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Offered by the Department of Public Health in collaboration with Temple University's School of Social Work
Temple University's Department of Public Health (PH) and the School of Social Work's (SSW) dual degree program affords full-time students the opportunity to earn Master of Social Work (MSW) and Master of Public Health (M.P.H.) degrees in three years or in four years for part-time students. The program prepares professionals to assess, understand, and address health-related concerns that impact the well being of individuals, populations, and communities.
Temple's M.P.H. is fully accredited by the Council on Education in Public Health (CEPH) and provides a credential that indicates competency in social, environmental, and behavioral aspects of health, the analytic sciences of epidemiology and biostatistics, and principles of health service management, including program planning, evidence-based practice, and evaluation.
Field experiences, which are integral to both programs, provide dual degree students opportunities to apply theories and skills from both professions to health-related practice and to explore numerous and exciting career options. M.S.W.M.P.H. graduates may seek employment as administrators, policy and program planners and evaluators, counselors or clinicians, educators, and/or researchers.
There are four concentrations to choose from:
M.P.H. in Social and Behavioral Sciences (SBS)—Addresses the behavioral, social and cultural factors related to individual and population health and the social and behavioral aspects of community health, health communication, program implementation and evaluation, and health education.
M.P.H. in Environmental Health (EH)—Prepares graduates for practice-oriented careers in environmental health and management, with an emphasis on examining environmental factors and environmental policy that affect the health and sustainable environments of communities.
M.P.H. in Epidemiology & Biostatistics (EBS)—As a terminal, professional degree, provides fundamental training in the public health sciences, epidemiological study design, chronic and infectious disease surveillance, and core biostatistical methods.
M.P.H. in Health Policy and Management (HPM)—Designed to develop professionals in the field of public health who have a clear understanding of the health policy and management of health-related programs, as well as the associated implications for public health practice and the impact on population health outcomes.
The M.P.H. culminating experience requires students to synthesize and integrate knowledge acquired in coursework and other learning experience, and to apply theory and principles in professional practice through an internship or independent project based on the student's interests, the M.S.W.-M.P.H. concentration, and faculty advisement. International fieldwork opportunities are available in Asia, Latin America, and Africa.


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This week we are featuring Zeus the Pit Bull/Boxer mix, Mya, the Bernese Mountain Dog and Lab mix, and two cats, Cleopatra and Joeanna. Check out the slideshow for pictures and more info.
All of the dogs and cats are spayed or neutered, micro-chipped, and up-to-date on their vaccinations. They come with a starter bag of food and a free vet exam within the first 15 days after adoption. For more information on adoption rates, hours, contact info and more, visit www.jeffersonspca.petfinder.com or call
Zeus is a 8-month-old, male Pit Bull and Boxer mix. He is white, brown and tan with a short coat and is large is size. Zeus' family gave him up because gets car sick. Zeus is house-broken and loves to play with toys. He has a very high energy level, and as a puppy, will need a family who has the time and energy to train and socialize him. Zeus is very sweet and will make a wonderful loyal pet for the right family.
Mya is a 1-year-old, female Bernese Mountain Dog and
Cleopatra is a domestic, short-haired, female cat. She is black and brown Tortie and medium in size. Cleopatra was found as a stray after having kittens back in October, and now she is looking for a loving family to call her own.
Joeanna is a 6-year-old, domestic, short-haired female cat. She was also found as a stray outside of the shelter. Joeanna is very sweet and loves to cuddle. She is medium in size and super fluffy. Joeanna will do well in a home with children.

