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By: Marc Livitz ringside in Las Vegas: The decibel level at the Thomas and Mack Center this evening was just short of deafening. A roughly 50/50 Mexico/Argentina crowd packed the arena and there was not an empty seat to be had. The fight which so many were waiting patiently for was finally delivered and it did not disappoint. Sergio Martinez was at last in the ring with Julio Cesar Chavez, Jr. Mexican Independence Day weekend would get a crashing bang for the ages.
After the opening bell sounded, each fighter's respective nerves and pre fight jitters were clearly evident as they circled each other in the center of the ring. Sergio had his hands up for the first half of the round before going back to his typical hands-down style. He showed his share of patience as he attempted to break through Chavez Jr.'s tight guard. In the second, Martinez landed an effective three punch combination which resulted in taunts and gestures from his opponent. The Argentine champion was simply doing more at this point. Chavez Jr. was however able to land a few body shots whenever he manged to pin Martinez against the ropes, but Sergio was just too elusive.
The third round saw its beginnings with uppercuts from both fighters. Chavez, Jr. was chasing Martinez around the ring at times. Sergio had established a good right job by this time. Julio kept to his original game plan and did land his share of body shots. He'd bend at the waist, drop his head a bit and try to attack. Sergio would take a few but seemed to know better than to push his luck. The fourth began with a few exchanges between the two combatants. Martinez thereafter continued to move around the large 24' ring and connect with more head shots.
Chavez, Jr. was at times walking straight into his punches, but he still was able to land an impressive right cross as the round was nearing a close. Martinez would counter as the bell sounded with a hard left. A third of the fight was in the books and Sergio was in control.
Sergio "Maravilla" Martinez continued to jab and move. He was slowly whittling away at Chavez's tight defense. He played the same scenario on numerous occasions: a quick right to the head followed by a left to the body. Julio connected with an effective left/right package to the head and body, but Martinez kept on moving a firing back. He spun his left arm in a pinwheel like fashion to end the fifth. Chavez tried to stalk Martinez to begin the sixth. He was able to momentarily trap him in a corner and catch Sergio with his typical hard punches. Away he would move in his bouncing fashion. The fighter from Culiacan, Mexico was walking in the ring and not doing enough. Martinez connected with a quick three punch combination to end the stanza. Chavez, Jr. slowed a bit in the seventh, all while Sergio continued to fire away with his rapid right jab. A powerful straight left to the head to Chavez, jr. got a loud reaction from the crowd to close the period.
The eighth round was somewhat more of the same as the slick fighter from South America effortlessly landed jabs and the occasional power shot. Julio wasn't answering much in round nine. His punches were at times quite easy for Sergio to anticipate and he was completely missing wide with some of his shots.
The championship rounds which followed would be beautifully accented with a moment that will not be forgotten any time in the near future. Martinez still appeared fresh in round ten. He used angles well, although he was warned by referee Tony Weeks to keep his punches above the waist of Chavez, Jr. A clash of heads briefly halted the action and luckily no damage resulted from it. The Mexican fighter caught Martinez with a hard left seconds before the bell sounded to close the round.
In the eleventh, a hard right from Julio got the attention of his adversary. However, this was shortly followed by perhaps fifteen to twenty unanswered shots expertly delivered to head and body of Chavez, Jr. Sergio was showing hints of possessing the iron chin which his Mexican opponent had so greatly coveted. The son of Mexico's greatest ever boxer was now looking for a solid shot or two to score a knockout. He seemed to know that he was behind on the cards this evening.
Round twelve. In one word: beautiful. The final period reminded us why we love this sport and was eerily similar to a certain memorable yet controversial fight which took place in Las Vegas in the spring of 1990. Sergio was moving as always and trying to protect his lead. Chavez, Jr. was a bit turned around, but he quickly found his bearings and popped Martinez with two hard rights to the head. Both warriors appeared fatigued. Chavez memorably took advantage of the wear displayed by Martinez.
He caught him with a straight right and followed up with a crushing left to nearly send Martinez through the ropes. Martinez fell to the canvas but quickly rose to his feet. The Mexican fans in the crowd showed little appreciation for the slip and fall shown by Martinez shortly thereafter. He was holding on for dear life and hoping for the saving graces of the bell. He got it just in time.
The statistics told the story tonight. The overall differences in activity and output was the icing on the pugilistic cake. Martinez threw 908 total punches to Chavez Jr.'s 390. Julio did hold a 37-8 edge in terms of power shots in the twelfth and final round. It was too little, too late for Chavez, Jr., but was it ever an evening to cherish. The scorecards read as follows: 117-110 (Stanley Christodoulou) and the other two were identical at 118-109 (Adalaide Byrd and Dave Moretti). Sergio Martinez regained his WBC Middleweight title and held on to his lineal championship as well. He gained win number 50 and improved to (50(28)-2-2), while Julio Cesar Chavez, Jr. falls from the ranks of the undefeated to now show a record of (46(32)-1-1-1). Martinez stated that he would gladly take part in a rematch. Let's hope we see one.
September 15, 2012
© 2000 - 2011 Knockout Entertainment Ltd & SecondsOut.com


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Yep, Elderberry again. Well, it IS that time of year, and I've received at least half a dozen Elderberry emails in the last week so I thought I'd write a bit more about one of my very favorite subjects. Angie just sent me some stunning berries from Oregon so I started a new batch of Elixir brewing for the coming cool months, I added a bit of Orange Peel and Ginger this time around for an extra warming (and tasty) Elderberry experience. A batch from earlier this year made with Calamus is incredibly tasty too.
Some of the info below has already been posted here, but I thought I'd put it all together with a few new tips, especially geared towards Elderberry Elixir usage.
- Ear Infections (NOT for use with a perforated eardrum) – clears up most ear infections overnight when a few drops are placed in the ear overnight, best when taken concurrently internally.
- Nausea. I've only had a chance to try this on maybe half a dozen cases as of yet, but it works great so far. I've used it on myself dozens of times, especially for hormonally based nausea. Will help settle your stomach if you have the flu, food poisoning etc but not quite as effective that way as for motion sickness, morning sickness etc great combined with Peach and Ginger.
- Exhaustion – an instant yet mild lift that's not stimulating at all, very adaptogen like. Here's a lovely article by cancer specialist/herbalist Donald Yance on bioflavanoid rich plants as adaptogens.
- Auto-immune disorders or severe immune depletion after long-term antibiotic treatment or other immune dysfunction. I've used it for severe immune depletion in children as young as five years old. Probably safe for those much younger but haven't used it myself long term on very small children. Seems to work very well for Lupus, especially when accompanied by Reishi decoctions.
- Viruses, obviously. I've gone on about this at some length and won't repeat myself too much here. Wonderful beyond words, so restorative, healing and fast-acting.
- Wounds. It's a bit sticky with the honey or glycerine in the Elixir but it works just great with a bandage. I like a nice fresh Elderberry salve made with rendered animal fat too, messy but fabulous.
- Supportive treatment for adrenal depletion. Works slowly but steadily on the kidneys and adrenals. Don't have any research to back this up just yet, but experience tells me this plant can be very very helpful in chronic fatigue and adrenal exhaustion. Warm it up with Ginger and Orange peel if there's a cold constitution involved.
- Nearly all internal infections/inflammations. This is probably obvious from the immune applications, but wanted to restate it. Lovely for UTIs, vaginal infections (with Monarda), chronic lung crap (with Mullein), ulcers (with Mallow) and other similar situations. If you're an Echinacea addict, it works well with it. Supportive to toothaches but won't fix it, take it with Alder and Oregon Grape Root for more direct results
- Hay fever – Strengthens and tones the mucus membranes, modulates the immune system and some other things I don't understand. Good with Goldenrod and Monarda flower honey.
- Vasculitis, and other vascular weaknesses. Lovely combined with Rose hips, Hawthorn berries and Huckleberries for this.
And if you're new here, the recipe for Elderberry Elixir is right here.
20 Responses to "10 Reasons to Love Elderberry Elixir"
do you really make elder BERRY salve? or elder leaf/flower salve???
so just a random kind of interesting, even if annoying piece of info from commerical herbal products industry. a certain company has come up with an extract of elderberry (super critical) that maintains the proanthocyanadins and has scientific 'studies' that claim that those proanthocyanadins actually BIND to viral protein coats and renders them unable to attatch to host cells, thus preventing spread/infection of viruses in the host.
I bet our crude whole plant extracts do that too…even though they wouldn;t want you to think that…
i was thinking about it, and wondering if perhaps heating/syrup making effects those compounds negatively, which is why you're finding uncooked preparations better. I'm looking foward to trying my TWO kinds of elderberry elixir this fall/winter!
you forgot the "picking the elderberries" part, and the "rinsing out the pot" part, where the elderberry residue mixes with the water and changes between flourescent purple and blue colors…
okay…so elderberry ghee?
i dont have bear fat, but maybe could find some lard around here somehwere… but ghee…easy peeasy…
wonder if it is the saturated fat part that helps? have you tried coconut?
Hi Kiva! Glad I wasn't the only one emailing you about elderberry :-). I'm off to attempt Elderberry Elixir but since I don't have a scale, can you provide an estimate of measurement for volume (for the berries, where you call for 1/2 oz)…
kiva, i'm curious if you ever ended up experimenting with coconut oil in the EB salve and if so, was it as effective as the salve you make with animal fat?
Hi Kiva- I've been looking for info on Elder and have found all of your articles to be most informative and uplifting. I truly enjoy and value your recipes. They make my spirit feel "right." I hope you can answer my questions. 1.) I try to avoid sugars. Is it ok to make a tincture with alcohol only, or should honey be added? Is honey mainly for flavor or does it actually make the medicine more effective? 2.) Every recipe I find for tinctures is different! Can you give me SPECIFIC MEASUREMENTS for DRIED berries and 100 proof vodka or brandy as well as SPECIFIC MEASUREMENTS for FRESH berries and 100 proof vodka or brandy? 3.) I saw the Elder Spirit in an unexpected and unusual way last October. I understood part of her personal message to me but didn't understand the complete message until I read your articles. Now, I realize that I would like to try using elderberry tincture as an adaptogen. I 've been wishing for a local adaptogen and had no idea that the "Old Mother" was very possibly what I've been looking for. I'm excited and hopeful of the possibilities, but I can't retrieve the Donald Yance article. Can you give me guidance on how to proceed? Would it be something like 1 dropper per day in the morning, every day? 5.) Does dosage vary, based upon body weight, age, etc.? There is something so exciting about this idea that I almost feel better just thinking about it! Thank you for considering my requests. – Polly
Hi Kiva, Thanks for advise on Feb 05. Two more questions:
1.) I'm making a 1:2 tincture with lightly mashed "fresh" frozen elderberries I picked last fall, raw wild honey, and grain alcohol. Should I follow your tincture-making recommendation and use 95% alcohol (for fresh plants) or, since berries are much juicier and "food-like" than other fresh plant parts (such as leaves) should I dilute the alcohol to 50% with distilled water?
2.) I experimented with taking 1/2 dropperful of elderberry tincture twice a day as an adaptogen/alterative/tonic approach. It feels too skimpy. When I take 1 full dropper twice a day, I can taste it more, which helps me feel more connected to the plant spirit. Is this okay to continue with?
Hi quick question.. I noticed you say "dropperful" when recommending dosage. There are many size droppers .. which size are you referring to?
I currently give in Tsp or Tbsp dosage which I probably too much, I just went by what was on the bottle of the prepared Elixir I bought.
1 Oz is approx 29.5 ml … so basically I have been giving my older daughter (15) and myself 1 oz per day. My younger one has been getting 1/2 that so that would be about what you are reccomending. The baby only got 1 ml per day because I was scared of the honey lol.
Ill cut the dosage back to what you suggest. I think everyone here is pretty much over the H1N1 now, just me to go:) mothers always take care of themselves last lol.
my almost daughter-in-law told me that she heard that elderberry increases mucous. i've not found that to be the case, but she says she was sick and had some lung-gunk (she has asthma) and would not use the elixir i gave her.
she opted for musinex instead. i'm curious if you've ever heard/noticed this?
Hey guys, thought elderberry uncooked was toxic, and the rest of the elder in any form toxic, if taken internally. Does strong alcohol 'cook' the toxin?

