complication and monitor for symptoms of diabetic ketoacidosis, particularly during periods of illness."
In the new study, researchers at Brigham and Women's Hospital in Boston analyzed data from 40,000 people with type 2 diabetes. They found that those taking SGLT2 inhibitors were twice as likely to develop diabetic ketoacidosis than those taking another class of diabetes drugs called DPP4 inhibitors (drugs such as Januvia and Onglyza).
Still, the risk to any one patient remains very slim, the researchers stressed. They estimated that among patients taking an SGLT2 inhibitor, only about 1 in every 1,000 patients would develop ketoacidosis.
Diabetes cases have quadrupled since 1980
The findings were published June 8 in the New England Journal of Medicine.
Even though diabetic ketoacidosis is uncommon, doctors need to closely monitor type 2 diabetes patients for signs and symptoms of the complication, said study author Dr. Michael Fralick. He's from Brigham and Women's division of pharmacoepidemiology and pharmacoeconomics.
"This is a side effect that's usually seen in patients with type 1 diabetes mellitus -- not type 2 -- so doctors are not 'on the lookout' for it," Fralick said in a hospital news release. "That means that the risk of this side effect might actually be even higher than what we found due to misdiagnosis/under-recording."
Dr. Minisha Sood is an endocrinologist at Lenox Hill Hospital in New York City. Reviewing the findings, she explained that SGLT2 inhibitors "have been a welcome addition to the arsenal of glucose [blood sugar]-lowering medications. They lower blood glucose by increasing the amount of glucose eliminated through the urine."
Can eating too much sugar cause type 2 diabetes?
But the drugs may interfere with levels of a particular hormone, glucagon, which in turn leads to an unhealthy rise in acids called ketones. "When ketone acids build up in the system, this can lead to diabetic ketoacidosis," Sood explained.
She agreed that patients and doctors should be alert to the rare but potential risk for diabetic ketoacidosis, especially in the early weeks after a person starts taking an SLGT2 inhibitor.
But Sood believes the study findings are not reason for patients to immediately switch to another form of diabetes medication.
"SLGT2 inhibitors work extremely well to control diabetes [and they have the added benefit of lowering blood pressure and weight as well] so the benefits definitely outweigh the risks of therapy," she said.
First published on June 8, 2017 / 1:54 PM