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Weddings at Barrington United Methodist Church
This is an overview of the Wedding Booklet that is available by contacting the church at 847-836-5540. The booklet will provide you with assistance in your planning. Please read it carefully. If you have questions about any of the manual's contents, please bring them to the attention of the Officiating Pastor.
- Introduction
- The Church
- Setting the Date
- Officiating Clergy
- Pre-Marital Consultation
- The Marriage License
- The Service
- Music
- The Wedding Hostess
- Photography and Videotaping
- Flowers, Candles and Decorations
- Dressing at the Church
- Use of the Facilities
- Memo of Understanding
- Reception at the Church
- Fees
- Wedding Photography/Videography Policy
One of the great joys that comes to a church and its Pastor is the celebration of a service of marriage, uniting a man and woman in a sacred covenant. The service of marriage at Barrington United Methodist Church is in every way an act of worship in which two persons declare their love for each before God, their families and friends, and express their commitment to live out the vows of the marriage covenant under the grace of God. As an act of worship, the service of marriage is an act of the church in which we celebrate the creative and redemptive love of God in Christ Jesus present with us. The marriage service marks the beginning of your journey together. The pastors and staff of Barrington United Methodist Church will work with you to make your wedding a time of great joy and happiness. We also will work with you to make your marriage a journey of love and faithfulness.
Like all significant events in life, the service of marriage and surrounding events need careful planning. No two weddings are alike. The Pastors and staff of Barrington United Methodist Church will work with you to make your wedding the event you envision. However, it must be kept in mind that the wedding service is an act of worship and all aspects of the service must be in keeping with worship. Likewise, all wedding services held at Barrington United Methodist Church must be in keeping with the beliefs, practices, and policies of the United Methodist Church. The Book of Discipline of The United Methodist Church states:
We affirm the sanctity of the marriage covenant that is expressed in love, mutual support, personal commitment, and shared fidelity between a man and a woman. We believe God's blessing rests upon such marriage, whether or not there are children of the union. We reject social norms that assume different standards for women than for men in marriage. (Book Of Discipline, par. 161C)
While the Pastors of Barrington United Methodist Church will perform a service of marriage for those who are not members of the United Methodist Church, the planning and marriage services offered are specifically Christian and United Methodist in nature.
We pray God in Christ's blessing on you as you prepare for this most significant moment in your lives.
The Church
For all communications, please use the following name and address for the church:
Barrington United Methodist Church
98 Algonquin Road
Barrington, IL 60010-6145
The phone number for the church is 847-836-5540
Weddings may be held in either the Sanctuary or the Chapel. Both provide aesthetically pleasing settings for a wedding service. The choice of setting may be dictated by the anticipated attendance. The Sanctuary will seat approximately 450 persons. The Chapel will seat approximately 100 persons. Both Sanctuary and Chapel have a center aisle. Weddings also may be held in the Memorial Garden. Obviously, it is wise to have a contingency plan in case of uncooperative weather.
Setting the Date
Those who wish to be married at Barrington United Methodist Church may reserve a date after an initial interview with the Officiating Pastor. Please do not make other arrangements and then expect the church to be available and the Pastor to fit your schedule. We strongly recommend that couples begin the process at least six months prior to their desired wedding date. After an initial interview with the Officiating Pastor, and the payment of $150 deposit, the date will be placed on the church calendar. The deposit also serves as a security deposit and will be returned to the bridal couple within 7 days following the service pending there is no damage to BUMC property. The deposit is refundable up to thirty days before the scheduled service.
Weddings may be held on any day the church and Pastors are available. Weddings will not be scheduled on holidays (New Year's Eve or Day, Ash Wednesday, Holy Thursday, Good Friday, Easter, Memorial Day, Fourth of July, Labor Day, Halloween, Thanksgiving, Christmas Eve, Christmas Day) Keep in mind that a rehearsal also needs to be scheduled.
Members of Barrington United Methodist Church have preference for reserved wedding dates. Church events may preclude the availability of the facilities for a wedding. Such events have priority. However, once a couple, member or non-member, has met with the Officiating Pastor and paid the deposit, their date is secure.
Officiating Clergy
It is the prerogative of the Pastors appointed to Barrington United Methodist Church to officiate at all weddings held in the church. Other Pastors may be invited to assist in the service at the invitation of the Officiating Pastor. Please discuss any request for the participation by another Pastor with the Officiating Pastor. Do not extend an invitation. The invitation to participate is the appropriate function of the Officiating Pastor. Barrington United Methodist Church does not rent the church facilities for weddings to be performed by clergy not under appointment to Barrington United Methodist Church.
When you inquire about a wedding at Barrington United Methodist Church, you may request a particular Pastor to conduct the service. We will attempt to honor such requests. If you have no preference, the Senior Pastor will designate the Officiating Pastor. The Officiating Pastor is in charge of the service in all of its aspects. The Pastor will provide you with alternative services from which you may choose one that best fits your plans. Keep in mind the service is an act of worship and must be in keeping with the policies, practices and beliefs of Barrington United Methodist Church.
While it is customary to invite the Pastor and spouse to rehearsal dinners and receptions, please be sensitive to the fact that clergy schedules often limit availability for such events. The Pastors simply may be unable to attend.
Pre-Marital Consultation
The United Methodist BOOK OF DISCIPLINE charges Pastors with the responsibility to consult with couples prior to performing a wedding service. The Pastors of Barrington United Methodist Church honor that charge by abiding by a policy that calls for a series of pre-marital consultations with the couple. These sessions have a double purpose. One purpose is to work out the details of the wedding service. The second is to have conversation about the meaning of marriage from a Christian perspective. While the sessions may include a marriage inventory, these sessions are not intended as therapy. Rather they are an opportunity to explore what it means for a woman and man to live together in the covenant of marriage. An equally beneficial outcome of the sessions is time for Pastor and couple to become acquainted. A wedding is a significant event and should be shared by people who know and care for one another, not by strangers. Usually, there is a minimum of four sessions, including the initial interview. More sessions are scheduled if necessary. It is advantageous to have time between sessions to process information. This is why it is necessary to begin the process at least six months prior to the wedding date.
The Marriage License
A valid marriage license must be presented to the Officiating Pastor prior to the rehearsal. The church is located in Cook County which means that the license must be obtained at the Cook County Clerk's Office, 118 N. Clark St., Chicago, or one of its branches. The closest branch is located in Rolling Meadows at 2121 Euclid Avenue (across from Arlington Park). The license costs $30 and payment must be made in cash only. The license is valid one day after it is issued and for sixty days after issuance. You will need to provide two forms of proof of identification when obtaining the license. The marriage license must be presented to the Officiating Pastor no later that the time of the rehearsal. Please be aware that without the license, the Pastor cannot perform the wedding service.
Barrington United Methodist Church will provide you with a ceremonial license. However, you will have to obtain copies of the official license for all legal purposes.
At the present time, there are no requirements for blood or any other medical testing.
The Service
As has been stated before, the wedding service is an act of worship and that it is, will govern the various aspects of the service. The wedding service has as its focus the creation of a covenant between a man and woman before God. While in the eyes of the State of Illinois, marriage is a legal contract; in the eyes of the church, marriage is a holy covenant. Included in this manual are a series of services that offer different liturgies. You may choose the one which best fits your plans. In addition to the services, there are lists of suggested Scripture Lessons for reading and hymns for singing on page 11 of this manual. These selections are left to you. There is also a list of suggested processionals and recessionals on page 10 from which you may select in consultation with the organist. If you would like to include a vocal or instrumental soloist in your service, please inform the Officiating Pastor as soon as possible and not later than 60 days before the wedding date. The Officiating Pastor will offer a homily (a brief sermon) as a part of the service, if you so desire. While a homily is customary, it is not necessary.
It is expected that both the rehearsal and the wedding service will begin at the scheduled time. Please advise your wedding party and your guests that we expect to begin promptly. The rehearsal takes approximately one hour. Members of the wedding party, parents, and musicians should plan to attend. The rehearsal offers an opportunity for everyone to be informed about the service, the protocols and the timing for the wedding service. It is very important. The wedding service is about thirty-five minutes in length, depending on how much music is included. Few wedding services in the United Methodist tradition last more that forty-five minutes.
A wedding service demands careful planning. The Officiating Pastor and staff of Barrington United Methodist Church will work with you to develop your plans and bring them to fruition. The Officiating Pastor will make all final decisions regarding the service.
Music plays a significant role in the worship life of the church. Since a wedding service is a service of worship, the music you select must be consistent with Christian worship in the United Methodist tradition. The covenantal nature of the wedding service places the bridal couple, participants, and guests before God in Christ. Thus, the music for the wedding service must compliment the liturgy and promote a sense of being in the presence of God. Choices of music for your wedding service should be made from classical and contemporary Christian music. Popular love songs, movie themes and theatrical music are not permitted for the wedding service. If you choose to have only organ and/or piano music at your wedding, you should contact the Organist who will work with you about your choices of music. The Organist will help you choose an appropriate processional and recessional, and other organ/piano selections. If you choose to have a soloist or other singers, or instrumentalists beyond the Organist, please contact the Director of Music for consultation about persons and music. We will make every effort to help you select music that enhances the worshipful nature of the wedding service.
In terms of musicians, it is our expectation that the Organist will play at all weddings at Barrington United Methodist Church. The Organist is the church's keyboardist and can play either the organ or piano. It is our policy that the Organist has the right of first refusal for all weddings. If the Organist is unable to play, he will find a capable substitute beginning with the church's Assistant Organist. It is the Church's policy that only the Organist of the Church or an organist of his selection plays the Church's instruments.
Barrington United Methodist Church is blessed with a number of excellent musicians. If you desire instruments in addition to the organ for your wedding, we can help you find these musicians. We have access to string groups, brass ensembles, and vocal soloists. Please discuss your interest with the Officiating Pastor. The Officiating Pastor will put you in contact with the Director of Music who will help you schedule the musician(s). In most cases you will enter into a contract with the instrumental musicians for their services. The Church is not involved in this transaction. When the Church assists in the scheduling of a vocal soloist, the fee is included in the schedule of fees printed in this booklet. If you choose to use an instrumentalist or vocalist of your own choosing, the Officiating Pastor will direct you to contact the Organist in order to plan for the service. If you choose not to have additional musicians or a vocalist, the Officiating Pastor will ask you to contact the Organist directly. Please keep in mind that the Organist will decide on the appropriateness of the music for the service. On the day of the service, the Organist will coordinate the music aspects of the service in consultation with the Officiating Pastor.
In order for the musicians to have sufficient time to rehearse the music, it is expected that all musical selections be made and approved at least 60 days before the service. If changes are made after 30 days prior to the service in which a previously scheduled musician is no longer used, the bridal couple is expected to pay the musician's fee.
Let us reaffirm that music will play a significant role in your wedding service. All of us at Barrington United Methodist Church will work with you to ensure the music for your service celebrates God's love as it affirms the love you bring for each other in this special moment.
The Wedding Hostess
Barrington United Methodist Church provides a Wedding Hostess to assist the Officiating Pastor in conducting the rehearsal and the wedding service. The Wedding Hostess is mandatory for each wedding. The Wedding Hostess coordinates the rehearsal and activities prior to and immediately following the service. She oversees the flower placement and distribution, the dressing of the bridal party, the work of the ushers, the seating of guests, the processional, and the receiving line. She also is responsible for any emergencies that might occur during the wedding service. The Wedding Hostess is a member of Barrington United Methodist Church.
If an outside wedding consultant is employed, it is the policy of the Barrington United Methodist Church that this person's involvement be limited to those activities beyond the church. Outside wedding consultants are not permitted to direct any of the wedding activities at Barrington United Methodist Church. The staff of the Barrington United Methodist Church is responsible for the rehearsal and wedding service.
Photography and Videotaping
Wedding photographs may be taken before and after the service in the Sanctuary, the Chapel or the Memorial Garden. We encourage the bride and groom to make arrangements with their photographer to do as many pictures prior to the service as possible. The church will be open two hours before the time of the service. Depending on the church schedule and staff availability, additional time, up to two hours, at the cost of $100.00 per hour may be scheduled. The photographer must cease taking pictures involving the bridal party thirty minutes prior to the time of the service. Following the service, photographers will have one hour to complete their work. There will be no extensions of time.
In keeping with the atmosphere of a service of worship, no flash photography is permitted during the service. The professional photographer may take flash pictures of the processional and recessional at a place determined by the officiating pastor. The professional photographer may take available light pictures during the service from behind the body of the congregation. The photographer must remain behind the body of the congregation at all times during the service. The Officiating Pastor is willing to remain after the service for photos.
Ushers are asked to inform guests that photographs and videos are not permitted once they have entered the sanctuary. The Officiating Pastor will provide the ushers with cards to be handed to guests that request that neither photos or videos be taken during the service.
The wedding service may be videotaped. The videotaping must be done from one position decided by the Officiating Pastor. We recommend that the camera be set on a tripod. No additional lighting equipment may be used; nor may the equipment be moved during the service. See Page 9 for a detailed photography/videography policy. Please share this policy with your photographer/videographer during your initial planning meetings.
You are expected to provide the Officiating Pastor with the name, address, phone number, and email address of the wedding photographer and videographer at least thirty days prior to the wedding service.
Flowers, Candles and Decorations
Both the Sanctuary and the Chapel at Barrington United Methodist Church are places of great beauty and do not need excessive decorations. Flowers may be placed in the chancel area and on the altar table at the direction of the Wedding Hostess. Nothing is to be removed from the altar table. Florists will have access to the Sanctuary or Chapel 90 minutes before the time of the service. They must be finished placing arrangements 30 minutes prior to the time of service. Please be sure that the florist is aware of the need to have personal flowers (bouquets, boutonnières, corsages, etc.) available for pre-service pictures. Please advise the florist that aisle runners are not permitted and that only a small number of light-colored silk flower petals may be distributed by the flower girl. The church only provides candles for the altar table, and for the candelabra, which is available for use upon request. A unity candleholder is available for use by the bridal party. The base of the holder for the unity candle will accommodate a candle 2 3/4″ in diameter and two tapers 3/8′ in diameter. Candles would be the responsibility of the bridal party.
Please provide the Officiating Pastor with your florist's name, address, phone number, and email address at least thirty days before the wedding service.
Nothing may be attached to the pews with anything other than a rubber band. Because of the fire code, hurricane lamps with candles and other candle decorations along the aisle are not permitted. The Wedding Hostess and the Officiating Pastor will make the final decision regarding the appropriateness of all decorations. All decorations must be removed from the church within one hour after the service. Any items left will be discarded by the custodial staff.
Dressing at the Church
Arrangements can be made for the bridal party to dress at the church. We have excellent facilities for this purpose. Dressing at the church can ease the concerns for time and possible damage to dresses in travel. The church will be open two hours before the service. If you desire additional time beyond the two hours those arrangements can be made at an additional cost, depending on the church schedule and availability of staff. The additional fee is $100.00 per hour. Please speak with the Officiating Pastor to make arrangements.
Use of the Facilities
We expect the bridal party and all guests to conduct themselves in an appropriate fashion while using the facilities of the Barrington United Methodist Church. NO ALCOHOL IS PERMITTED ON THE PROPERTY OF THE BARRINGTON UNITED METHODIST CHURCH. THIS INCLUDES THE PARKING LOT. If this policy is violated the wedding service will be immediately cancelled. Please advise limo drivers and guests that alcohol is not permitted anywhere on the church property. Likewise, use of tobacco is not permitted anywhere in the facilities of the church. State Law prohibits no smoking within 15 feet of our entrance. Our facilities are dedicated to the worship and honoring of God in Christ. All members and guests, using these facilities, are expected to do so in accordance with this purpose.
Rice, birdseed, and balloons are not permitted for use in greeting the bridal party. These items are a safety or an environmental issue. We suggest that other means, such as bubbles, bell, or butterflies, be used in welcoming the bride and groom outside the facility.
Should any damage be done to the facilities of the church or its contents, the bride and groom will be held responsible.
Memo of Understanding
The bridal couple will be asked to sign a Memo of Understanding that will outline the conditions and requirements for themselves and the staff of Barrington United Methodist Church for the wedding service. The Memo will include a listing of the fees. The Memo will be signed at least thirty days prior to the date of the wedding. A copy will be provided to the bridal couple.
Reception at the Church
The Fellowship Hall is available for wedding receptions. It will seat 200 guests comfortably for a dinner and more for a simple reception. There is a rental fee for the Fellowship Hall and another fee if the Kitchen is needed. There is also a fee for custodial services. Please keep in mind that no alcoholic beverages may be served.
Arrangements can be made with the United Methodist Women for a simple reception, i.e. cake and punch. There is a fee for this service. If you wish to have a dinner, you will need to engage a caterer. When an outside group uses the Kitchen, a member of the church will need to oversee the use.
Contact the church for a schedule of wedding fees. We do our best to keep the fees reasonable and affordable.
All fees must be paid at least two weeks prior to the service. A summary of fees will be provided. Checks should be made separately for the various items. The proper designation and amount will be listed on the summary. The $150 deposit will be returned to you within 7 days of your wedding service providing there has been no damage to BUMC property. If you choose to pay by cash, please place the appropriate amounts in clearly marked envelopes.
Wedding Photography/Videography Policy
Welcome to Barrington United Methodist Church. The following policy is designed to be clear about the Church's expectations of those who photograph or video a wedding in our facility. Please keep in mind that a wedding service is a worship service celebrating a sacred covenant and conduct yourselves accordingly. We do not expect any disruption to the service as you carry out your work. We expect full compliance with the following statements. Failure to do so will result in your being excluded from the Sanctuary or Chapel. These statements are not negotiable. If you cooperate with us, we will work with you to ensure that all parties are able to accomplish their tasks. If you have questions, please address them to the Officiating Pastor.
Photography may be done at the church prior to the service. The church will be open two hours before the time of the service. All photography must be concluded thirty minutes prior to the scheduled time of the wedding.
There is no flash photography permitted once the service starts. The service starts when the Pastor greets the congregation or a soloist begins a musical selection.
Flash photography is permitted during the processional. The photographer may position him or herself in the center aisle in line with the first pillar from the back. Flash photography is also permitted during the recessional.
During the service, available-light photography is permitted from the rear of the Sanctuary. At no time is the photographer to either take a position in front of any guests or in any way disrupt the service.
Videography may be done during the service. A stationary camera may be placed in the chancel area at the discretion of the Pastor. Videographers carrying a camera must stay in the rear of the Sanctuary. During the processional and recessional, the videographer may stand in line with the first pillar from the rear, providing he or she does not interfere with the line of sight of any guest.
All photography must be completed one hour after the conclusion of the service, unless the schedule dictates a lesser amount of time.