subset: commoncrawl


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So as you know I'm a first time Mum and having some difficulty with things - breast feeding for the most part has been ok, more mental issues than physical.
I think though I may be creating bad habits or not letting habits form as I'm so paranoid about her getting enough milk that I offer her the breast at any given opportunity- all it has seems to have done is make her cry a lot when I offer it to her or she'll take it and then wait for a let down then pull off - now it seems i have no idea when she's hungry as I see every thing she does as being a cue, hands in mouth, tongue in and out, head bobbing around.
eg : this morning she fed at 8am - she only had a small amount of pee in her diaper from the night so I thought she ws dehydrated as it was a little dark and incredibly hot here, so she fed well but then I offered it to her about at 8.40 as she was doing mouth cues and she kinda ate but fell asleep and then again at 9.20 she got a little but then cried and then again at 10.30 - only a little and cried and now at 11.20 - all these times I've initiated it through thinking she was hungry - but all times she's cried but still wetting diapers - so I think I'm being a bad Mum by doing this but can't figure out what to do!
I feel like she hasn't fed since 8.30.
Any help or thoughts would be great - I think she may have an upset tummy as she did a particularly runny brown splog today normally they are yellow and seedy.
I know i need to chill and be less stressed and I'm trying honestly but any thoughts on how I can allow her to eat when she's hungry as opposed to me just feeding her all the time, which I think is not good for her.


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NEW YORK—GA Keen Realty Advisors LLC, a division of Great American Group Inc., advised Brookdale Hospital and Medical Center recently on the $22 million sale of a real estate portfolio, consisting of four apartment buildings.
The properties included a 20-story, 172-unit building at 7 Hegeman Ave.; a 12-story, 113-unit building at 660 E. 98th Street; a six-story, 54-unit property at 505 Rockaway Parkway; and a four-story, 42-unit building at 525 Rockaway Parkway.
GA Keen Realty Advisors representatives involved in the transaction included Matthew Bordwin, co-president, Harold Bordwin, co-president and brokers Christopher Mahoney and Heather Milazzo.
In addition, attorneys Brian Cohen, Chris Rabil and Jeff Thrope with the law firm of Foley & Lardner LLP, and Eric Altman, Jay Gerzog and Daniel Lewis with the law firm of Epstein Becker Green served in the negotiations.


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Asthma is a chronic condition that can be controlled. Asthma management is easier than in the past, thanks to new medications and a greater understanding of what causes the condition.
This step-by-step guide will help people with asthma lead normal lives and avoid emergency situations.
A new type of drug: IgE inhibitor
Asthma and aging
Asthma fast facts
Children age 5 and under
Drug delivery devices: Metered dose inhalers and spacers
Drug delivery devices: Dry powder inhalers
Drug delivery devices: nebulizers
Drug treatment: Long-term control drugs
Drug treatment: Quick-relief drugs
Exercise-induced asthma
Inhaler propellants will be changing
Respiratory system
Related Conditions
Asthma Triggers
Action plan: Signs only
Action plan: Peak flow


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Source Information
About UK, Soldiers Died in the Great War, 1914-1919
In 1921 His Majesty's Stationery Office published, on behalf of and by authority of the War Office, two lists of those who died during the Great War. One volume, packed with minute typescript, gave the basic details of nearly 42,000 officer casualties. It required an additional eighty volumes to list all the 'other ranks' who gave their lives. Each of the original volumes represented one or more regiments, corps or other units of the British Army. Most were subdivided into battalions or similar groupings. There were often thirty or more of these per volume, each in alphabetical order.
This database contains information extracted from these volumes and includes over 703,000 individuals. Information listed about an individual may include:
- Name
- Birthplace
- Enlistment place
- Residence
- Number
- Decoration
- Rank
- Regiment
- Battalion
- Type of casualty
- Death date
- Death place
- Theater of war


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Enhancing Judicial Skills in Domestic Violence Cases Workshop
Applications for this program are no longer being accepted. To apply for our next Enhancing Judicial Skills program, please click here.
The National Judicial Institute on Domestic Violence (NJIDV), a partnership of Futures Without Violence, the NCJFCJ, and the U.S. Department of Justice, Office on Violence Against Women, offers hands-on, highly interactive workshops that will provide an essential foundation for new and experienced state, tribal, and territorial judges and judicial officers to enhance their skills in handling civil and criminal domestic violence cases. Judicial participants will leave the workshop with greater knowledge and skills for handling cases involving domestic violence.
A judge participant in this workshop will be better able to:
• Evaluate impact of violence on adult victims and children who witness violence;
• Identify the protection and restoration requirements of domestic violence victims;
• Describe patterns of batterer conduct, assess dangerousness of specific batterers, and impose effective intervention and accountability mechanisms for batterers;
• Resolve difficult evidentiary issues and apply an understanding of domestic violence to judicial fact-finding;
• Identify administrative and community barriers to accessing/achieving justice in DV cases;
• Devise methods of overcoming barriers to justice, become motivated to work to remove barriers, and use information regarding available community resources to assist in removing barriers;
• Recognize and apply ethics rules that govern participation in extrajudicial activities, e.g., domestic violence councils, legislative proposals, local court rulemaking, and education programs of non-judge providers;
• Define culture and cultural competence, enhance respect for the dynamics of difference, and identify ways in which culture is relevant in the courtroom;
• Recognize cultural misinformation and avoid assumptions about a person or facts of a situation based on misinformation;
• Identify and evaluate potential biases that might influence courtroom demeanor or interpretation of facts and making of decisions in DV cases;
• Identify common decision-making points where understanding DV might affect how you make decisions and what you decide;
• Draft and issue effective orders that (a) stop violence, (b) protect adult victims & children, (c) require appropriate batterer treatment in criminal and civil DV cases, and (d) facilitate enforcement in DV cases;
• Assess the impact of domestic violence on cases involving sentencing, custody and visitation issues;
• Evaluate batterer intervention programming and information regarding appropriate treatment/intervention options; and
• Identify the potential benefits of conducting review hearings (in conjunction w/ probation services) to monitor batterer conduct in DV cases.
Participation is open to new and experienced state, tribal, and territorial judges and judicial officers wishing to enhance their skills in handling civil and criminal domestic violence cases. Participation is limited to 50 judges and judicial officers. Applications will be reviewed on a first-come, first-served basis.
Applications are no longer being accepted. For more information, please contact Brianne Smith at (775) 784-1559 or email firstname.lastname@example.com.
There is no charge for the workshop. Participants are responsible for their own lodging, travel arrangements, and costs. For more information on the workshop, travel, and lodging, please visit www.njidv.org, or contact the registrar. Please do not make travel arrangements until you have been confirmed by the registrar.
The Tuscan Inn located at 425 North Point Street will serve as the workshop hotel. Please note that you are not accepted into this workshop until you have received a confirmation packet via e-mail from the registrar. If accepted, hotel reservation information will be provided at that time.