new Vampire: The Masquerade book. With me is Jason Carl… tell me a bit about what you do, Jason.
creative goals and business goals need reconciliation and that's a part of my job, too.
FM: To make sure that they all talk, and get in the same line.
JC: Yes, to make sure everyone is communicating and everyone understands what the goals are.
Everyone respects each other's needs and we get to solve all the problems as a team.
FM: It sounds very fluid, I like it.
JC: It's a lot like being a producer in film or TV or video games.
been working specifically on the 5th edition?
vampire, and that's where we started.
edition of VTM, which came out in 1998, things have really changed.
FM: What sparked the idea 18 months ago that VTM needs a face-lift, an update?
story really lives and begins, so we decided to do that first.
in development? Sure, but we're only going to talk about them when it's time.
FM: I understand, you got to protect them while they're still under development.
JC: I know, I wish I could tell you more but that's all I can say right now!
but I have to say that the book is just stunning.
FM: The artwork that's in it, was it done in-house?
you could meet in the night, and that was the whole point, you wouldn't know who they really were.
FM: I think it's a very interesting direction to have real life photos alongside illustrations as well.
to play the game, so we wanted to make sure we had a good mix of photography and illustrations.
FM: First off, is this your first time at Gen Con?
JC: No, I've been coming to Gen Con every year for about… 26 years.
As Jason answered the question, lead storyteller Martin Ericsson sits down with us.
FM: We were just discussing the beauty of the book.
we made that a reality.
ME: Yeah, you [Jason] have been a part of a lot of the shoots as well.
FM: Martin… with storytelling… what is the story you want to tell?
seeing how vampires affect the world now.
FM: And how they're adapting, evolving.
react to those changes, whether they like it or not.
them, to branch out from your comfort zone.
and I cannot wait to try it.
Assamites were always a bit too stereotyped towards a not-so-nice portrayal of Middle East culture.
it is, not as it is portrayed in media.
run out, it is only Thursday!
to drive to Fort Wayne and pick up a load there.
FM: It's only a two hour drive, it's fine!
JC: That could happen, actually.
ME: Oh, the timing to get these made for Gen Con though, it was insane.
It's funny, you don't think about the time the books need to sit.
to sit or they don't look good.
FM: I had no idea.
sometimes you do see people launch and you do see the wavy books.
JC: You don't think about the little things like that when you do a project schedule.
JC: This book, by far, was both the best and hardest to do.
FM: Okay… I have to ask why.
definitely… it was the most challenging, because no-one has ever done this before.
underbelly that you want to dig into.
JC: Definitely, it's like Casablanca with blood on it. A neo-noir approach.
FM: Yes, not just killing the thing, looting the item. It's the intricacies of people.
to their humanity. It has some of the narrative plot beats of what is going on.
FM: Like who hates who.
ME: I think that's why Vampire was so important; it spoke a new audience who wanted to role play.
FM: It has that familiar role play feel, but it gave you a different avenue to go down.
that'll be true with 5th edition!
I get my hands into. There's new audiences coming in, and bringing their friends into it as well.
should be good support on places like Roll20.
but if you like the personal horror then a small group is the best way to go.
FM: Are you eventually going to have things like minis for people to cherish between sessions?
about finding the right partners to work with.
Gen Con to talk with me.
JC & ME: Of course, thank you!
If you're dying for a piece of the action, head on over to the Modiphius website and get your copy today! Be sure to also pop into the World of Darkness website for more V5 news, a very cool tool to find the nearest Troupe neat you, as well as character sheets to bring your ultimate V5 story to life. You can also catch the action on Geek and Sundry's Twitch channel every Friday night at 8pm PDT, with the eternally cool Jason Carl hosting; be sure to follow along on twitter with hashtag #LAByNight.


Vepr 12 Original Factory 10 Round Magazine that works with all Vepr 12 gauge semi-auto shotguns with a factory magwell. One piece construction, no coating on the magazine. Russian Original Molot made.
Vepr 12 magazineoriginal Russian 10 round capacity specially designed for the Vepr 12 shotgun. This magazine can also work on magwell equipped Saigas with slight modification to the locking tab.
Proven to be best available magazine for Vepr 12 shotgun.
excellent product, works as it should usually fits in the v12 like a glove.
Remington Pro3 Prem Cloth 10"x10"


text:
Q: Best way to organize API base URL for different environment in Xcode We have 3 environments Dev, Stage and Prod for our API. I have 3 targets and schemes for 3 environments setup in my Xcode which have different builds, code signing, profiles and plist.
How do I do the same for API base URL? right now I have all in 1 prefix file. Because it is 1 project so all 3 targets are using the same file and I have to change the comment out every time I build for different environment.
//DEV
#define SERVER_URL @"http://api.dev.com/api/"
//STAGE
#define SERVER_URL @"http://api.stage.com/api/"
//PROD
#define SERVER_URL @"http://api.prd.com/api/"

What is the best way to organize API base URL for different target environment in Xcode?
Thanks,

A: First, for anything as complicated as this, I strongly recommend using xcconfig files rather than the build pane for configuration. This article is fairly dated, but the information is still fairly accurate (minus some minor changes in the Xcode UI).
Using that technique, you can mix-in different xcconfig files for different build configurations (Dev, Stage, Prod). Within the correct xcconfig, you can use GCC_PREPROCESSOR_DEFINITIONS to set any macros you need:
GCC_PREPROCESSOR_DEFINITIONS = SERVER_URL=@"http://api.dev.com/api/"

A: I played around and found a simple yet effective solution for me.
I put the API base URL as a value in the plist of each target with the key @"ServerURL". Then on the singleton class interfacing with the API, I put this in the init
NSDictionary* infoDictionary = [[NSBundle mainBundle] infoDictionary];
serverURL = [infoDictionary objectForKey:@"ServerURL"];

There I have the correct serverURL based on which target I'm building.