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What does a doula do?
A growing trend in childbirth is the use of a doula. However, having a doula around before, during and after childbirth is not a new concept. Mothers throughout history have often used a support person to help them through childbirth, whether a trusted elder woman in the village or a sister.
When looking for a doula, be sure to find someone who is experienced and recommended, as well as someone who matches your birth and parenting philosophy and style. However, be advised that doulas are not required to have any medical training, despite the fact that they offer medically related advice during labor.
A birth doula specializes in working with a new or experienced mother in the months leading up to the birth, as well as the birth of the child. This doula is well versed and experienced in helping a mother decide on a birth plan that suits the needs of the mother and partner, as well as helping out in other areas such as preparing the baby registry, preparation for breastfeeding and preparing for the labor itself. With a new mother especially, the thought of labor can be daunting and scary, mostly because it's a new experience. A doula can assist in helping the mother understand about the process of labor, answer any questions and ease any anxiety prior to the start of the first contractions.
Once in labor, a doula is an important part of the experience. The doula is in the labor room and serves as an advocate for the mother's birth plan and advocate. Since the doula works with the mother prior to the start of labor, the doula can be confident that she knows the wishes of the mother and ensure those wishes are carried out, as long as it doesn't risk the mother's or baby's health. The doula also serves as a calming force in the room and can assist in easing anxiety during transition and labor. The doula also works to assist in the communication between the mother and the partner during the birth.
After the baby is born, a postpartum doula can provide invaluable help during the "fourth trimester," or the first three months of life. Postpartum doulas help with breastfeeding, as well as provide advice on sleep habits, breastfeeding issues, weight and safety questions. Postpartum doulas will follow up with visits to the home, as well as phone calls and even email assistance for the new mother and partner. Further, these doulas are experienced in seeing signs of postpartum depression and other health issues in the mother, which sometimes are overlooked.


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- Home
- Academics
- American Studies
- Faculty & Staff
- Kathie Scott
Kathie Scott
Your Toolbox
Humanities Building, Room 114
651-696-6510 fax
Program Assistant
Weyerhaeuser Hall, 117
Telephone: 651-696-6752
Kathie Scott, Program Assistant for the American Studies Department, is responsible for coordinating all of the activities of the department. She has an MBA in marketing and has helped to market the department both on campus and in the community at large. Before coming to Macalester, she worked in advertising and public relations. She also taught at a public high school in the Twin Cities and enjoys interacting with students. Kathie is the assistant to the Dean for the Study of Race and Ethnicity and is also the Administrative Coordinator for the Mellon Mays Undergraduate Fellowship Grant at Macalester College.


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Tim Church, M.D., M.P.H, Ph.D., is Professor of Preventative Medicine at Pennington Biomedical Research Center at Louisiana State University. The mission of Pennington Biomedical Research Center is to promote healthier lives through research and education in nutrition and preventive medicine. Dr. Church is trained in General Preventive Medicine.
As author of over 100 research articles, Dr. Church has received numerous awards for his research in preventative health. He is co-author of, "Move Yourself, The Cooper Clinic Medical Director's Guide to All Healing Benefits of Exercise (Even a Little!)"(Wiley & Sons, 2008). Drawing upon research from thousands of Cooper Clinic patients and research participants from around the world, the book proves how simple activity makes a significant impact when it comes to preventing major diseases and obesity. Unlike many popular fitness books, "Move Yourself," advocates engaging in pure activity, not an exercise plan.
Frequently used as an expert source for preventative health stories with major national media outlets, Dr. Church has been interviewed by: The New York Times, U.S. News & World Report, NBC's Today show, the Los Angeles Times, the Wall Street Journal, USA Today, Reuters, The Washington Post, Consumer Reports, Vogue, Prevention magazine, Time magazine, National Public Radio, O, The Oprah Magazine, the London Times, CNN and more.
As a consultant to the U.S. Department of Health and Human Services' Physical Activity Guidelines Advisory Committee, Dr. Church contributed to their national report published in 2008. Currently, he serves as member of the Mayors Council for Healthier Baton Rouge, to motivate the community of Baton Rouge to make healthier choices when it comes to nutrition and physical activity. Dr. Church was also an invited speaker at the United States Congress, Committee on Government Reform: Diet, Physical Activity and Dietary Supplements: The Scientific Basis for Improving Health, Saving Money and Preserving Personal Choice.
Dr. Church earned his Medical Degree at Tulane University School of Medicine and is the former Vice President of Medical and Laboratory Research at The Cooper Institute in Dallas, known worldwide as an international leader in some of the most comprehensive studies on human performance and disease prevention. Dr. Church resides in Baton Rouge with his family, and is a two-time finisher of Ironman distance triathlons.


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The St. Albans area is home to more than 24,000 people who appreciate its convenient location – just a 20-minute drive to Charleston – and its small town charm. In St. Albans you'll find outstanding recreational opportunities, a progressive school system, hospitable businesses, and above all, friendly people. Take a few moments to explore this website and you'll begin to understand our motto: Come for Business, Stay for Life!
This website is a project of the City of St. Albans, the St. Albans Regional Development Authority, and the St. Albans Chamber of Commerce. While each group has a different purpose and mission, they are all working toward the goal of making St. Albans a better place to live and work.
For more information, contact the Mayor's Office at 304-727-2971 or click here for a complete list of the City Government contact information.
The St. Albans Regional Development Authority is a volunteer organization funded by the City, grants, and various projects. The purpose of the organization is to promote the economic well-being of St. Albans and to promote commerce and a better quality of life for its citizens by helping existing businesses, widening the retail base, improving zoning, attracting new businesses, and improving the appearance of the City through beautification.
The St. Albans Chamber of Commerce is an independent organization made up of businesses from the St. Albans area. Funded entirely by dues and other fund raising activities, the Chamber provides support for existing businesses through various activities and offers networking opportunities to member and prospective businesses. For more information, contact the St. Albans Chamber of Commerce at 304-727-7251.