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- Inside Athletics
- Tickets
- Fan Zone
- Media Zone
- Social
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- E Fund
JOHNSON CITY, Tenn. (October 28, 2005) - Jennifer Sartor's (Toronto, Ontario) match-high 17 kills were not enough to lift the East Tennessee State volleyball team to victory on Friday night, as the Lady Bucs dropped a 3-1 decision to Mercer, in Atlantic Sun Conference action in Brooks Gym. With the loss, ETSU falls to 16-10, 2-5 in the A-Sun, while Mercer improves to 8-15, 2-5 in league play.
Mercer came out strong, winning game one 30-24, before the Lady Bucs rebounded with a 30-28 victory in the second frame. Mercer then captured games three and four with 30-26 and 30-23 wins to earn the victory. The loss was only the second home defeat of the year for ETSU, which has won nine of 11 matches in Brooks Gym this season.
It looked as though the Bears would dominate early on, as Mercer shot out to a 14-7 lead in game one. The Lady Bucs would then mount a rally to come within one, at 20-19. But the Bears wouldn't allow the Lady Bucs to come any closer, pulling away for the 30-24 win.
Mercer's Jackie Viren was on fire in game one, posting eight kills on 15 attempts. Sarah Buhr (
"We broke down in our serving," said head coach Lindsey Devine. "We looked tired, and we've got to understand the importance of communication."
Serving was an issue for both teams during the match, as ETSU committed 14 serving errors, and Mercer tallied 12 miscues.
Game two was a battle from the start, as neither team was able to lead by more than three points. With the score at 27-24, it looked as though the Bears would take the 2-0 lead, but the Lady Bucs fought back, closing the gap to 27-25 on an attack error by Mercer's Kelly Jansen. Sara Scandiffio (
Mercer took the next point as the scoreboard showed 28-26, but Scandiffio and Callie Kiselich (
Three ETSU miscues would allow the Bears to take a 28-25 lead in game three. A kill by Tucker brought the Mercer lead to four, before Sartor kept the Bucs alive with a kill from Kessel. Julie Darty would guarantee the game for the Bears, with a kill on an assist by Jansen. Attack errors were rampant on both sides of the net in the frame, with Mercer hitting .000, and ETSU at -.022. The Bears ended the evening with a 30-23 win in game four, hitting .216 to ETSU's .087.
On the ETSU scoresheet, Buhr notched a double-double with 12 kills and 14 digs. Palmer added 10 kills, while Kessel and Jennifer Emerson (
ETSU hosts another A-Sun contest on Saturday, as Stetson comes to Brooks Gym for a 12 p.m. start. Senior Day festivities will be held prior to the match.


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Listing provided courtesy of Dana Cataldi , Pacific Union International
Most famed for being the home of UCLA, Westwood has all the appeal of a college town but done on a larger level. Westwood is a magnet for academics and professionals and offers a wide variety of academic and cultural opportunities. Century City was developed on property used by 20th Century Fox for making motion pictures and has been transformed into a neighborhood known for its dramatic towers and bustling shopping mall.
Real Estate: This area has plenty of single-family homes for sale in the neighborhoods surrounding UCLA as well as high-rise condo towers flanking Wilshire Boulevard. UCLA was founded in 1926 and many of the homes in the area surrounding the campus are rich in historic charm.
Community Life: Westwood Village attracts both college students and local residents with a bustling central area. As befits a college town the food options are plentiful and range from inexpensive options to some of the best restaurants in town. The Westwood Village Farmers' Market is held on Thursdays from 12 p.m. to 6 p.m.
Education: Westwood is served by the Los Angeles Unified School District. Local schools include Fairburn Avenue Elementary School and Warner Avenue Elementary School as well as the Ralph Waldo Emerson Middle School. Private schools include Sinai Akiba and Saint Paul the Apostle. The UCLA Lab School is both a school for children and a laboratory for both teachers and researchers in childhood education.
Transportation: Westwood is accessed by the 405 Freeway and State Route 2. There are ample bike lanes throughout the Westwood Village area. The area is served by several bus lines including Santa Monica's Big Blue Bus and a Commuter Express Line. Metro's Valley-Westside Express operates during commuting hours on weekdays.
Local Attractions: Regency's Village Theatre, formerly known as the Fox Theater, is an attention-getting landmark with its 170-foot tower and Art Deco Fox sign. It is across the street from the Bruin Theatre which was opened in 1936. Westwood Village Memorial Park is the final resting place for many celebrities including Marilyn Monroe, Truman Capote, and Farrah Fawcett. The Hammer Museum attracts top-level exhibits and special programs and is free on Thursdays. The Los Angeles California Temple is the second largest temple operated by The Church of Jesus Christ of Latter Day Saints and includes a visitors' center and family history center. The Geffen Theater has two separate venues, the Gil Cates Theater, which is housed in the site of the former Masonic Affiliates Club, and the Audrey Skirball Kenis Theatre.
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PWM Input Trapezoidal Brushless Servo Amplifiers: Extended Environment Models
10-80 VDC Input, 20A continuous (40A peak)@ 10-80 VDC Output
from $545.00/ea
The AZX series of trapezoidal brushless servo amplifiers are designed to drive: 1 phase Brushed, Voice Coil, Inductive Load and Magnetic Bearing Motors and 3 phase Permanent Magnet Brushless Motors.
The AZX series of embedded, extended environment servo drives are capable of operating under conditions where other products shudder to go.
- Torque mode of operation
- Shutdown Heat Sink Temperature at a blistering +105°C (221°F)
- Ambient Operating Temperature from -40° to +85°C
- Complete Thermal Rise cycling in just under 2 minutes
- Shock up to 15g's at 11 msec, ½ sine
- Vibration up to 30grms's on all 3 axes
- Lightweight at only 95 grams
- ~97% {max.} efficiency
Engineering design and testing considerations to military standards guarantee capabilities that set new motion control standards for extreme environmental operation:
- MIL-STD-810F - temperature, thermal shock, humidity, altitude, shock & vibration
- MIL-STD-1275D - characterization of 28Vdc systems
- MIL-STD-461E - control of electromagnetic interference
- MIL-STD-704F - aircraft power characteristics
- MIL-HDBK-217 - reliability predictions
The AZX's capabilities can survive in some of the harshest environments. Best of all, they are more than affordable. This is especially true when uncompromising reliability is paramount and costs are critical to your success. These remarkable servos provide solid application solutions in:
- altitude research platforms
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- transportable devices
- ground vehicles
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- and many, many more proven successes
Features of PWM Input Trapezoidal Brushless Servo Amplifiers: Extended Environment Models


text:
Championship or bust. That has to be Chip Kelly's mantra for the Oregon Ducks this season.
What's In Store For Oregon in 2011?
They did everything but win it all last season, taking every game except for the BCS title clash against Auburn. Unlike many of the other top contenders, Oregon has the privilege of returning most of its key offensive stars.
The opportunity to be national champs is very much alive – but the Ducks have to do it now.
College football's top offense in 2011 has an excellent chance to duplicate its dominance this year. Tailback LaMichael James challenged for the Heisman Trophy last season, rushing for 1.731 yards and 21 touchdowns and catching three TD passes. The Ducks are riding him into the ground, which could hurt his NFL career, but he has enough left in the tank to be their bellcow again.
At least he'll have support in the backfield from Kenjon Barber.
Is quarterback Darron Thomas among the nation's elite alongside Andrew Luck, Landry Jones or Kellen Moore? Maybe not. He's probably a tier below. He also lost receiver Jeff Maehl this offseason. However, Thomas flourishes in Kelly's system. He threw 30 touchdown passes versus just nine picks last season.
The Ducks have to be encouraged to see him make so few mistakes despite playing in such a high-octane spread option offense.
On defense, the onus falls on cornerback Cliff Harris and safety John Boyett to keep the unit strong despite some big offseason losses. Five starters return, but the Ducks said goodbye to Casey Matthews, Talmadge Jackson and Spencer Paysinger. It still looks like Oregon will be above-average defensively, especially against the pass, but it will be interesting to see how this unit does against the run.
How terrifying is it for both the Ducks and their fans that their shot at returning to the BCS title game will be likely decided in Week 1? Gulp. It's scary to even type it. But Oregon will play LSU in a battle featuring two of the top four teams in the NCAA preseason coaches' poll.
This will be a very tough game to win. It's at LSU.
The Tigers should be a strong defensive unit again, even without Patrick Peterson, and Oregon was kept in check against defensively sound Auburn last year, so the Ducks have their work cut out for them.
If Oregon gets past LSU, the next crucial matchup on the schedule will be November 12 against Stanford. In theory, beating LSU on the road would mean Oregon can handle Stanford by comparison.
The national title is there for the taking.
If Oregon can win in Week 1 and its "D" can hold up, we'll see the Ducks playing a massive game in January for the second straight year.


