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Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band.[19] Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer.[19] Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.


Of the diagnostic features of autism, relatively little research has been devoted to restricted and repetitive behavior, particularly topographically complex forms of restricted and repetitive behavior such as rigidity in routines or compulsive-like behavior (e.g., arranging objects in patterns or rows). Like vocal or motor stereotypy, topographically complex forms of restricted and repetitive behavior may be associated with negative outcomes such as interference with skill acquisition, negative social consequences, and severe problem behavior associated with interruption of restricted and repetitive behavior. In the present study, we extended functional analysis methodology to the assessment and treatment of arranging and ordering for 3 individuals with an autism spectrum disorder. For all 3 participants, arranging and ordering was found to be maintained by automatic reinforcement, and treatments based on function reduced arranging and ordering.

The Master of Music Jazz Studies concentration initiated in fall 1999 offers a comprehensive experience in enhanced small jazz ensemble, solo performance, and arranging/composition, an opportunity to raise and refine the level of improvisation and instrumental/vocal performance skills, the potential for high-level, primary source research and writing only available in the New York area, and awareness of current pedagogical techniques in improvisation and arranging. A deeper level of study arises from added historical and theoretical background (in the Western European tradition as well as in jazz), primary source research and graduate-level writing opportunities uniquely available in jazz, current technological innovations as they relate to jazz, and application of these issues to pedagogical techniques in the college and public school classroom.

In this practical course students work on the musical concepts of melody, rhythm, harmony and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line in a solo instrument, two horns (trumpet, alto or tenor sax) or voice. Students learn the conceptualization process of combining individual components to create a musically satisfying arrangement. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments will incorporate combinations of acoustic, electronic and/or MIDI instruments. The course includes a fast-pace overview of the fundamental concepts of music notation such as imaginary bar line, transposition, and rhythmic notation.

Ikebana is more than just arranging pretty flowers. The minimalist nature of ikebana leads the practitioner to discover and appreciate every part of the plant (from roots, to leaves, to flowers, to branches) throughout its life-cycle (from seeds, to buds, to blooms, to wilted and dried plants). While the use of seasonal, living materials leads the practitioner to contemplate the transience of beauty and life.

The Stud is here to get you started on the right foot. He/She can help decide whether the song is arrangeable, get you arranging software, and alert you as to whether the song in question is already in the repertoire, among other things.

We understand how difficult it can be when someone dies, especially if you're arranging the funeral. Our Funeral Directors are committed to providing the highest quality funeral services in the UK. We'll guide you through the process, helping you organise the funeral you want for your loved one.

Organising a funeral can seem overwhelming, especially when dealing with grief. Choosing an experienced and professional funeral director will help ease the burden and stress of arranging a funeral. At Dignity, we spend time getting to know you, your loved one's life, and will help you create the most fitting tribute for the person who has passed away.Our Funeral Directors are honoured to serve the local communities they are part of, with expertise and uncompromising compassion. We promise to provide unequalled support, reassurance, and attention to detail when arranging a funeral for your loved one.

The process of arranging a funeral may take longer if you need to repatriate your loved one to or from another country. Our funeral directors can help to guide you through the process of repatriation.

A funeral is a personal event and people often have different requirements. There are a number of details that you will need to take care of, from arranging funeral transport, to choosing songs to be played during the service.

We will do everything we can to make sure the process of arranging a funeral for your loved one is as straightforward as possible, helping to plan a fitting farewell for the person who has passed away.

Our Funeral Directors will help and support you when arranging a funeral service. We'll be on hand to offer advice on how to arrange a fitting goodbye for your loved one, wherever you are and whenever you may need us.

That is, the most likely explanation for why arranging icons was taking so long is that the icon rearranging code used an O(n^2) (aka quadratic) algorithm such that as the number of icons doubled the time to arrange them quadrupled. This sort of performance scaling can take an algorithm that works fine for ten items and make it fail miserably with just 1,000 items.

Horizontal layers are the plant masses that overlap and interlock from the front of the plant bed to the back of the bed along the ground plane (Figure 2). The plant masses should vary in depth along the front of the plant bed in the same way that the height varies along the top of the plants. There are two basic rules when arranging plants in the beds: 1) space the individual plants so that they touch each other when they reach their mature size, and 2) overlap the masses of plants and connect them so that they flow without space between them. Avoid gaps or large open areas between masses. Voids attract more attention than the plantings and disrupt the composition. The background or tallest layer is typically located along a fence, wall, or property line, so it is usually best to locate this layer first and work forward to the foreground. Most plant compositions are viewed from one or two vantage points where the ground layer and foreground plants are closest to the viewer, the midground plants are behind the foreground plants, and the background plants are farthest from the viewer. The composition is often more interesting, however, if a few tall plants are added to the foreground or midground layer. It is often helpful to stage the plants in the landscape while they are still in the pots, before planting, to make sure the composition works.

The first step when organizing plants is to create vertical and horizontal layers with a repeating pattern of plants within the layers to visually connect the garden spaces. When arranging individual plants in the beds, space them so that they touch when they reach mature size. This will connect the masses of plants and create a flow without space between them. Repeating colors, forms, or textures of plants throughout different beds creates a recognizable pattern in the landscape.

The grammar presented in ggplot2 is concerned with creating single plots. While the faceting system provides the means to produce several subplots all of these are part of the same main visualization, sharing layers, data, and scales. However, it is often necessary to use multiple disparate plots to tell a story or make an argument. These can of course be created individually and assembled in a layout program, but it is beneficial to do this in code to avoid time consuming and non-reproducible manual labor. A range of packages have risen to the occasion and provide different approaches to arranging separate plots. While this chapter will focus on the patchwork package you may also find some of the same functionalities in the cowplot, gridExtra and ggpubr packages.

This chapter will be split into two parts. The first will be concerned with arranging plots side by side with no overlap, while the second will be concerned with arranging plots on top of each other. While these two scenarios are not necessarily in opposition to each other, the former scenario will often benefit from functionality that makes little sense in the latter, e.g. alignment of plotting regions.

As can be seen, patchwork offers a long range of possibilities when it comes to arranging plots, and the API scales with the level of complexity of the assembly, from simply using + to place multiple plots in the same area, to using nesting, layouts, and annotations to create advanced custom layouts.

Invite children to try this flower arranging Montessori practical life activity at home or in the classroom. Practical life activities, like arranging flowers, can help create positive lifelong habits when practiced regularly over time. In Waldorf education, practical life activities are called home life skills and occur within the rhythm of daily life in the home and classroom.

This flower arranging activity includes a number of home life activities strung together in a single action, so it is best for kindergarteners, preschoolers, and older toddlers who have had some experience with skills such as carrying a tray, pouring, and using scissors for cutting. So, make sure that children practice those skills independently before inviting them to try arranging flowers. 041b061a72


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