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What causes nail ridges?
Nail ridges can have many different causes that may include local events or systemic conditions affecting your body as a whole. While some local events, such as trauma, may not be serious, systemic conditions that lead to nail ridges can be serious or life threatening.
Horizontal ridges across the nail can be a symptom of a serious underlying disorder, especially if discoloration is also present. Beau's lines (trenches that run across the nail) may indicate a variety of problems that interrupt the normal growth of the nail, including an acute illness, a nutritional problem, or poisoning.
Localized causes of nail ridges
Nail ridges may be caused by localized events including:
- Bacterial infections
- Fungal infections
- Trauma, such as slamming your fingernail in a door or accidentally hitting your nail with a hammer
Systemic causes of nail ridges
Nail ridges may be caused by systemic events including:
- Alopecia areata (loss of hair in circular patches)
- Anticancer chemotherapy
- Hand-Foot-Mouth disease (viral infection)
- Iron-deficiency anemia
- Kawasaki disease (acute bout of blood vessel information, occurs mostly in children)
- Psoriasis
Serious or life-threatening causes of nail ridges
In some cases, nail ridges may be a symptom of a serious or life-threatening condition that should be evaluated immediately in an emergency setting, particularly when ridges form horizontally across the nail or discoloration is also present. Life-threatening causes of nail ridges include:
- Arsenic poisoning
- Myocardial infarction (heart attack)
- Nutritional problem, such as inadequate diet or difficulty absorbing nutrients from food that is eaten
- Toxic ingestion, such as eating poisonous plants, mushrooms, or chemicals
Questions for diagnosing the cause of nail ridges
To diagnose your condition, your doctor or licensed health care practitioner will ask you several questions related to your nail ridges including:
- When did you first notice your nail ridges?
- Do they occur on more than one nail?
- Do your nail ridges run vertically or horizontally across the nail?
- Do you have any other symptoms?
- Do you have a history of other medical conditions?
What are the potential complications of nail ridges?
Nail ridges often develop as part of the aging process, but they can also develop suddenly because of local or systemic events. Although nail ridges that occur as a result of injury to the nail or rarely serious, nail ridges that occur as a result of an underlying event, such as an illness or poisoning, can lead to serious complications. Because nail ridges can be due to serious systemic events, failure to seek treatment can result in complications and permanent damage. Once the underlying cause is diagnosed, it is important for you to follow the treatment plan that you and your health care professional design specifically for you to reduce the risk of potential complications including:
- Cosmetic disfigurement
- Dehydration due to vomiting, diarrhea, or a decreased desire to drink fluids
- Organ failure or dysfunction
- Unconsciousness and coma
- Paronychia nail infection. American Osteopathic College of Dermatology. http://www.aocd.org/skin/dermatologic_diseases/paronychia_nail_in.html.
- Nail abnormalities. Medline Plus, a service of the National Library of Medicine National Institutes of Health. http://www.nlm.nih.gov/medlineplus/ency/article/003247.htm.
- Richert B, André J. Nail disorders in children: diagnosis and management. Am J Clin Dermatol 2011; 12:101.
What are nail ridges?
Nail ridges are raised lines in the nails of the fingers or toes that may run vertically along the nail or horizontally across the nail. Nail ridges typically develop in adulthood and may become more pronounced with age. However, nail ridges can also develop more rapidly and may arise from a variety of causes, including localized infection or systemic illness, disease, or poisoning.
... Read more about nail ridgesintroduction
What other symptoms might occur with nail ridges?
Other symptoms, which vary depending on the underlying disease, disorder or condition, may accompany nail ridges. Symptoms that frequently affect the nails may also involve other body systems.
Localized symptoms that may occur along with nail ridgesAdditional localized symptoms may be present in areas around nail ridges including:
- Pus or other ... Read more about nail ridgessymptoms


text: Our recent visit to Perry revealed some potentially exciting news. I had been somewhat disappointed with the small size of the kitchen space available, but upon further inspection we realized the wall dividing the kitchen and what was to be our dining room is actually NOT a load bearing wall like we original thought..this kind of throws my mind for a loop because I had settled on the above layout (#1) and though small, it was going to function. By removing the existing wall we don't really gain that much space but we are able to open up the kitchen so it feels like there's more room. This also allows us to have a small mudroom/laundry room which is extremely practical (more so for us than a room dedicated to a formal dining table) The garage is on the west side of the house so providing an entrance here also makes so much sense. (we would have had to enter in the dining room or walk around to the front of the house — neither of which a good option) — most of the layouts above block the door leading into the "office" or near the entrance to the basement (which would house our deep freezer) as well as a direct route to the bathroom from the kitchen // otherwise you're walking through the living room to get to the bathroom, so ideally it'd be nice to keep that door there, but it's proving to be difficult. I need your help and guidance again — i know its a bit confusing and my illustrations don't have all the written details, but perhaps you can get an idea and have enough info to help us make our decision by clicking on one of the above options!


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Day 744 + (*) ! – In the Hostage Situation of the Murder In Action of Jacob Tate and day 285 of a Sanctioned War 'currently – in Carlsbad, California.' ! Where we are living daily the SAGA of Barrack and Michelle Obama's 'Will He Commit Suicide Today' while the Trial for his Son-In-Law drags on.
* = 'Corrected time 'details: So there I was waking last night at 1:45 am and I was wondering 'why' I was not being allowed to speak with my Children and Fiancee Kelsi ? SO, I looked at the Calender and started counting back, and remembered I 'arrived' in Spokane, Washington at ' Union Gospel Mission (aka: Hopeless Gospel Mission) Where they tried to turn me Gay for the White Supremacist's of Bozeman, Montana. And I remembered I 'had' arrived 2-3 weeks 'before Thanksgiving, 2011′. SO I corrected the Day Count as well.'
And that's because it ' WILL EFFECT BOTH PARTIES ' and that's why -
Both Parties 'are' stalling on Benghazi
Here's a hit list of some of the 'reasons' Benghazi happened
- DOE/DOD Contractor's gone bad in a War Zone
- Failed Mission to conceal the Source of Information used with IRAN
- Failed Mission to conceal the Source of Information used with Pakistan
- Failed Mission to conceal the Source of Information used with Afghanistan
- Failed Mission to conceal the Source of Information used regarding the search for Osama Bin Laden
- Failed Mission to conceal the Source of Information used with detonation caps for IED's
- Failed Mission to conceal the Source of Information used to Disable the Nuclear Reactors in Iran
- Failed Mission to conceal the Source's Son-in-Law's Name and Location in Afghanistan
- Local Senator's and Congressmen in the State of Montana using their Political Power to minimize and neutralize a legitimate small business man who has asked the F.B.I. And the C.I.A. a question 'they couldn't answer'
- Local Senator's and Congressmen in the State of Montana including the Governor, State Secretary as well Department of Commerce in using their Political Power to try to Hide a Murder in Action which was first reported as a 'KIA' (killed in action)
- Then Director of the Central Intelligence Agency Leon Panetta 'using' BAD Information on the Source Gallatin as the 'driver' for a plan to minimize his responsibility in the Order which was 'on hold' with the C.I.A. And by doing so, eliminate the C.I.A.'s responsibility for consequential damages
- Illegal Home Entry
- Illegal Wire Tap
- Illegal program by the C.I.A. to 'FUND' with Funds from the Justice Department of the United States of America the Search for Weapon's of Mass Destruction for the Committee on Armed Services, Select Committee on Intelligence, Committee on Homeland Security and Governmental Affairs. This was done in a Money Laundering Scheme with My Company Grant Marketing Group and KAGEN's out of Texas.
- Incorrect reporting of a Death in a War Zone
- Incorrect reporting of the Person Keith Grant to his local and extended network of people in Bozeman, Montana, Monterey, Californnia and Encinitas, California as well as Milano, Italy and Plzen, Czech Republic
- Exposure of the Source Gallatin by Montana State Senator John Tester to John McCain
- Illegal Research Project by Montana State University by Jerry Gossell to 'follow' and monitor a man named Keith Grant to identify his Sexual Preferences because it was reported to the Board of Regents by Jerry Gossel that 'he is sure he is Gay and coming out' (OMG)
- Illegal and False Police Reports made time and time again to the Bozeman, Police Department by Jerry Gossell and the students of Montana State University
- Listing of Keith Grant on the Sexual Predator's list in the State of Montana without a Trial or any 'public hearing' for Keith Grant and 'no direct' person who would testify against Keith Grant on this issue (framed)
- Listing of Keith Grant on GAY Web Sites by Jerry Gossell and students from Montana State University to 'enhance' his motivation to come out as a Gay Man. Which he didn't because he is not a gay man.
- Spreading Slander and Lies all over the State of Montana about Keith Grant by Jerry Gossell, Joe Cris and Tony Stiff (all 3 inclusive to all the above statements)
- Murder in Action of Jacob Tate on January 2nd, 2011 in the Sangin Region of Afghanistan the 'night' before his Tour was Over. He was taken out, seperated from his squad, shot in the back, tortured and sat down on an I.E.D. To conceal the torture and marks of torture
- Payback 'initiated' by Jacob Tates father in law via a Delta Force Operator to 'look into his son-in-law's death' as the Delta Force Operator 'has people in that area who can and will look into it'
- The Libya Human River Water Project which was and is the largest Flow Monitoring Project ever under taken and was being pursued by Aftrade in LaJolla, California in cooperation and 'Direction' of Grant Marketing Group. Who approached Aftrade and 'signed' a cooperation agreement with Aftrade to represent Grant Marketing Group in Libya
- Having seen the Late Ambassador and the 2 Navy Seals (reported as ex-navy seals which there's no such thing s an ex-navy seal) on my street in Bozeman, Montana as well on Durston in Bozeman, Montana
- I (Keith Grant) was 'not at all surprised' when I recognized their faces as the ones killed in the Libyan Embassy Attack. AS I 'had seen them before' and am SURE they knew of my company and involvement with the C.I.A. and the Libyan Human Water Project
And all I wanted to do is take her to lunch -
Now, I've got an Italian Hottie named Kelsi who's my fiancee and 'we' are being held hostage from each other while they have killed my company's web site.
So I have this FACEBOOK Site : GRANT MARKETING GROUP
And my original site: http://www.grantmg.com
New Contact E-Mail for Grant Marketing Group: firstname.lastname@example.com
'Welcome' to the C.I.A.
Keith Grant