text:
The tutorial will cover the following topics.
- Function pointers
- Anonymous/lambda functions
- Partial function application
- Higher order functions
- Higher order functions in the STL
- Templating our functions
- Creating new loop constructs
- Variadic template functions
All code snippets have have been compiled with g++ 4.6.1 (g++ -std=c++0x file) and should be valid c++11. The fully working example programs are at the bottom.
1) Function pointers.
Function pointers have been a part of C++ since the beginning, in fact they have been a part of C from the beginning. But their interface has always been cumbersome.
An example of a classic C function pointer, feel free to skip to the new:
The old:
int foo(double) {} int (*foo_ptr)(double) = &foo;
Now you can call the function through the pointer like this foo_ptr(5.0);
Member functions makes things much worse:
class A { public: int foo(double) {} }; int (A::*mem_foo_ptr)(double) = &A::foo;
And you would call it like this: ((a).*(mem_foo_ptr))(5.0);, if a is an object of type A. In fact people usually use a macro to make it a little less painful. From c++ faq lite:
#define CALL_MEMBER_FN(object, ptrToMember) ((object).*(ptrToMember))
The function call is now: CALL_MEMBER_FN(a, mem_foo_ptr)(3.14);
The new:
With c++11 we have a new way to deal with function and member function pointers under the functional header, the std::function wrapper.
int foo(double) {} std::function<int(double)> call_foo1 = &foo;
Now you can call foo through the function object like this: call_foo(5.0);.
class A { public: int foo(double) {} }; std::function<int (A&, double)> call_foo1 = &A::foo; std::function<int (A*, double)> call_foo_on_ptr1 = &A::foo;
And now you call foo like this: call_foo1(a, 5.0) or call_foo_on_ptr1(&a, 5.0), if a is an object of type A.
Not only is the interface more convenient, but you can assign anything to a std::function object that can be called like a function, including function objects/bind object.
C++11 introduces tools to let the the compiler automatically deduct the type of a variable from the expression. For regular functions we can do:
auto call_foo = &foo; decltype(&foo) call_foo2 = &foo; std::function<decltype(foo)> call_foo3 = &foo; call_foo(5.0); call_foo2(5.0); call_foo3(5.0);
This represents 3 ways to to create a function pointer without knowing anything about it's type. The first one is the simplest and the result the same as the second one. The third one explicitly wraps it in a std::function wrapper.
For member functions it is a little more difficult. &A::foo is actually the old function pointer type with it's incredibly weird call syntax. We can however convert it to a regular function that takes it's object as a first argument like this:
A a; auto call_foo2 = std::mem_fn(&A::foo); call_foo(a, 5.0);
a may also be an A*.
Or use bind as explained in Partial function application.
I make use of the auto keyword extensively throughout the tutorial. And when I call something a function in this tutorial it can have many different types. Including but not limited to a function pointers, std::function objects, bind objects (see partial function application) or functors you defined yourself.
Don't confuse using auto as not using strong typing. The compiler knows exactly what type auto is at compile time.
2) Anonymous/lambda functions
Anonymous functions, also called lambda functions are a new c++11 functions with no name that can be created everywhere. For example:
int main() { auto double_n = [](double x) {return x * 2;}; std::cout << double_n(50) << std::endl; //100 }
Double_n is a function pointer pointing to a an anonymous function. For auto you could use std::function<double(double)>, but it's usually much easier to keep it auto.
If we want to, we can also make some or all variables from the local scope available to the function.
For example:
int main() { int sum = 0; auto running_sum = [&sum](double x) {sum += x;}; running_sum(1); running_sum(2); running_sum(3); //sum is now 6 (1+2+3) }
Notice the [&sum], this means that we make the sum variable available to the lambda function by reference. We can also make any combination of variables available to the the lambda function. This table summarizes how it would work.
[]: no variables defined. Attempting to use any external variables in the lambda is an error. [x, &y]: x is captured by value, y is captured by reference [&]: any external variable is implicitly captured by reference if used [=]: any external variable is implicitly captured by value if used [&, x]: x is explicitly captured by value. Other variables will be captured by reference [=, &z]: z is explicitly captured by reference. Other variables will be captured by value
This is a powerful tool, for example, want the sum of the variables in an array or any other container or just print it.
int arr[] = {1,2,3,4,5,6,7}; int sum = 0; std::for_each(std::begin(arr), std::end(arr), [&sum] (int x) {sum += x;}); std::for_each(std::begin(arr), std::end(arr), [] (int x) {std::cout << x << ' ';});
Can you see what is happening, for_each will call a function for every element, we pass it a lambda function that has access to the sum variable and increments it. Can you guess the line that will multiply all the elements ?
You can also call a lambda recursively but it does require a little trick. Take the following factorial function as an example (fact(n) = n! = n * (n-1) * (n-2) * ... * 1).
int main() { std::function<int(int)> fact = [&fact] (int n) { return (n==0) ? 1 : n * fact(n-1); }; }
See how we make the fact function we are defining available to the lambda function. Note that this is one of the cases where declaring the type of the function as auto will not work.
3) Partial function application
Partial function application is converting functions that take parameters to create new functions, with some of the parameters already matched. It is also referred to as parameter binding.
int foo(double x, std::string y) {}
Suppose we know already what the double parameter x is going to be and we want to make a new function with the x already filled in, bind allows us to do this.
std::function<int(std::string)> foo_str = std::bind(&foo, 5.0, std::placeholders::_1); foo_str("just a message");
We can also use an argument more than once. For example suppose we have a sum function?.
int sum(int x, int y) {return x + y;}
But what we really want is a double function, then we could do:
using namespace std::placeholders; auto dbl_func = std::bind(&sum, _1, _1);
Did you see that one coming ?
Bind, by default, always copies arguments by value even if the function takes references. But you can override this behavior by wrapping your arguments with std::ref or std::cref (constant reference). Beware however that if you do so, that you make the free functions dependent on the variables you pass by reference, this can hurt you silently when the variable goes out of scope before the bind object. The same is true when you use pointers, but bind does work excellently in combination with smart pointers.
double dbl = 5.0; std::function<int()> parameter_free_foo = std::bind(&foo, std::ref(dbl)); //bind dbl by reference
A special form of binding is binding a member function to an object to create a free function. Remember our example:
class A { public: int foo(double) {} };
Suppose we already have an object of type A and want a free function, then.
A a; auto free_foo = std::bind(&A::foo, a, std::placeholders::_1);
The next concept is transforming a function called on an object to a function that takes the object it would have been called on as a parameter. This can be very useful. Suppose you have a vector of Objects of type A. And A has a member function foo.
std::vector<A> vector_of_A;
Now I want to call foo on every object in the vector with for_each but I have a problem. For_each takes a function that takes an object of type A, but A::foo doesn't take an object of type A it is called on an object of type A. We can solve this with std::bind or the mem_fn wrappers we have seen already.
using namespace std::placeholders; std::vector<A> a_vect; std::for_each(a_vect.begin(), a_vect.end(), std::mem_fn(&A::foo)); std::for_each(a_vect.begin(), a_vect.end(), std::bind(&A::foo, _1));
The syntax would be the same if a_vect was a std::vector<A*>
These 2 statements transform a function that is called on an object to a function that takes the object it is supposed to be called on as a parameter.
4) Higher order function
Higher order functions is just a term used for functions that take other functions as a parameter and/or return a function. If you are familiar with the stl, then you've probably already used them. The for_each/find_if/sort_by,... they all take a function as a parameter. So let's make our own.
Suppose we want to make a sum, sum_of_square, sum_of_cubes function, but we are lazy. We have this sum function:
double suma(std::vector<double>::iterator begin, std::vector<double>::iterator end) { double sum = 0: for (; begin != end; ++begin) { sum += *begin; } return sum; }
And we'd like to use it for all 3 use cases.
One way to approach this is to pass a function to sum function to be applied before the (*it) is summated. This is not so hard as you might think. This will work fine:
double suma(std::vector<double>::iterator begin, std::vector<double>::iterator end, std::function<double(double)> f) { double sum = 0; for (; begin != end; ++begin) { sum += f(*begin); } return sum; }
Now we can pass the square/cube function to the sum function to calculate the sum of squares/cubes. Combining this with the pow function and the power of lambda functions:
std::vector<double> vect = {1,2,3,4,5,6}; double sums = suma(vect.begin(), vect.end(), [] (double x) {return x;}); //pass identity function double sum_of_squares = suma(vect.begin(), vect.end(), [] (double x) {return pow(x,2);}); //pass ^2 function double sum_of_cubes = suma(vect.begin(), vect.end(), [] (double x) {return pow(x,3);}); //pass ^3 function
Note that our suma function looks very much like the stl functions for_each, find_if, etc in the algorithm header, if you ever wondered how it's done, this is how. The stl versions will work with any type though, not just a vector of doubles, we will deal with this in "6) Templating our functions".
Ok we can now calculate those sums, but I want to make functions to calculate those sums, no problem:
using namespace std::placeholders; auto sum_f = std::bind(&suma, _1, _2, [] (double x) {return x;}); auto sum_of_squares_f = std::bind(&suma, _1, _2, [] (double x) {return pow(x,2);}); auto sum_of_cubes_f = std::bind(&suma, _1, _2, [] (double x) {return pow(x,3);}); double sum = sum_f(vect.begin(), vect.end()); double sum_of_squares = sum_of_squares_f(vect.begin(), vect.end()); double sum_of_cubes = sum_of_cubes_f(vect.begin(), vect.end());
You didn't forget about bind again did you ?
Let's do something even more interesting. We want a function that combines 2 functions f and g, such that the result is a new function that combines the two like this f(g()).
std::function<double(double)> combine_functions(std::function<double(double)> f, std::function<double(double)> g) { return [=](double x){return g(f(x));}; }
We cannot just return g(f()) as it is not immediately obvious to the compiler that the types match. But what we can do is return a new lambda function that applies the functions the way we want them to. See the [=], this gives the lambda function access to the functions f,g.
An alternative would be to use the bind statement
std::function<double(double)> combine_functions(std::function<double(double)> f, std::function<double(double)> g) { //f after g, so g(f(x)) return std::bind(g, std::bind(f, std::placeholders::_1)); }
Yes we can bind functions to other functions with a nested bind.
So how can we use this ?
Suppose we have a double function, but what we really want is a quadrupal function:
auto dbl = [](double x){return x*2;}; auto quadrupal = combine_functions(dbl, dbl);
There we have just combined 2 functions to create a new function. quadrupal, with the same effect as dbl(dbl(x)).
5) Higher order functions in the stl
The stl (standard template library) has really embraced this idea of higher order functions. Especially when it comes to containers such as vector/list/map/set and many others.