A: For each of your targets, you could add a different preprocessor macro (located in the build settings of your targets). E.g. your Dev target defines DEV=1.
The DEBUG macro is one good example and should be existent for your debug configuration in each target. You have to specify your custom preprocessor macros for each configuration (Debug, Release, ...)
In your prefix header file you can now check with #ifdef or #if defined, which target you are currently building.
#if defined DEV
  #define SERVER_URL @"http://api.dev.com/api/"
#elif defined STAGE
  #define SERVER_URL @"http://api.stage.com/api/"
#elif defined PROD
  #define SERVER_URL @"http://api.prd.com/api/"
#endif

I think it should work like this but don't pin me down on this.

A: Add the base url to you info.plist like this $(BAE_URL)
// .xcconfig
BASE_URL = http:/$()/someurl.com

enum API {
    static let baseUrl = Bundle.infoPlistValue(forKey: "BASE_URL",
        valueType: String.self)
}

extension Bundle {
    static func infoPlistValue<T>(forKey key: String, valueType: T.Type) ->
    T? {
        guard let value = Bundle.main.object(forInfoDictionaryKey: key) as?
    T
        else { return nil }
    return value

redpajama_set_name: RedPajamaStackExchange


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Colleen Hoover | A blog about life. Not yours; mine.
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The award was split: 163A - £151 6s 9d went to Atkinson & Hozier, 21/12/1835; 163B - £75 13s 5d went to the Earl of Balcarres, 21/12/1835.
T71/1201: shows background to these claims with Atkinson & Hozier. Counterclaim by the Earl of Balcarres, resident in England. Appendix Particulars of counterclaim states: 'The counterclaim in this case labours under some difficulty in asserting his counterclaim in this country, in as much as there do not appear to be on hand the deeds between the parties by which their respective rights were ascertained and fixed: the counterclaim however states that under an agreement entered into between his late father, the Rt hon Alex. Earl of Balcarres formerly Governor of this colony, and the predecessors of the firm of the present claimants, Messrs Atkinson and Hozier his said father became entitled to one third of the whole of the slaves then employed by the Govt as Pioneers (?) and also to one third of those who might be thereafter purchased and placed in that Establishment'. Title was taken by the existing firm, as any partner retired the interest was transferred to the succeeding firm. Until the death of 6th Earl, Atkinson and Hozier rendered accounts to him, charging him for purchases of enslaved persons, and credited him for hire or proceeds of slaves, 'by letters and otherwise invariably recognized his Lordships right to a participation in a full third of the rent and profit of all the Pioneer negroes, and also his claim to a full third of the negroes themselves'. The 7th Earl continued to receive accounts current, although 'title was with firm of Atkinson & Hozier, who until the last 3-4 years were attorneys of the 7th Earl. 7th Earl was 'ready to maintain and prove' the circumstances previously mentioned, one third of the compensation being 'both legally and equitably the property and of right payable and belonging to the counterclaimant.' Atkinson & Hozier (replication signature proved 17/12/1835) admittted the counterclaim and 'have not only never denied his right of participation but have always been ready and willing that he should receive and be paid the same'. Identifies James Hozier as being at present resident in London. The Earl of Balcarres omitted not to cut him out but because his name was not on the Slave Registers in 1832 nor since 1817.
'Jamaica Portland 163A & B', Legacies of British Slave-ownership database, http://wwwdepts-live.ucl.ac.uk/lbs/claim/view/17528 [accessed 24th April 2019].