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March 23, 2010
Knowing what to eat and how to prepare nutritious foods is the foundation of a healthy life - or at least, it should be. Yet we live in a world where we are increasingly disconnected from our food. Many people don't know how to cook healthy meals, or how to make the best choices on a limited budget. Yet there is encouraging news on the food front - more people are seeking out educational resources to find out exactly what they should eat, or how to replace those lost 'food skills' like growing and preserving your own food.
Cynthia Cave-Gaetani, Clinical Nutrition Manager at Lourdes Hospital in Binghamton
Rebecca Hargrave, Horticulture and Natural Resources Extension Educator, Cornell Cooperative Extension of Chenango County
Matt Griffin, Agency Services and Resource Manager, Food Bank of the Southern Tier


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By Linda D. KozarynAmerican Forces Press Service
WASHINGTON, March 4, 1996 Modernizing the force is a top priority in DoD's fiscal 1997 budget, senior defense officials said.
Procurement funds will increase by about 40 percent over the next four years, officials said. The fiscal 1997 budget dedicates $38.9 billion to modernization and procurement.
Under this budget, DoD will continue developing leapahead weapon systems, speed up equipment upgrades and expand DoD's ability to move troops and equipment to world trouble spots. The request would also improve battlefield intelligence and reconnaissance, and strengthen missile defense programs.
From fiscal 1990 to this year, officials said, procurement funds dropped 60 percent and DoD reduced the armed forces by about onethird. The services phased out older equipment, resulting in a drop in the average age of equipment. With the drawdown nearly over, officials said, it's time to modernize the force.
The procurement budget includes $7.4 billion for leapahead systems like the F22 advanced tactical fighter and $1.8 billion to upgrade current systems like the M1A2 Abrams tank and Bradley fighting vehicle.
Defense officials are placing major emphasis on expanding the nation's powerprojection capabilities. The fiscal 1997 budget includes $7.3 billion to improve airlift and sealift capability by developing and purchasing equipment like the C17 Globemaster III, the B2 Stealth bomber and Fast Sealift Ships.
Officials will enhance battlefield awareness through funds to improve intelligence, surveillance and reconnaissance capabilities. About $3.2 billion is budgeted toward this effort. This includes such technology as the Global Broadcast System, the E8A Joint Surveillance and Target Attack Radar System, and unmanned aerial vehicles.
Operations in Bosnia, including the deployment of Predator unmanned aerial vehicles, have renewed emphasis on DoD's ability to provide realtime, accurate information in the field, an official said.
Strengthening theater missile defense programs is another modernization priority, they said. Theater commanders asked DoD to emphasize theater missile defense. About $2.8 billion is going to deploy defensive technology such as the Patriot III missile and to develop other systems such as Theater HighAltitude Area Defense. The administration also budgeted $2 billion for research on national missile defense through fiscal 2001.
The fiscal 1997 budget allocates $2 billion for the F22, the Air Force's "nextgeneration" air superiority fighter, officials said. The F22 will eventually replace the F15 fighter and is designed to penetrate enemy airspace and achieve firstlook, firstkill capability against multiple targets, they said. DoD plans to buy 40 for $11.1 billion during the next four years. The first F22 squadron will be operational in 2004, officials said.
Nearly $600 million is allocated for the Joint Strike Fighter program to develop an affordable nextgeneration strike fighter for the Air Force, Marine Corps, Navy and U.S. allies. The fighter will replace the F16, the AV8B and F/A18 and supplement the Navy's F/A18E/F. Between fiscal 1998 and 2001, DoD projects $3.2 billion for the program.
DoD is buying 12 F/A18E/F Hornet aircraft in fiscal 1997 for $2.6 billion. The Navy and Marine Corps will deploy the twinengine, multimission, tactical aircraft to fighter and attack squadrons. It will have enhanced range, payload and survivability features compared to earlier models of the aircraft. The Hornet E/F will replace the C/D model and partially replace the A6E Intruder and the F14A Tomcat.
The new Hornet will perform strike, interdiction, close air support, fighter escort and fleet air defense missions. During the next four years, DoD plans to buy 150 of the aircraft for $14.3 billion.
DoD is buying four V22 Osprey aircraft for $1.1 billion in fiscal 1997. The tiltrotor, vertical takeoff and landing aircraft will perform airborne assault, vertical lift, combat search and rescue and special operations missions. Between fiscal 1998 and 2001, DoD plans to buy 31 Ospreys for $3.9 billion.
Funds are allocated to accelerate upgrading 120 M1A2 Abrams tanks at a cost of $300 million. Another $300 million will go to upgrade Bradleys. Apache Longbows, F14 fighters, AV8B Harriers and B1B Lancer bombers will be upgraded at a cost of $120 million.
Improving airlift and sealift capabilities includes purchasing eight C17 Globemasters in fiscal 1997, officials said. Between fiscal 1998 and 2001, DoD plans to buy another 52 C17s at a cost of $12.9 billion.
About $3.4 billion will go to buy four DDG51 Aegis destroyers. DoD plans to buy 11 Aegis destroyers between fiscal 1998 and 2001 at a cost of $11.8 billion. About $600 million is going to the B2 Stealth bomber program in fiscal 1997; another $1.4 billion will go to the Stealth bomber program between fiscal 1998 and 2001.


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Living Legend, Living History: In Conversation with Civil Rights Icon Dolores Huerta
April 29, 2014 12:45pm - 2:00pm
SLLSA is pleased to announce that civil rights icon Dolores Huerta will be featured as the keynote speaker for our Cinco Week.
An associate of Cesar Chavez, a contemporary of Dr. Martin Luther King Jr., an awardee with Mother Teresa, the legendary Dolores Huerta is revered as one of recent history's most iconic civil rights figures. From co-founding the UFW, to witnessing firsthand the assassination of Robert F. Kennedy, to being beaten and nearly killed by San Francisco police during a peaceful civil rights protest, Dolores Huerta has been front and center in America's long march towards forming "a more perfect union." At the age of 84, Dolores continues to fight for social justice through the Dolores Huerta Foundation, a non-profit dedicated to organizing low-income immigrant communities in California's Central Valley, and through her advocacy on women's equality, reproductive rights and LGBT issues.
Co-sponsored by GSC, VPGE, MEChA, El Centro Chicano, WSL, APILSA, NALSA, and US-Mex Focus.
Please RSVP here: https://docs.google.com/forms/d/1KpQAewkLwdKeRlzIYgxu-slACsHuXw0cq4uEFuxkbWs/viewform?usp=send_form
- Denise Ballesteros
- denisekb@


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Click Here to Watch the Whole Video in HD at UK Naked Men
Exclusive photos and video of naked men from Britain with uncut cocks. 30,000 original images and growing. 3 updates every week. The Best of British naked men!
Straight Boy, Paddy O'brian Is Banged Up, but When He Shares a Cigarette With the Warden - Will Helm, Horny Will Can't Resist Getting on His Knees to Suck Paddy's Thick, Tool
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Kirt Dow grew up in Palm Beach, FL. From a young age, he developed
a keen interest in acting and performing, especially making
people laugh. His dream has always been to perform, to act.
As he continued to act, he broadened his horizons by working
behind the scenes. Along with acting, he started working props,
lighting, sound, some direction and even a bit of writing
and found it all highly enjoyable. He believes that working
every side of the business has made him a better performer.
After high school, his comedic talents and impressions brought
him to stand-up comedy. He began in FL at many comedy clubs,
some included The PALM BEACH HILTON", "ABBEY ROAD',
and "THE COMEDY CORNER".
In the early 1990's, he relocated to Las Vegas, NV and has
performed numerous times at "CAROLEES COMEDY CLUB",
"Buffalo Bill's Hotel and Casino"( Main Showroom),
"THE COMEDY BUFFET" at "THE ESCAPE LOUNGE",
and "THE COMEDY BUFFET" at "UVE", "Sandy
Hackett's Comedy Club", "THE PALMS CASINO",
and last but not least, "THE RIVIERA COMEDY CLUB",
performing a one week engagement, as MC/Comedian, opening
for comedians such as "Johnny Dark", "George
Miller", and "Mitchell Walters".
Twenty years after starting stand-up, he continues to hone
his talent for impersonations. At last count, He can do 400+
voices, characters, and dialects. He also performed as a "Bill
Clinton" Look-A-Like/Sound-A-Like for numerous corporate
He has been a featured background artist in movies such as
"Mars Attacks", "Con-Air", "Austin
Powers", "Fools Rush IN", Rush Hour2","Oceans
Eleven", "Pay it Forward", "Vegas Vacation",
and many more.
He hasdone numerous radio voice over spots, several television
commercial spots, both local and national. Kirt has been a
featured background artist in several network television shows,
such as "Chicago Hope", "COACH", "The
Drew Carey Show", " ELLEN ", and "IRON
CHEF-USA", with host William Shatner.
From 1996-2000,he was afforded the great privilege to work
closely with producers JOE AND HARRY GANTZ, of the highly
acclaimed, "EMMYAWARCf winning cable reality series,
"WBO's" "TAXI-CAB CONFESSIONS-LAS VEGAS".
He worked behind the scenes as "PA" for 2 seasons,
and as the "Technical Associate" for the third season.
He worked as "Line Producer" behind the scenes
of the "STEELY DAN" promo/webcast video for their
2003 CD "EVERYTHING MUST GO", (producers JOE and
HARY GANTZ). Kirt also worked as a "PA" and "
Technical Consultant" for "HUMPTY HUMP" and
"SHOCK G" on their upcoming music video-( producer
"Robert "STRAW" Strawder.
He believes that with all the experiences over the last 25+yrs,
performing and in production, He has the confidenceand ability
to succeed, and excel, in whatever role he undertakes. Kirt
is a talented performer, inventive, intelligent, energetic,
and he thinks fast on my feet .
He is a "go-getter" who cannot and will not be
In his own words, "Whether I am performing, or working
behind the scenes, I can and will do whatever rt takes to
do the job done right. "THE SHOW MUST GO ON!" is
the creed I live by."