In the algorithm header there are a lot of really powerful higher order functions (functions that take or can take a function as a parameter), to be specific:
in algorithm header:
for_each, find_if, count_if, transform, replace_copy_if, remove_if, remove_copy_if, , partition, stable_partition, sort, stable_sort, partial_sort, partial_sort_copy, lower_bound, upper_bound, equal_range, binary_search, merge, inplace_merge, set_union, set_intersection, set_difference, set_symmetric_difference, push_heap, pop_heap, make_heap, sort_heap, min, max, min_element, max_element, lexicographical_compare, next_permutation, prev_permutation.
in numeric header:
accumulate, adjacent_difference, inner_product, partial_sum.
Also containers like map/set/multimap/multiset take a function as a template type parameter and optional parameter. Many containers also have higher order member functions not mentioned here.
These in combination with the convenience of lambda functions can be powerful tools to make your code shorter, faster and more to the point. See the programs at the bottom to see an example of the stl at work.
6) Templating our functions
You probably noticed that the functions in the algorithm header seem to work with any type, container or function you throw at it and you are wondering if your functions can do the same. Well let's find out. Let's create our own for_each function. Looking back at the sum example, you should be able to make one that works for just ints for example, it's a good exercise to try for yourself.
Anyway, it should look something like this:
void for_each2(std::vector<int>::iterator begin, std::vector<int>::iterator end, std::function<void(int)> f) { for (; begin != end; ++begin) { f(*begin); } }
We use the begin pointer as the current pointer, as it already is a copy and an additional copy would be wasteful.
If we wanted a for_each function for vectors of doubles, we would have to write a function that is exactly the same except int would be double. If we used a std::list, then that wouldn't change anything either, just replace all std::vector with std::list and it will work. For this C++ offers templates.
So let's try to make it container agnostic first. To do this we replace std::vector<int>::iterator with a template parameter:
template<class InputIterator> void for_each2(InputIterator begin, InputIterator end, std::function<void(int)> f) { for (begin != end; ++begin) { f(*begin); } }
When we compile, the compiler will just fill in the right type instead of InputIterator. Try it with: list/map/set,...:
std::list<int> l = {1,2,3,4,5} ; std::for_each2<std::list<int>::iterator>(l.begin(), l.end(), [] (int x) {std::cout << x << ' ';}); std::for_each2(l.begin(), l.end(), [] (int x) {std::cout << x << ' ';});
The second one will only work if the compiler can deduct from your parameter, which type it has to substitute. In this case it can.
But we still can't use a data type other than int because we still need to pass a function that takes an int (std::function<void(int)>). Let's make that a template parameter too:
template<class InputIterator, class Function> void for_each2(InputIterator begin, InputIterator end, Function f) { for (; begin != end; ++begin) { f(*begin); } }
We don't care which type the function is, as long as f(*begin) works.
This is exactly the same function declaration as for_each, defined in the c++ standard. You have written a small part of the stl.
7) Creating new loop constructs
You are now more than familiar with for_each. Now combining for_each and lambda's we can create a sort of loop, that iterates over the elements of a container:
std::vector<int> vect = {1,2,3,4,5,6,7,8,9,10} std::for_each(vect.begin(), vect.end(), [&](int& x) { //x will loop over all members of vect });
This behaves almost the same like any ordinary for loop. The same variables external variables are available (see [&]), And the current element in the container will be accessible through x. It is almost equivalent to:
for(auto it = vect.begin(), it != vect.end(), ++it) { int& x = *it; }
And the very similar to the new c++11 for each loop construct:
for (int& x: vect) { //x will loop over all members of vect }
I say almost and very similar because control statements like continue and break are not available. A return statement in the lambda function will function as a continue but there is no break.
This looping using a lambda function however has far reaching consequences because we can easily make our own for_each like functions and thus create new kinds of loops.
For example, we want a loop that loops over every odd member of any container. Then we could write something like this:
template<class InputIterator, class Function> void for_each_odd(InputIterator begin, InputIterator end, Function f) { for (; begin != end; ++begin) { if (*begin%2 != 0) { f(*begin); } } }
We can call our new loop like this:
for_each_odd(vect.begin(), vect.end(), [&](int& x) { //x will loop over all odd members of vect });
Now lets make this more flexible:
template<class InputIterator, class Predicate, class Function> void for_each_if(InputIterator begin, InputIterator end, Predicate pred, Function f) { for (begin != end; ++begin) { if (pred(*begin)) { f(*begin); } } }
auto larger_than_5 = [](int x){return x > 5;}; for_each_if(vect.begin(), vect.end(), larger_than_5, [&](int x) { //loop over all elements of vect > 5 });
It doesn't even have to loop over anything. It can be used to create a sort of generator. Take the following example:
template<class Function> void generate_primes(Function f) { for (int i = 2; ; i++) { bool prime = true; int max_j = sqrt(double(i)) + 1; for (int j = 2; j < max_j; j++) { if (i%j == 0) { prime = false; break; } } if (prime) { if (!f(i)) return; } } }
It is a not particularly efficient function to generate consecutive primes. But what is interesting is that we can use it like this.
generate_primes([&](int prime) { if (prime > 100) return false; //break //loop over primes < 100 return true; //continue });
So what are the return true/false and the strange if (!f(i)) return; in the generate_primes doing there. Well we need a way to exit the loop, traditional control statements like break and continue don't work because we are not technically in a loop. The solution I've used here is to make the function passed to generate prime a boolean function where true means continue and false means stop.
Alternatively we could pass an additional predicate function to generate_primes like we did in for_each_if.
Try to implement every looping construct let's say ruby supports, I'm sure it can be done.
I'll give you 3 more I quite like
template<class T> void times(T times, std::function<void(void)> f) { for (T i = 0; i < times; i++) { f(); } } ... times(5, []() { std::cout << "*"; });
For those times, you just want to do something 5 times, and:
template<class T, class Function> void step(T begin, T step_size, T end, Function f) { for (; i <= end; begin+=step_size) { f(begin); } } ... //step function with begin, step_size, end step(0.0, 0.1, 1.0, [](double i) { std::cout << i << " "; }); std::cout << std::endl;
A simple step function, works with integers but also floats/doubles as shown above.
And we've written a for_each_if, but I also found that sometimes you want to do something with a container while a certain condition remains true, so:
//Assumes the data set is partitioned by predicate template <class Iterator, class Predicate, class Function> void for_each_while(Iterator begin, Iterator end, Predicate p, Function f) { //the find first is actually more efficient than checking the predicate //as you go along, because the predicate only needs to be checked for //worst case log(n) elements and can be ignored after that. Iterator real_end = std::partition_point(begin, end, p); for_each(begin, real_end, f); }
8) Variadic template functions
Variadic templates allow functions to take any number of variables as a variable/type pack. This is perhaps best explained through an example.
So let's create a simple sum function, that takes any number of parameters, so we want to be able to call it like this:
sum(1, 2, 3, 4) sum(1, 3)
And any other number of parameters.
We can create a function declaration that can take any number of parameters like this
template <class... Nrs> double sum(Nrs... nrs);
The problem is that we cannot simply iterate over the nrs (not directly, see later). We can however send it to another function, but then we would have the same problem there. What we can do is slightly change the declaration so we get one parameter separately.
template <class Head, class... Tail> double sum(Head head, Tail... tail);
Now we have a variable head that is a plain variable and tail, which we can send to another function. So how could we use this to calculate the sum like this:
template <class Head, class... Tail> double sum(Head head, Tail... tail) { return head + sum(tail...); }
This is a recursive definition of a sum, the sum of all elements is the first element + the sum of the remaining elements. This almost works, but when we try to compile it we get an error that no definition for sum() exists. What happens is that this recursion continues until the last element, after that the tail is empty and it tries to call sum with no parameters. So the solution, create a function sum with no parameters.
double sum() { return 0; } template <class Head, class... Tail> double sum(Head head, Tail... tail) { return head + sum(tail...); }
Can you create a function that multiplies any number of elements ?
If you want to know how many variables are in a pack, you can use the new sizeof...(tail).
To help with variadic templates, the stl now also comes with std::tuple. It is a sort of a generalization of std::pair.
#include <tuple> std::tuple<int, double, std::string> entry = {1 , 2.0, "Hello"};
Or if you want the compiler to figure out the type.
#include <tuple> auto entry = std::make_tuple(1 , 2.0, "Hello");
Obviously make_tuple can take any combination of parameters, I'm sure you can see that it is a variadic function. But how can it help us:
#include <tuple> template <class... Variables> double foo(Variables... variables) { auto variables_tuple = std::make_tuple(variables...); //extract data from the tuple here }
A std::tuple is a strange beast though, lacking for example a looping construct. But it can be helpful to extract a particular element with std::get<i>(tuple) for example.
To iterate over variadic parameters, you can create a container with them.
template <class... Params> void f(Params... params) { std::array<int, sizeof...(params)> list = {params...}; }
So we could write our sum function like this:
template <class... Params> double sum(Params... params) { std::array<double, sizeof...(params)> l = {params...}; return std::accumulate(l.begin(), l.end(), 0.0); }
This however only works if all parameters are of the same type or atleast implicitly convertible to one type. If you have a heterogeneous parameter pack, you will have to use recursion.
Going to tuples again.
Regularly people ask if you can return multiple values from a function. A tuple is yet another way to do this. and std::tie has made it somewhat easier.
#include <tuple> std::tuple<int, int> foo() { return std::make_tuple(1,2); } main() { int a, b; std::tie(a,b) = foo(); }
std::tie ties references together, so they can be assigned to by a tuple.
Std::tie also takes a std::placeholder if you are not interested in a particular result.
This concludes the fun with functions tutorial, now try to have some fun with functions yourself.
Appendix, Example programs:
1.1: Function pointers
1.2: Member function pointers
2: Anonymous functions
3: Partial function application
4: Higher order functions
5: Higher order functions in the stl
6: Templating our functions
7: Creating new loop constructs
8: Variadic template functions
- Added times and step function to "Creating new loop constructs"
- Added iterating over variadic parameter packs
- Replaced mem_fun/mem_fun_ref which are deprecated by mem_fn as suggested by Ricky65
- Replaced some algorithms by others that incur one less copy on the iterator as suggested by Ricky65
- Added for_each_while
- Pointed out that in order for std::array<type, sizeof...(params)> = {params...}; to work, the params need to have an homogeneous type.
This post has been edited by Karel-Lodewijk: 19 February 2012 - 07:16 AM


