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The secret lair of Hans Zimmer, from where he inspires the world (via Stuck in Customs)
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Immer noch Schnee (via max_hh)
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Time flies like an arrow, fruit flies like a banana.
Groucho Marx -
Instead of trying to live a risk-free existence, let me tell you a few things that are truly worth worrying about:
The road not taken.
The destination not explored.
The adventure not pursued.
The life unlived.If we’re going to lose sleep over something, it seems to me that those are the things that should keep us awake.
Chris Guillebeau on [AONC] Beware of Life -
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Plays: 14[Flash 9 is required to listen to audio.]
Energie St. Pauli: Der Schatto-Pauli-Song
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EI-DWL Weeze (via max_hh)
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Mr. Cucciniello, co-owner of a linen supply company here, is the proud proprietor of three beautiful old Mercedes-Benz diesels: a 1979 300D, a 1983 300SD and a 1985 300D. The cars have already logged an average of 170,000 miles apiece, and Mr. Cucciniello reckons that together they have a million more to go. (via Auto Ego - Mercedes-Benz 300D - He’s in It for the Long Run - NYTimes.com
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Deep Vacation Slow Practice by David H. Thomas
November 27th, 2009
Several days visiting my father in Charleston, SC has allowed me the time to explore the edges of my technique. Relishing the open schedule, and sunny warmth of South Carolina, I had a great practice session yesterday. I always begin with slow scales.
Slow scales (quarter notes @ 60 or slower) allow one to connect all ranges of the instrument with full, legato air, smooth fingers moving “on the air”, and to standardize voicing through out the ranges. I start with mezzo-forte to warm up, and then mix in some forte and pianissimo. I often add some extremely legato tonguing, to test tongue position and tonguing “on the air”.
After moving through half the circle of keys, I switched to broken scales, in sixteenths, and also sextuplets. Broken scales are a great way to focus finger motions and fine tune concentration. Playing broken scales (both in groups of 4 and 3) without music is excellent for finger/mind concentration.
I then moved to measured trill exercises with a metronome, at least one for each finger motion. Starting slowly, half notes, and moving through all rhythms, to 32nd notes, making sure to keep the pulse clear without tensing the hand or the body. Measured trill exercises are one of the best ways to develop finger discipline, and also to develop subtle awareness of high speed finger rhythm and pulse. Staying aware of the beginning of each group of 32nd can be tricky at high speeds. Try not to accent to hear the note better. Play at a softer dynamic and “tune” your ear into the rhythm and notes to keep track of the number of motions. I also switch beginning notes to the top one (instead of the bottom one) to emphasize the other note pulse.
During all this, I work (but you don’t have to) on circular breathing, quality of breathing, voicing, embouchure, extreme high range. The main goal is pure legato and even-ness of tone throughout the range.
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Skrippi bei der Arbeit (via max_hh)
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David bei der Arbeit (via max_hh)
Marc ist im Rheinland, in der Nähe von Köln aufgewachsen, ohne jedoch mit der Karnevalskultur im Besonderen in Kontakt gekommen zu sein.
Dank des unkonventionellen Musikunterrichts von Herrn Feik schaffte er sich nach dem ersten Hören einer Charlie Parker-Schallplatte ein Altsaxophon an, was ihn - Jahre später - an der Hochschule für Musik und Theater in Hamburg studieren ließ.
Seit vielen Jahren lebt er in Hamburg, wo er Kaffee trinkt, Saxophon, Klarinette und Flöte mit dem Berlepschquartett, dem Saxophonquartett Vierung, der Downtown Bigband, dem Chris Fidler Octet und an diversen Theatern spielt. Er unterrichtet am Gymnasium Wentorf.
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