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Learn how to host a themed party in style! Lynda Reeves shares easy outdoor entertaining tips after throwing a post-wedding brunch for her stepdaughter. From the Brazilian barbecue dishes to the tasteful tabletop decorations, steal her tricks for a fun backyard party.
Find delicious Brazilian recipes in our May 2013 issue.
Wedding photography, Catherine Farquharson; Parisian-style desserts, Thobors Boulangerie Patisserie Café, (416) 544-1733 or Thobors.ca; event planning and waitstaff, Jeff Dinan Events, (416) 420-6006; rentals, Event Rental Group, (416) 759-2611 or Eventrentalgroup.com; sewing by Reg Dohms, Luxe Interior Design, (416) 463-0215; tent, Absolute Tent & Event Services, (416) 203-8332 or Absolute.to; valet parking, Mark J. Mooney & Associates, 1-888-387-7738 or Markjmooney.com; vases, 18Karat, (604) 742-1880 or 18karatstore.com; cocktail glasses, Event Rental Group, as above; napkins, Designer Fabrics, (416) 531-2810 or Designerfabrics.ca; plates, Event Rental Group, as above; bowls, William Ashley China, (905) 566-8500, (416) 964-2900 or Williamashley.com.


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Kitty Korner
Rose Mary Budge has spent more than a decade with her kitties Gatito, Tony and Missy. They blog about the joys and challenges of the human/feline relationship.
Monthly Archive for August, 2011
Declawing is inhumane
A mobile vet came to see Gatito the other day. When the visit was over, the vet's assistant, Karen, asked if it would be OK to trim my kitty's claws. "Sure," I said, knowing that a trim is perfectly safe and painless for a cat. In fact, Gatito didn't mind at all; actually, it made […] [Read More]
Cat Lover's Reading List
Missy and I have a summer evening routine. After household and garden chores are done, we gratefully sink down on the couch, turn up the AC and choose a good book to read. Missy settles happily in my lap after marking every new book selection with a chin rub. I have learned that the number […] [Read More]


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Buy Tickets NYFF50: Views from the Avant-Garde
Show From Series
Wednesday, July 24
Thursday, July 25
Friday, July 26
Saturday, July 27
Sunday, July 28
Monday, July 29
Tuesday, July 30
NYFF50: Views from the Avant-Garde
October 04, 2012 – October 08, 2012
For its 16th year, Views offers and expanded edition, presenting five days of New York and World Premieres from the frontiers of innovative moving image making. Curated by Mark McElhatten and Gavin Smith. Read more »


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University of Colorado Boulder Chancellor Philip P. DiStefano today announced the appointment of Aaron Conley as vice chancellor for advancement effective Sept. 22.
Conley is currently the vice president for development and alumni relations at the University of Texas at Dallas where he was chief strategist for the recent UT Dallas comprehensive campaign that surpassed original campaign goals and almost doubled the total endowment.
"Aaron Conley has a proven record of leading change and surpassing fundraising goals at a number of high-level research institutions," DiStefano said. "I'm confident he has the vision and energy to inspire greater engagement with constituents and put the university on the path to significantly increase campus fundraising."


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Tuscarawas News Detail
Kent State Police Officer Named Portage County Crisis Intervention Team Officer of the YearPosted Nov. 5, 2013
Knowing the right question to ask when faced with a person who is in a mental health crisis has earned Kent State University Police Services Officer Will Scritchfield of Uniontown, Ohio, the 2013 Crisis Intervention Team (CIT) Officer of the Year Award in Portage County.
"At Kent State, some students are under a lot of pressure to succeed," Scritchfield explained. "They are placed in this new environment, often on their own, for the first time in their lives. It can be very stressful if things don't go just right. CIT training allows me to better communicate with students who may get to a crisis stage. It also is helpful in dealing with people in the community who may suffer from a mental illness. Understanding the basics of the right questions to ask has been valuable in these situations."
Scritchfield's approach to his job extends to non-students when it comes to working in a diverse setting like a university.
The Crisis Intervention Team training is sponsored in Portage County by the Mental Health and Recovery Board in partnership with the Portage County Sheriff's Office. More than 200 law enforcement professionals representing all the local police departments in the county, as well as the sheriff's office, have been trained through the program.
The program was created by the National Alliance on Mental Illness to provide officers with the knowledge and tools to help de-escalate people in crisis and make referrals. The end result is safety for the indi¬vidual and the officer, and the probability that the person will be connected to the services he or she needs.
Kent State Assistant Police Chief Dean Tondiglia nominated Scritchfield for his extraordinary follow-through with students and others that the officer has come in contact with during the last year.
"Many times, Officer Scritchfield worked hard to unite those in crisis with the proper community resources and would follow up to make certain the person was getting the care they needed," Tondiglia wrote in the nomination. "He did this with the utmost compassion and dignity for the person."
Tondiglia said Scritchfield has had numerous cases this year where he has served as the point person to bring together Kent State faculty, University Health Services and the community-based Coleman Professional Services mental health agency to help a student in crisis. His dialogue with the student and networking with the services meant the student was referred for help rather than an arrest. Coleman is an agency that receives funding from the Mental Health and Recovery Board to provide services in Portage County.
Scritchfield also helped an elderly woman who was driving without a license on campus and who appeared to be extremely confused and in distress. Scritchfield took the time to contact her neighbors and adult protective services to initiate care for her.
"I believe it's important for every officer to understand that each person has their own threshold of what a crisis is to them, and although we may not understand it from their perspective, to that person it is very real," Scritchfield said. "CIT training helps officers understand this and gives them some tools to help people during these times."
Scritchfield joined Kent State Police Services in 2008. He previously worked for the Uniontown Police Department and as a construction manager for Schumacher Homes. He graduated with honors from the University of Akron where he earned a degree in criminal justice and also went through the police academy.
When the housing downturn hit the construction business, he decided to pursue his passion and train to be a police officer.
"I have always had a lot of respect for those who serve in the military and in local law enforcement," he said.
Scritchfield shares the 2013 Officer of the Year Award with Lt. Sharon Hissom of the Robinson Memorial Hospital Police Department. They are the seventh and eighth officers to receive the recognition.
Scritchfield is the third officer from Kent State Police Services to earn the Officer of the Year distinction, joining Officer Michquel Penn, who was honored in 2009, and Officer Jeff Futo, who was honored in 2010.
The Mental Health and Recovery Board of Portage County is a county agency that plans, funds and monitors public mental health and addiction treatment services for Portage County residents. Mostly funded by local levies, the board also funds 24-hour emergency services to help residents in crisis and to provide assistance when communities experience crisis incidents. Services are funded through a network of community agencies: Coleman Professional Services, Townhall II, Children's Advantage and Family and Community Services. For more information about the Mental Health and Recovery Board of Portage County, visit www.mental-health-recovery.org.
For more information about Kent State Police Services, visit www.kent.edu/police.
Photo Caption:
Pictured from left to right are Mental Health and Recovery Board of Portage County Chairman William Nome; Kent State Police Officer Will Scritchfield, who is a 2013 Crisis Intervention Team Officer of the Year; Kent State Assistant Police Chief Dean Tondiglia; Major Dennis Missimi of the Portage County Sheriff's Office; and Portage County Sheriff David Doak.
Media Contacts:
Amie Cajka, Mental Health and Recovery Board of Portage County, email@example.com, 330-673-1756, ext. 207
Emily Vincent, Kent State University, email@example.com, 330-672-8595