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WORCESTER, Mass. – A power-play goal from Izzy Bagi would be the only score needed as Holy Cross (5-1-0, 3-1-0 ECAC East) defeated women's ice hockey (1-4-1, 1-3-0 ECAC East) by the final of 1-0 Friday evening at Hart Recreation Center in an ECAC East contest.
Bagi's goal came at the 2:15 mark in the second period off of assists from Taylor McGee and Rose Rather. On the night, the Crusaders registered 21 shots on goal, with sophomore Casey Schaejbe (Arlington, Mass.) combining for 20 stops.
The Beacons offense fired off 14 shots in the tough conference loss. Holy Cross' Krista Manzanares earned her second win of the year and first shutout after making 14 saves.
On the power-play the Beacons went 0-for-5, while the Crusaders went 1-for-5 on the man-up chances.
Holy Cross led the first two periods in shots as they combined for 18, while the Beacons totaled just eight chances respectively. Trailing by one going into the final period, UMass Boston came alive in the third and outshot their Division II rivals 6-3. The Beacons looked to tie the game in the final 20 minutes of play, but were unable to get the puck past Manzanares.
Junior Tori Pizzuto (Waterbury, Conn.) led UMass with a combined four shots, while Jenny Currie (Chelmsford, Mass.) finished with two chances on goal. In the face-off circle, Emily Russell was a perfect 5-for-5.
The Beacons return to action tomorrow when they face Salve Regina University at 7 p.m. in another ECAC East contest.


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December 3, 2009 Barbara Walters' 'Most Fascinating People' special includes Michael Jackson's 3 kids ABC says Walters' upcoming special, "The 10 Most Fascinating People of 2009," will include a profile of the late King of Pop's kids: Paris, Prince Michael and Prince Michael II (known as Blanket). The list also includes pop-culture sensation Lady Gaga (GAH'-gah), famous mother of eight Kate Gosselin (GAHS'-lihn), glam rocker Adam Lambert, record-breaking NFL quarterback Brett Favre (farv), South Carolina's first lady Jenny Sanford, comedian-filmmaker Tyler Perry, TV pundit Glenn Beck and former vice presidential candidate Sarah Palin. Click here for the whole story
Copyright © 2018, Orlando Sentinel


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Rancho Santa Fe, CA Trumpet Lessons
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Popular Trumpet Teachers near Rancho Santa Fe, CA
Check out some of our most popular teachers near Rancho Santa Fe, CA including San Diego, Chula Vista, Carlsbad, La Jolla and Oceanside.
About John G.Close
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Classical, Jazz, Big Band, Concert Band, Orchestral, Brass Quintet/Choir, Reggae/Ska, Pop/Rock Cover Band Music, Dixieland Jazz, Military and Bugle Calls
About John
The New City Sinfonia (Chamber Orchestra)
The Amalgamated, (a Ska/Reggae Band)
Full Strength Funk Band
Heartland Brass Ensemble
Trumpets R Us
Filarmonica Portuguesa Uniao De San Diego
Tierrasanta Lutheran Church,
Elk Tones Big Band
Dim The Lights Disco Tribute Band
I am very passionate about music, from learning to teaching, practicing, performing and recording. Every day my goal is to promote music, learn, practice and help people enjoy music either by listening or performing.
*** Lesson Details ***
Lessons will start with good solid warm-up exercises focusing on
The 2nd part of lessons will be technique, Scales and method books for trumpet and french horn.
The last part of lessons will be working on Solo repertoire and learning songs for performance, sight reading, playing duets and learning jazz improvisation if interested. Lessons will include sight reading, play along/sing along CD's Scales and technique as well as theory.
For my Trumpet Students I use Herbert L. Clarke Technical Studies Book to help improve aerobic endurance, technical and finger velocity as well as production of good tone quality. I will also use the Earl Irons Group of 27 exercises as well as the Max Schlossberg Method to help improve air flow, breathing control and fluidity of sound throughout all registers. I also use the J. B. Arban's Conservatory method for other techniques including scales, double and triple tonguing, intervals as well as duets and solo repertoire.
For jazz minded students I will start with basic fundamentals of improvisation including melodic improv, Blues forms and blues scales as well as reading through chord changes and playing in several modes and other scales used in jazz.
I also provide tailored instruction on Bugling, and the proper playing of military bugle calls for those students interested as well as those involved with Boy Scouts who wish to earn their Bugle Merit Badge.
For my French Horn Students I will use the same technique books as Trumpet but learning traditional French Horn Solo repertoire, as well as Brass quintet/choir repertoire and orchestral and concert repertoire. Focus for French Horn students will be mainly on control of partials and tuning techniques.
For my Voice students I will start with good breathing technique and warm up exercises designed to get the vocal chords warmed up and get all the other muscles relaxed in order to produce great tone quality. Focus will be on intonation, and learning to use the air and support to extend the vocalists range higher and lower as well as gain power and confidence in singing.
Each Vocal student will have a piece to practice or will bring a piece of their choosing in that they would like to learn and this will be used to apply the techniques learned at the beginning of lessons. Styles of singing that I sing and can teach are Classical, Jazz, Big Band and Standards, Oldies, Pop, Country, Soul, Rock, R&B, Christian Rock and Church Music and also harmonizing like in a duet style or choir/vocal ensemble setting. I will also teach performance techniques, showmanship, stage presence and the overall performance package every singer needs to have confidence while singing.
I am a classically trained musician on Trumpet, French Horn and Voice and reading music, articulations, dynamics and learning musical forms is an essential part to any performers success. I also have studied various jazz styles and improvisational techniques as well. I want to teach students the basics of good musicianship and help them to excel in learning, practicing and performing in their own selected styles of music, whether its classical music, or jazz/rock/pop/country and any other styles students are interested in.
For Academic students who need tutoring I have a very extensive background in history, specifically focusing on US History, Military History, and the study of different eras including major war eras. Academic tutoring can be geared towards the understanding, comprehension and critical thinking understanding of the subject matter, as well as research, essay writing, as well as public speaking and project presentation.
For Tennis Students, I focus on the basics from footwork, to basic swing mechanics as well as strategy. Tennis lessons can be geared to develop specific areas of the game of tennis, or an overall game improvement whether for those who want to be competitive, or just enjoy a friendly game. I am also willing to do group lessons of up to 4-5 players to enhance a group learning environment as well as combining the skills from each player to enhance the other and create a fun learning environment on the tennis court.
*** Studio Equipment ***
My main teaching location is my private studio in Spring Valley and at the Ramona Music Center in downtown Ramona for students in the area. I have all items needed including music stands, CD player for play along programs as well as an upright piano.
*** Travel Equipment ***
When traveling I can bring my own personal music stand and electric keyboard with stand as well. Technique and song repertoire and theory books I can provide when needed.
For tennis instruction I have my own rackets as well as a ball hopper full of practice balls to bring to any location or public open tennis court. I also have reels of string and a stringing machine to restring tennis rackets with broken strings.
*** Specialties ***
Classical, Jazz, Reggae, Ska, Pop, Rock, Hard Rock, Funk, Soul, R&B, Blues, Church/Worship.
Tennis: Ground strokes, both 1 hand and two handed back hand. Serve, kick serve, slice serve, tomahawk serve, net play including volleys, over heads as well as other specialty shots including forehand and backhand slice and approach shots, Lobs, topspin lobs, and drop shots. Also playing strategy and competition.
· Classical Piano · In home
· Trumpet · In home
thank you, John. He got to play many notes that he did not with the previous instructor.
· Tennis · In home
John G.
John G.
About Carlos R.Close
View Full Profile
With over 10 years of teaching experience, and sharing the stage with the likes of Bob Mintzer and Gilbert Castellanos, trumpet playing is my biggest passion. Our lessons will be focused, yet relaxed; challenging but always fun and full of exciting challenges. My playing and teaching experiences have helped me understand what it takes to reach that "next level" of trumpet playing, whether it involves range, technique, or musical performance. I hope we can make some great music together soon!
About Carlos
· Trumpet · In home
· Trumpet · Online
· Trumpet · Online
Carlos R.
Carlos R.
About Jordan M.Close
Learn from a pro in a friendly, focused environment. Jazz, classical, blues, latin, salsa, funk or get ready for band and auditions. All great musicians have great ears and great time feel (groove). That along with a study of the fundamentals of trumpet technique will get us started. Then we'll add the kind of songs that you like to play, and other great trumpet literature. Over 12 years experience as a brass coach and private lesson teacher.
About Jordan
*Performed with:
The Brian Setzer Orchestra, Great Good Fine Ok, Leonard Patton, Gilbert Castellanos, Francisco Torres, 10,000 Maniacs, The Mighty Untouchables, Tori Roze & The Hot Mess, Gaslamp Quarter Jazz Orchestra.
*Recorded on national tv ads including Dreyer's, KFC, Coca-Cola.
*Over 6,000 private lessons taught to over 300 students.
*More than five years of classroom teaching experience in San Diego and Miami-Dade schools: K-5 general music, middle and high school band, under graduate music history, directing college jazz ensembles
*Students have included: ages 4-96, beginners with no experience, undergraduate music majors, scholarship award winners, members of the San Diego Youth Symphony program, many locals in San Diego, and
*Note regarding scheduling - November and December of 2018 - I will be on tour with the Brian Setzer Orchestra and will only be available for online lessons.
My mission is to provide a positive musical experience for all students. For some this includes rigorous preparation for an audition of some kind, for others it may be an introduction to music fundamentals to foster better listening skills and greater artistic appreciation. All students will be challenged to improve their listening, timing, and technique. All students will learn to play songs that they love.
Recommendations for best results: make a three-month commitment to weekly lessons, and work up to 30 minutes of daily practice. This formula guarantees results. Bring your instrument, music books, and a binder with sheet protectors ☺
*Scheduling policy: to avoid being charged for a lesson - One week notice is required to cancel, skip, or "roll over" a lesson. 24 hours notice to reschedule (based on availability).
To continue weekly lessons, students must maintain at least 90% attendance or the time slot may be forfeited.
Good Luck!
Jordan was born and raised in the El Centro, California where he began playing the alto sax in the elementary band program. At the age of 12, he began his study of guitar and drums, performing in several rock and ska bands around his home town and San Diego. At age 14, is where he found his love for brass instruments when he took up the trombone. While in high school he became a soloist with the Imperial Valley College Jazz Orchestra, under the direction of former Basie trumpeter Jimmy Cannon. That lead Jordan to accept the Constance Weldon Music Scholarship to attend the University of Miami in Coral Gables, FL.
While performing in South Florida Jordan appeared with major acts including 10,000 Maniacs, and appeared on the Spanish television show "Calle Ocho." He also gained invaluable experience teaching in Miami public schools. His first teaching assignment was at Hialeah-Miami Lakes Senior High School where he directed 3 beginning bands, Concert Band, Wind Ensemble, and their highly decorated Jazz Band. Later Jordan moved into the elementary setting, teaching vocal and instrumental music for grades K-5 at Cypress Elementary.
In 2007, Jordan returned to California to pursue a music career in San Diego. He can be seen performing all over San Diego, Orange, and LA Counties in styles ranging from rock, jazz, funk, blues, hip-hop, Latin, and more. He performs primarily on trombone, piano, and guitar, but is known to pick up percussion, harmonica, and other wind instruments as well. In 2011, Tori Roze & The Hot Mess were nominated for a San Diego Music Award in the category of "Best Blues Artist" after the release of their first album "From The Hip." They released their second album "Turbulence" last December, and are heard regularly on local San Diego radio. This album has also been nominated for Best Pop album for the 2013 San Diego Music Awards. In 2013, Jordan completed his Master of Music degree in Jazz Studies from San Diego State University.
On stage, Jordan is a talented and versatile performer. He is known for his trombone sound and improvisational ability, as well as his positive relationship with his fellow musicians. In lessons, Jordan is energetic and creative.
You can expect a laid back, yet focused environment. Most of all, you can look forward to progress! Hope to see you soon.
*** Specialties ***
In home beginning music lessons.
***Scheduling Policy***
-To avoid being charged - One week notice for cancellations. 24 hours notice for reschedule (based on availability).
· Trombone · Online
· Trumpet · Online
· Trumpet · Online
Jordan M.
Jordan M.
About Justin B.Close
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I am a patient teacher who carefully works with each student to help him or her achieve his or her individual goals, whether the objective is to become a professional musician or to learn for fun and personal enjoyment.
About Justin
Justin continues to perform as both a soloist and ensemble musician, combi
As a modern trumpeter, Justin has experience performing in orchestras, wind ensembles, jazz ensembles, pit orchestras for opera and musical theater, British brass bands, and numerous chamber ensembles. Before beginning his college career, he was principal trumpeter of the DC Youth Orchestra and had the opportunity to tour Japan as a trumpet soloist. He also performed regularly with the Prince George's Philharmonic while in high school. More recently, he as appeared as a soloist with the South Dakota Symphony, the Firelands Symphony, and the Las Vegas Sinfonietta.
In addition to be being a trumpeter, Justin is also a countertenor and has sung with Apollo's Fire and Opera Cleveland. While in Ohio, he was an alto section leader in the chamber and chancel choirs at Trinity Cathedral in downtown Cleveland and was the countertenor with Cantores Cleveland (now Contrapunctus). In addition, Justin briefly served as a bass section leader at Church of the Covenant in Cleveland. Justin also plays recorder.
Justin earned his DMA in trumpet performance from the University of Nevada, Las Vegas. He received his MA in early music performance practices from Case Western and his BM in trumpet performance from the University of Maryland. His primary trumpet teachers include Chris Gekker, Barry Bauguess, Steven Hendrickson, Steven Trinkle, and Justin Emerich. He has studied voice with Delores Zeigler, Ellen Hargis, and Aaron Sheehan. As a graduate assistant, Justin taught courses in ear training and music appreciation, and was a harpsichord tuner.
"The orchestra brought out the pulsy organ-grinder quality in the first movement of Concerto 3, but it was [Brandenburg] Concerto 2 that was the real show-stopper. Justin [B.], on Baroque trumpet, trilled his way nearly effortlessly through one of the most difficult parts in the repertoire, the highest notes piercingly clear above the orchestra." (Post-Bulletin)