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21 Bebop Scale Patterns for Guitar
One of the most widely used concepts in jazz improvisation; the Bebop Scale has long been a staple in the vocabulary of many of the genres great artists.
Therefore it is an essential sound to get under your fingers when learning how to play bebop jazz guitar.
Click to download your FREE Essential Jazz Guitar Lessons eBook
For this reason, I've compiled 21 different patterns that you can use to practice Bebop Scale fingerings on the guitar, most of which come from David Baker's Bebop books, and all of which come from the jazz tradition and can be found in the solos of greats such as Wes Montgomery, Johnny Smith, Charlie Parker and many more.
Before you dive in to these patterns, check out my articles on the various Bebop Scale fingerings so that you can take these patterns and apply them to any Bebop scale you are woodshedding.
To make things simple when first exploring these patterns in the practice room, I have written them out with a one-octave C7 arpeggio ascending followed by the patterns descending a one-octave C Dominant Bebop Scale.
Here are those fingerings to work out before diving into the patterns below.
Once you have worked out any of these 21 bebop scale patterns within this one octave shape, feel free to take it to any other one or two-octave shapes for the various Bebop scales linked to above.
Also, once you have learned any one of these patterns, in one or more keys, put on various backing tracks and apply these patterns to your soloing ideas and phrases.
This will allow you to explore them from a technical and improvisational standpoint in the woodshed.
Learn Jazz Guitar Scales and Scale Patterns with the Matt Warnock Guitar Jazz Scales App
To help you practice these Bebop Scale patterns, here is a Gm7-C7 backing track where you can apply any or all of these patterns to both chords in your soloing practice.
Bebop Scale Pattern 1 – Enclosed Root
Click to view the YouTube video for this Bebop Scale Pattern
In this first example you are going to use a very popular Bebop technique called an "enclosure."
An enclosure is when you take a note (in this case the root) and play one note above that note, then one below, before finally settling on the note you were targeting in the first place.
There are several common notes that you can enclose so we'll start on the root and explore more as you go.
Read more about this technique in my article "Bebop Vocabulary: Enclosures"
Click to hear bebop scale patterns 1
Bebop Scale Pattern 2 – Enclosed Fifth
Click to view the YouTube video for this Bebop Scale Pattern
You can now take the same approach and enclose the fifth of the scale.
The enclosure technique works particularly well with the root and 5th of any chord.
You can also use this approach on any note of the arpeggio or scale in your playing, but this is a good place to start.
As well, there are specific patterns that can only be applied to the 3rd and 7th, that we'll see below, so enclosing the root and 5th is a great place to start at this point in time.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 3 – Enclosed Root and 5th
Click to view the YouTube video for this Bebop Scale Pattern
Since you've enclosed the root and 5th separately, you can now enclose both of them together.
Notice that by adding a simple idea, such as the enclosure(s), you're extending your melodic ideas without getting complicated.
All you are doing is adding in the enclosure, or other Bebop techniques, as you descend the scale to make the scale last longer as you play down the fingering.
This is a great way to get more mileage out of any scale you are working on because all of a sudden 7 notes becomes 10 or 12 or more, allowing you to cover more ground with a simple scale or arpeggio fingering than you normally would without the pattern.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 4 – Enclosed Root with 3 to b9 Arp
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Now you can add a pattern to the third note of the scale, in this case a Diminished 7th arpeggio off of the third of the chord.
Notice how by doing so, you are essentially "resetting" the scale back to the top of the fingering, allowing you to start over again and extend your melodic idea even further.
The notes in this arpeggio are the 3rd-5th-b7th-b9th, and so this arpeggio is often called a 3 to 9 or more specifically a 3 to b9 arpeggio.
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Bebop Scale Pattern 5 – Enclosed 5th with 3 to b9 Arpeggio
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Here is a variation on that same concept, although instead of enclosing the root and adding the diminished arpeggio on the third, you will add the enclosure on the fifth, with the diminished arpeggio off of the third note in the scale.
Though I didn't include it in this article, if you want to go further with this concept you can do an enclosure on the root and the fifth, while adding the diminished arpeggio to the third of the scale.
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Bebop Scale Pattern 6 – Enclosed 3rd With Double Chromatic Approach
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Up to this point, you've been enclosing the root and the fifth with one note above and one below each target note.
Now, you can add one more note to that equation and do a double chromatic approach enclosure, this time with the third of the chord.
Here you have one note above, F, your target note, E, and two notes below, D and D#. Again, you are adding a simple melodic device to extend your scale, allowing you to cover more ground without getting too fancy melodically or moving into outside harmonic areas.
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Bebop Scale Pattern 7 – Enclosed 3rd with DCA and 3 to b9 Arpeggio
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Here you are going to mix our double enclosure with the diminished arpeggio from the previous example to produce a longer melodic idea.
This practice, of combining any or all of these patterns in your playing is totally acceptable.
Feel free to experiment with combining as many of these as you feel comfortable with.
You might like to just use one per line, or if you're like me, you might like to use as many as you can cram into an idea without going beyond the borders of good musical taste.
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Bebop Scale Pattern 8 – Diminished Arpeggio from 3rd
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Since you've been pairing it up with the enclosures, let's just take a look at how the diminished arpeggio off of the third of the scale sounds on its own, with other melodic device used in the scale.
Again, this is a great way to "reset" the scale back to the top, as well as accent the b9 of the chord, in this case Db, since that is the landing note at the top of the arpeggio.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 9 – b7 to b13 Arpeggio
You will now apply a Bebop pattern to an altered version of the Bebop scale.
You are going to flatten the 9th and 13th of the scale, common alterations for dominant chords, on the way down.
Then, on the way up the scale, which you haven't seen yet, you will play a Bbm7b5 arpeggio to get yourself back to the top of fingering, with the Bebop note, B natural, added in for good measure.
If this altered sound is new to you, try just adding one outside note, the b9 or the b13, and then combine them in your playing.
The key is to get these new sounds in your ears so that you can use them in your playing. If you just have the fingerings memorized it is a lot more difficult to solo with any idea until you can learn to hear that sound in the context of how you improvise.
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Bebop Scale Pattern 10 – Triplet with Enclosed Root
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Since you've been looking at straight 8th-note patterns so far, let's expand your rhythmic vocabulary by adding in a triplet at the start of the scale, then descending the fingering with an enclosed root for adding spice to the line.
You will have to alter your normal Bebop Scale fingering to get at the notes in the triplet, which extend above the upper tonic, so feel free to move your hand around on this lick.
I would try to play the C with my middle finger, the D with my pinky, then jump back into the normal Bebop Scale fingering we have been using up until this point.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 11 – Triplet off 3rd with b9 Passing Note
Again, here is another triplet idea, this time starting on the 3rd of the scale, and instead of using an enclosure, you are adding in the b9 color tone, from the previous example.
If you like this sound you can also add in the b13, or both the b9 and b13, whatever your ear find attractive as far as added color notes found outside of the diatonic scale.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 12 – Starting from b7
Up to this point you've descended the scale from the top note on down. Now, let's add a little melodic twist by starting on the b7 of the scale and then ascend up to the root chromatically, before descending the scale to the lowest note.
This is a cool way to play the Bebop Scale without adding or altering any diatonic notes, just starting on a note that isn't the tonic and adding a change in direction to our melodic phrase.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 13 – Chromatic Triplet from 3rd to 5th
Here is one of the most popular Bebop Scale patterns in any jazz guitarist's vocabulary.
Great players such as Joe Pass, Wes Montgomery and Pat Martino have used this idea countless times in their solos over the decades.
The key is to get the chromatic triplets as smooth as possible, so feel free to experiment with adding slurs and slides to those six notes in order to get that "liquid" sound that you hear in the playing of these great guitarists.
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Bebop Scale Pattern 14 – Deflection
This next example contains a device that David Baker calls a "deflection."
Essentially, you are using a short, four-note pattern to "reset" the scale by a few notes, not as much as the diminished arpeggio did, but still producing the same effect.
Notice how the added note, the F#, functions as both an alteration, the #11 of the chord, as well as the lower-neighbor of the fifth, G, that you are using to deflect your line.
Adding an harmonic color to your melodic phrase in this instance.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 15 – Chromatic Down from 3rd
Many players know about adding the natural 7th note to a Mixolydian Scale in order to build the Dominant Bebop Scale that you normally use in your playing.
But, you can also add other chromatic notes to this scale, on the off-beats of the bar, in order to extend your melodic ideas.
Here, you are adding two more chromatic notes, between the 3rd and 2nd notes as well as between the 2nd and 1st notes of the scale.
So now you have three added chromatic notes in your Bebop Scale, extending it even further than the normal 8 notes of the original form.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 16 – Ascending IIm7 Arpeggio
Since you apply the Bebop Scale to a 7th chord, the V7 chord in any key, you can also pair it up with its popular cousin the iim7 chord.
So, in this case you will ascend a iim7 chord, Gm7, before beginning our descending Bebop Scale idea.
You can also spice this idea up by adding in any of the scale patterns that we have learned up to this point in order to extent this ii-V idea even further.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 17 – Descending IIm7 Arpeggio
This pattern features the same idea, adding in a iim7 chord to the Bebop Scale, but this time you will descend the iim7 arpeggio before jumping into the Bebop scale.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 18 – Ascending Diversion From b7
Here is another pattern that uses a diversion, including the added #11 note from the previous example, to extend your melodic ideas.
Check out the first five notes in this pattern as well, this mini-motive is a very common phrase used by Bebop and Hardbop players, and it is worth checking out further, both in the context of this line and working on it separately as well.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 19 – Ascending Diversion from 3rd
Here is another diversion, this time starting on the third of the scale and using both the #11 and #5 alterations to the scale.
For good measure, we'll go ahead and add in the chromatic passing notes from the 3rd down to the root from the previous example, which extends the line even further.
Remember that it is very important to be able to let your ears grow accustom to these new and highly chromatic sounds, so practice these ideas slowly and in all 12 keys across the neck in order to fully ingrain them into your playing.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 20 – 1-2-3-5 From b7
In this example you are going to apply a very common Bebop technique called the 3 to 9 Arpeggio.
What you are doing here, is adding in a iim7 chord at the start of the phrase.
But, instead of playing the iim7 arpeggio from the root to the 7th of the chord, you are leaving the root out and playing the arpeggio from the 3rd to the 9th of the chord.
To take the idea even further, you are using an alteration of the 3 to 9 concept here by using the 1-2-3-5 arpeggio pattern, something that John Coltrane and McCoy Tyner both favored in their soloing.