"It [the Baroque trumpet] is more difficult to play than its modern counterpart, but it's a fascinating and arresting sound. The trumpet part in the second [Brandenburg] concerto is famous for its fiendish difficulties, and Justin [B.] played it with aplomb." (Edmonton Journal)
"Skilled [Baroque trumpet] players can play the notes of the harmonic series with such instruments. A very refined embouchure is needed to "lip" or flatten or sharpen the impure harmonics of the notes of the 11th and 13th harmonics. The most virtuosic could use such techniques to produce certain chromatic notes outside this series…Justin [B.] made such skills seem effortless…" (Classical Voice of North Carolina)
"…trumpeter Justin [B.] displayed dazzling virtuosity in the solo cantata ["Jauchzet Gott in allen Landen"]…"(Grunion Gazette)
"A good trumpet player is hard to find, and an excellent one harder still. It's again still rarer to find a great player of the baroque trumpet, since the instrument is considerably harder to play than its modern counterpart (smaller embouchure, no valves) and this may explain why Justin [B.] is so darn busy and why he plays with, well, basically everyone." (The WholeNote)
· Trumpet · Online
· Trumpet · Online
Thank You!
Jim Strickland
· Trumpet · In home
Justin B.
Justin B.
About Carl S.Close
View Full Profile
My doctorate is in music and I have experience teaching music at multiple universities, as a public schools teacher, and as a private instructor. I have a doctorate in music and I suggest that all beginners start with the Essential Elements books. I customize lessons to individual needs and desires. I hope you'll consider booking with me today. Let's start your musical journey! I look forward to hearing from you!
About Carl
Carl taught at Oklahoma State University as a Lecturer of Saxophone and Music Theory during Dr. Jeffrey Loeffert's sabbatical in Fall 2017. His duties included graduate saxophone lessons, graduate music theory review, graduate saxophone pedagogy, and saxophone studio class.
Prior to working at OSU, Carl was Instructor of Jazz and Saxophone at South Dakota State University from 2014-2017. His responsibilities included directing the annual SDSU/Brookings Optimist Jazz Festival, directing Jazz Ensembles I-II, J
Carl completed his Doctor of Musical Arts degree in saxophone performance at the University of Kansas in 2014, and his Master of Music Pedagogy and Performance from Oklahoma State University in 2011. He graduated from Harrah High School in 2002, earned his Bachelor of Music Education from Southwestern Oklahoma State University in 2008, and was a 5th-12th grade Head Band Director at Fairview Public schools. He is currently a member of the North American Saxophone Alliance, the Jazz Education Network, Music Teachers National Association, National Association of College Wind and Percussion Instructors, and an Honorary Member of Tau Beta Sigma. He has held previous memberships with Kappa Kappa Psi, Phi Mu Alpha Sinfonia, Kappa Delta Pi, and the Oklahoma Bandmasters Association.
While at KU, Carl was also a graduate teaching assistant for the saxophone studio and jazz studies program. His responsibilities included Assistant Director of the KU Jazz Festival, directing Jazz Ensembles II-III, directing Jazz Combo III-VI, directing Saxophone Quartets II-III, teaching private saxophone lessons, assisting in saxophone studio class, and teaching the music education woodwind methods course. His Lecture Recital Document, A Performer's Analysis of Selected Jazz Works for Saxophone Quartet, featured an interview with Bob Mintzer. Carl was a member of KU Jazz Ensemble I, KU Saxophone Quartet I, and KU's Helianthus New Music Ensemble. As a member of KU's Jazz Ensemble 1, Carl has performed with Dave Douglas, Kurt Rosenwinkel, Alex Sipiagin, Steve Owen, Gary Foster, Steve Houghton, Clint Ashlock, David von Kampen, Peter Epstein, Jeff Miley, James Miley, Roger Shew, and Brian Hamada, Brandon Draper, Rich Wheeler, Beau Bledsoe, Jeff Harshbarger, and Matt Otto. In July 2014, Carl went on a European tour with KU Jazz Ensemble I featuring Steve Leisring and Deborah Brown. Together, they performed at the Montreux Jazz Festival in Switzerland, the Vienne Jazz Festival in France, and performed in several cities in Germany. Recordings by this band resulted in KU winning the DownBeat Student Award (Graduate College Large Jazz Ensemble Division) in 2015.
While at OSU, Carl was a GTA for the saxophone studio and music theory programs. His responsibilities included Music Theory I-IV tutoring and grading, sight-singing grading, piano labs, classical and jazz saxophone lessons, saxophone quartet coaching, saxophone studio Webmaster, and saxophone studio class. Carl was a member of the OSU Wind Ensemble and Jazz Ensemble 1. He had a regularly performing jazz trio and played in OSU's X2End saxophone quartet. The X2End quartet performed locally at the 2011 Navy Band Saxophone Symposium in Washington D.C., at the 2011 NASA Region IV Conference, and has won the state and division rounds of the 2010-2011 MTNA Chamber Music Competition. The X2End quartet went on to win the 3rd place prize at the national final round of the MTNA Chamber Music Competition. They also were the Division II Chamber Ensemble winners at the 2011 Hubbard Music Competition where they were awarded the 2nd place prize in the overall finals. Carl's final degree paper at OSU was a study of composer/performer collaboration. He traveled to Texas, Michigan, and Ohio to interview saxophonists and composers including David Dees, Peter Fischer, John Sampen, Marilyn Shrude, Joe Lulloff, and Charles Ruggiero. He has presented his lecture at the 2011 Navy Band Saxophone Symposium, the 2011 NASA Region IV Conference, and the 2012 OSU Single Reed Summit. As a member of OSU's Jazz Ensemble 1, he has performed with Bob Sheppard, Conrad Herwig, Wayne Bergeron, and Andy Martin.
While at SWOSU, Carl performed as a member of the marching band, wind ensemble, Jazz Ensemble A, saxophone quartet, and his own jazz combo named Five-Seven. As a member of SWOSU's Jazz Ensemble A, he has performed with Dan Haerle, Bob Bowman, Jack Mouse, Fred Forney, Janice Borla, Eddie Daniels, Pamela York, Lynn Seaton, Carl Allen, Dr. Michael Cox, Tom Williams, Dr. Robert Chambers, Dave Hanson, Drori Mondlak, Delores Williams, Byron Stripling, Frank Wess, Kenny Drew Jr., Dennis Mackrel, Bill Watrous, Rich Eames, Jennifer Leitham, and Randy Drake.
Carl's primary saxophone instructors have been Vince Gnojek, Dr. Jeffrey Loeffert, Dr. Ann Bradfield, Dr. Keith Talley, and William Rodney Hull. He has had additional instruction in lessons and masterclasses from Gary Foster, Dr. Joseph Murphy, Dr. Michael Cox, Bob Sheppard, Johnny Salinas, Dr. Kimberly Goddard Loeffert, Dr. Geoffrey Deibel, Dr. Jonathan Nichol, Dr. Griffin Campbell, Dr. James Laughlin, and Dr. David Dees. Carl's jazz directors have included Dan Gailey, Bob McCurdy, Dr. Jonathan Martin, Dr. Keith Talley, and Dr. Terry Segress.
Carl enjoys recording several instruments in his home studio and composing new music. His compositions that have been performed include his big band arrangement of Cat Battles by Joshua Redman, September in the Refrain (alto saxophone and electronics), Funk-o-matic (jazz combo), Smooth (jazz combo), and The Deadline Arrives at Dawn (alto saxophone and electronics). As an advocate of new music involving the saxophone, he has participated in a commissioning consortium for Alone Together by composer David MacDonald through Kick Starter. In 2013, Carl performed the premier of Cuento #3 by Nelson Ramirez Diaz. During summer of 2014, he recorded selections from Dr. John Walker's "The Alto Saxophone in the Attic," published by Carl Fischer. At the 10th Annual SDSU/Brookings Optimist Jazz Festival in 2015, Carl directed SDSU Jazz Ensemble I's premier of Dog, Tired by David von Kampen.
Carl is a Conn-Selmer Endorsing Artist. He hosted the North American Saxophone Alliance Region 3 (ND, SD, NE, MN, IA) Conference at South Dakota State University on March 17-18, 2017. On Saturday, April 8, 2017, Carl performed Dreams in the Dusk by David Biedenbender with South Dakota State University's Wind Symphony, directed by Dr. Jacob Wallace. On Monday, February 6, 2017, Carl performed the premiere of Lhotse for alto saxophone and percussion by Steve Danyew with Dr. Aaron Ragsdale. In April 2017, Carl performed solo tenor saxophone and orchestral clarinet in Ethan Bortnick's national PBS Special called "Generations of Music," which featured special guest, Peter Yarrow, from Peter, Paul and Mary.
· Saxophone · Online
· Oboe · Online
· Saxophone · Online
Carl S.
Carl S.
About Steve H.Close
View Full Profile
My first instrument and the beginning of my lifetime musical education. I've played trumpet in big bands, small groups and classical orchestras. The trumpet is versatile, its exciting, and it can be fun.
About Steve
As early as I can remember our house was filled with music. My parents had records of the popular music of the time as well as movie soundtrack albums. At eight years old I got my first trumpet and joined the school band. Soon I was taking private lessons. We also had a piano in the house and I often found myself sitting and trying out chords and melodies to fit the songs I would hear. At sixteen I got my first guitar, along with a songbook that promised I could play "hundreds of songs with just three magic chords".
Moving west I studied music at West Los Angeles College and played trumpet in the school's concert band. A group of us formed a jazz quintet and started playing gigs in and aroun
After at stint at the Dick Grove School of Music I joined an eight piece cover band playing popular dance music. We toured Western Canada for six months, riding in a converted city bus and taking turns driving a large panel truck with our equipment. When I returned I met a talented female singer who also played flute. We formed a pop/rock quintet and played professionally in the LA area for several years.
I've continued to take lessons along the way and have taught trumpet, piano and guitar to both young people and adults. I believe my rich musical journey and my experiences both teaching and performing can help you to achieve your musical goals!
*** Lesson Details ***
Listening to music is fun. Playing music is fun. Learning to play a musical instrument should be just as much fun. The first step toward a solid musical education is to find out what type of music the student likes and what particular musician or artist he or she enjoys. From there we can choose material that the student will have fun performing as they learn.
Each session will involve a brief review of previous material covered and a preview of ideas to work on going forward. In between, the student and I will play together and discuss how best we can each improve, and have a little fun along the way!!
I will work with a variety of methods and concepts customized to fit each student. My experience has shown me that no two students are alike, but every student will enjoy playing more, and more often, if they like the study material.
*** Travel Equipment ***
I have my own instruments but would expect the student to have their own instrument for lessons and practice.
*** Specialties ***
Pop, rock, reggae, R&B, blues.
· Trumpet · In home
· Piano · In home
· Ukulele · In home
Steve H.
Steve H.
About Gary R.Close
I can teach any level of trumpet playing. Classical, Jazz, funk.
Beginners or advanced players. I have studied trumpet with many of the best teachers in America, including John Haynie, Bert Truax, locally Gilbert Castellanos and Arturo Sandoval. The list is too long to name the all,but I have had opportunities to learn from many of the most famous players.
About Gary
Whether you are just beginning, or have been making music since you were a kid, you should know that private lessons are the quickest avenue to improvement. My lessons are designed for each student individually to maximize their experience. I enjoy teaching students of all ages. Advanced trumpet players are welcome too.
I also teach on SKYPE, and have successful students, including an all region trumpeter in Houston.
I received my Bachelors and Masters degrees of Music Education from the University of North Texas, a University well known for their music school
My primary expertise is teaching Trumpet or related brass instruments, vocal jazz, and piano for kids and adults.
Read my reviews, ask me questions, come hear me perform around San Diego, set some goals with me and lets get after it!
· Trumpet · In home
· Singing · In studio
· Trumpet · In studio
Gary R.
Gary R.
About Michael T.Close
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Experienced music teacher of 7 years available for eager students of all experience levels and ages! While clarinet is my primary instrument I have a special attachment to the trumpet. My original clarinet teacher was in fact a trumpet player and is currently a section leader for one of the United States Air Force Bands. I have also given private lessons to 4 trumpet players - some of whom have gone on to do very well at the high school level.
About Michael
· Oboe · Online
· Oboe · Online
· Trumpet · Online
Michael T.
Michael T.
About Mark D.Close
View Full Profile
Professional performer and teacher for over 20 years. Performed live on radio and TV; major venues coast to coast; for 3 US presidents; DCI group - The Cadets of Bergen County; symphony; brass quintet; big band. Mark is particularly insightful in quickly and accurately diagnosing obstacles and offering effective solutions all while keeping development fun. A symphonic player with high-level marching band experience, Mark has acute insight into the varied needs of today's performers and develops customized paths for embouchure development and maintenance in addition to musical interpretation.
About Mark
· Trumpet · In studio
· Trumpet · In studio
· Trumpet · In studio
Mark D.
Mark D.
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Gingerbread Play Dough Recipe:
Ideas of ways to play with gingerbread dough:
* add gingerbread men cookie cutters and rolling pins and pretend to make real gingerbread men and "bake" them in a pretend oven. Role play being bakers and sell them in bakery shop pretend play!
* read the story of The Gingerbread Man alongside the activity and retell the story as you play. Cakie is really into this book at the moment and did some dramatic storytelling as she played!
* set out some buttons and beads and use them to add features to the gingerbread men. We used some buttons from my Mum's vast collection and it was fun to share with the girls that some of them had come from clothes that had belonged to their great grandmother!
Learning Links:
* sensory: explore malleable materials using hands, discuss smells and what they make us think of
* motor skills: small muscle hand development by pushing, squeezing, rolling, flattening and cutting dough
* literacy: retell stories in the correct sequence using storybook language, identify main characters from stories
* maths: count objects accurately up to 10 and beyond, weighing, measuring and capacity
Next activity for us is to make some REAL gingerbread men!


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