This kind of "rootless" arpeggio is very common in the playing of Charlie Parker, Dizzy Gillespie and many other Bebopers.
Check it out, this is a great melodic idea and one that every Bebop guitarist should have under their fingers.
Click to hear bebop scale patterns 1
Bebop Scale Pattern 21 – Honeysuckle Rose
To finish off our 21 Bebop Scale Patterns you will apply a variation of the melody to "Honeysuckle Rose" to the Bebop scale.
The idea is to take a four note chromatic pattern, C-B-Bb-A, and use an triad starting on the 9th, Dm, to break up that pattern and extend your melodic idea from four notes to six.
Click to hear bebop scale patterns 1
Do you have a favorite Bebop Scale Fingering or Bebop Scale Pattern? If so, please share it in the comments section below.
49 Comments
Nice set of exercises and variations, very usable right out of the box. Thank you!
Thanks Drew, yeah once you get the fingering down for the scale you can apply them right away, or you can apply each little pattern to any bebop scale fingering, or any scale fingering like the major modes if you want, they're good all around
Thanks, I'm a bassist looking to expand my jazz vocabulary, great stuff. Question, Im know that Cmajor works over Dm7 but what other minor scales can you use Cmajor over? Thanks. Also does this formula work in reverse (playing Dm7 over CMajor)?
You can technically use Cmajor over any minor chord in the key, so Dm7 (iim7), Em7 (iiim7) and Am7 (vim7), and vice versa, you can use D Dorian, E Phrygian and A Aeolian over Cmajor7 if you want, they all share the same notes and key centers. What I would probably do though, is focus on outlining the arpeggio for each chord, and then add bebop lines in using arpeggios, and the bebop scale over the iim7 and V7 chord. Check out this lesson on arpeggios with bebop vocabulary, might help out as well:
Why bother with modes ? I mean, modes are related to a chord, not a scale. " on Cmaj7 you can play D dorian" is completely nonsense. On all degrees you can play Cmaj scale, this is way easier for a student to understand.
This said, modes are very practical to work to hear the colours of each of them.
Modes are good for adding colors to chords, yes you can play Cmajor over any chord in the C major scale, Cmaj7, Dm7, Em7 etc, but the cool stuff happens when you play different modes over each chord, like C Lydian over Cmaj7, or C phrygian over Cm7 instead of Dorian, that sort of coloring can be a very cool way to extend ideas and add different colors to one's playing.
is there a link somewhere to Jon Bremen's Bebop scale fingerings?
Yeah you can find them here for major, dominant and minor
It seems to sound good if i mix C and F# patterns:) one after another
For example root and fifth enclosures.
For sure! I talk about this in my article on Tritone Division Soloing, check it out.
Great article Matt. I really like the way you introduce just one concept at a time. I haven't had any Jazz Guitar students for over five years so I haven't stayed current with the genre, especially bebop (which my lids replaced with hip-hop in our house). Your step by step illustration of Bebop conventions is excellent Matt. In this lesson, bebop is a great way to incrementally melodize scales where rhythm is relatively predictable if not constant and contours are relatively uniform.
I did some bebop workshops with David Baker years ago. This has been a great updater. Thanks for all your work. (BTW, it would be cool if I could not just LIKE your article but also post a comment to my FB wall)
Thanks Taura, glad you liked the article. Yeah I feel that breaking things down and working on them step by step is the easiest and best way to internalize these, or any musical concepts.
Feel free to copy and past the address to your FB page or any other site you want to post it on, spread the word!
thanks a million for this Matt,it cleared up a lot for me,it's a lot of info so it'll take a while to sink in,but thanks for this!!!!!.
No problem, have fun with these patterns!
Great set of exercises Matt. It's nice to have these written out rather than trying to reinvent the wheel with my students. I have a few that I am going to direct here.
Thanks Eric, glad you're able to use the licks with your students, thanks for checking out the article!
From example 4, bar 2. You didn't enclose the root after ascending the 3 to b9 arp. Was that deliberate? I'm pretty sure in example 5 you enclosed the root every time, even after you played the ascending arp.
I realize these are just exercises, but is the main idea to enclose the root *every* time, or just on the initial pass down the scale, but not after reascending from the arp?
Hey Jeff, for that lick, the 3 to b9 arpeggio, when I use the arpeggio in bar 2 I just use the arpeggio not the enclosure on the root in that bar, so I use the enclosure in bars where there is no 3 to 9 arpeggio but when there is that arp I just use it and not in combination with the enclosure in this lick. Hope that helps
Okay, thanks, Matt. The only reason I asked was because in example 5 you enclosed the 5th before and after the arp, regardless. I guess, like anything else, there are no hard and fast rules. Thanks!
For sure, you can add as many of these into your lines as you want, when I'm blowing over tunes I combine any/all of them throughout my solos. These exercises are just to separate them to practice, once you get them down go for it, mix and match as your ears please. It's all good!
Excelent lesson.,great man…
Thanks Jose, glad you dug it!
I don't suppose you could do bass clef version of this lesson could you? would be massively appreciated!
Hey i haven't done any hass stuff on my site yet, might have to check that out.
Well what your doing is useful and insightful, I may not be a solo/virtuoso bass player but it'd be nice not to read your lessons a 3rd away ;)
Thanks Matt for that lesson, I have homework to do now and I look forward to it. I am definitely fascinated by what I call the mystery of bebop. I have struggled real hard to find get this sound and I think you have put me on the right track.
For the most part I was just playing by ear which was more of a miss and hit affair. This has been with its frustrations (more) and joys (few). Of the few joys, I sort of realized, or even "felt" that when I use let me call it a motif of four consecutive notes starting from any point of the scale. Say I start from E to F,Gb,G, something "bebopish", something sweet happens -though I hasten to add that the sweetness is augmented when I descend. So I took to "injecting" this four notes anywhere and wherever, even as I play freely. At times I would sound nice but deep down I know its guess work. Thats why your lesson here is so liberating for me.
However this leads me to my question. Why is it that the bebop scale "sweetens" when you descend? Must one always play the bebop scale descending?
Pardon my english and thanks so much for the lesson. I`ll let you know of my progress.
Stush, The Gambia.
Head spinning! Could be enough stuff here for this years practice. Thanks Matt!
Thanks for your article. It is very helpful. Just to be clear: the reason all the patterns are descending (other than ascending arpeggios) is because that's part of the style?
That's right. After you get them under your fingers, you can apply them ascending as well as descending. But to start off, working on each pattern descending gets the right sound and feel of each line under your fingers and into your ears.
Would if be possible for you to post of video of you blowing over some standards or blues with some of these patterns? I would really like to see how the "finished product" comes out so that I might better bridge the gap between practicing the patterns as written (in all keys) and applying them to actual playing. Thanks again for this important lesson.
HI Bill, thanks for checking out the site. I am adding more videos to this page so stay tuned for future links as I post them.
I was looking for some patterns and licks with the bebop scale and ran into your website. I'm a piano player, but couldn't find what I was looking for on any piano sights. Most of their stuff is geared for the beginner. I like your explanations, not too long or too short, just right! Examples are great! I've had problems playing a tune like Speak Low but I think this page is the answer I've been looking for. Thanks Matt
That's great Joe, glad the article is helpful and translates well to the piano. Enjoy the site!
Hi Matt. Greetings from Portugal.
First off, great site. Tons of info, technical and theory based exercises, very clear…excellent work.
My question is regarding bebop scales in general. I´ve read somewhere that when using the bebop scale the chord tone must fall on downbeats. Is this always applied? I mean, sometimes, when i practice bebop scale with arpeggios and enclosures, the chord tones fall on the upbeat. Is this a thing that i must correct right away or is something that is going to correct it self?
Hey, I think you might want to think that way to begin with, but it can be a bit tricky and sound forced if you always do that. So maybe try it out and see how it fits your playing, but for me it would be more important to work out common phrases from the Bebop Scale, and to get those sounding organically in your playing than worrying about where you put chord tones and non-chord tones. As long as it sounds good and fits it should be cool, but if you find the chord tones on down beats to be helpful in the learning process than try it for a while and go from there. Cheers
I see some places that say the diminished and bebop scale can also be pentatonic. A little confused as there are 8 notes in those scales. Can they somehow be used as pentatonics?? Seems like they can.
Hi Matt, I have yet to work through these exercises, but from eyeballing them they seem very related to the info in this pdf i came across from a university. Can you shed any light on the two approaches? hae you heard reference to "rotations" and "connectors" in other sources?
Hey thanks for checking out my lessons. Glad you dig them. The patterns in the pdf are similar to the ones in this lesson. Just different variations. I use rhose ones a lot as well so I would definitely check them out. Maybe start with one and then work it through a scale or over a tune and then move on from there to the others. Cheers.
I thoroughly enjoyed playing through the exercises several times over utilizing the suggested fingerings. It's nice to have a couple of fingers left over when you need them!
Hi Matt, please can I use enclosures not only by playing dom Bebop scale? How it works by Major and Minor or Altered Bebop scale? Thank.
Hi Pavel, you can use enclosures on any note, so try playing it on any note in a scale or arpeggio and see which ones you like the best.
invaluable. You don't find this stuff in any other scale book
Matt, I've been reading and working through David Baker's Bebop books, but I have yet to find any examples of Charlie Parker using Bebop scales. I get the impression that Baker came up with the concept. I don't see any examples of the Bebop scales in the Omnibook. Can you cite any examples?
Hey, Baker came up with the term I think, but players used this concept for sure going back to the Parker era. I don't have a link to the Omni Book, but look at bar 50 of this transcription. E-D#-D-C# over E7 for an example of this scale.
Hi, Matt:
I also notice that these are mostly doing the same patterns in the same way, descending from the root. Is this how you usually use them, or would it be a good idea to practice these in inversions, starting from the other chord tones,etc.? I'm thinking of writing these out in each of the CAGED shapes, descending from the highest chord tone in the shape, and descending from the next chord tone each time. For example, in C Major, playing the D Form scale at the 2nd fret, descending through the C7 Bebop scale with the root enclosed(Bb, A, G, F, E, D, Db, B, C, B, Bb, A, G, etc.). Is that a worthwhile use of my practice time, or do you find it more important to descend from the root note?
Yes I think you can start descending from the root to get the sound in your ears and the shapes under your fingers, but from there you can start on any note. Also, just try soloing over backing tracks and applying these patterns to your lines, will be a good way to integrate them in an organic fashion to your soloing.
Hi, Matt. Your your work as a teacher is simply outstanding. Cheers from Recife, Brazil. :)
What about using a jazz melodic minor scale a half step above the dominant? That is, playing a Db melodic minor over the C7 chord. I'm pretty sure that's a standard bebop tool, right? My further question is whether the scale that is played is the same as what people call a C alt scale.
Hi Paul. The patterns in this lessons are based on the Bebop Scale, which is the Mixolydian Scale with an added major 7th interval.
You can use the Altered Scale, MM up a fret, over 7th chords. That is common in Jazz. Check out these lessons to dig into that scale.


text:
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text:
Walt Whitman, ca. 1887
Physical Details: Photographic print : 1 item : photogravure ; 26 x 19 cm.
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Forms part of: [John Flanagan photographs], [ca. 1900-1920]
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Citation: Walt Whitman, ca. 1887
Digital ID: 5672
- Whitman, Walt
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