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CITES Musical Instrument Certificates Background Musicians Perform With
CITES Musical Instrument Certificates Background Musicians perform with valuable and culturally significant musical instruments legally crafted decades and even centuries ago. A number of these instruments contain small amounts of ivory, shell, reptile skin, and rosewood or other materials regulated under the Convention on International Trade in Endangered Species of Wild Flora and Fauna (CITES). The international use of musical instruments by musicians and professional and student ensembles is essential to advance diplomacy, spark artistic innovation, and support vital international cultural activity. In partnership with CITES parties and the conservation community, music stakeholders have undertaken efforts to increase compliance with current permit requirements while simultaneously pursuing policy improvements that will alleviate unnecessary burdens. Musical Instrument Certificate Created at CoP16 – A Consolidated Permit At the 16th Conference of the Parties (CoP16), Resolution Conf. 16.8 was adopted on Frequent Cross-Border Non-Commercial Movements of Musical Instruments, creating a multi-use Musical Instrument Certificate. The Musical Instrument Certificate is not an exemption from the permit process. It is a consolidated permit. The MIC streamlines the requirement for obtaining multiple CITES export permits when an instrument contains CITES material and is not exempted from permit requirements by an annotation or a personal effects exemption. Musicians using the MIC apply to their CITES Management Authority for issuance of single permit, which must then be credentialed by CITES enforcement officials at each port through which an instrument travels. Clarifications and Exemptions Approved at CoP17 At the 17th conference of the parties (CoP17), unanimous approval was given to Resolution Conf. 16.8 (Rev. CoP17), which: 1. -
JD Reynolds Is an Artist in the Truest Sense of the Word
JD Reynolds is an artist in the truest sense of the word. A true singer, a real songwriter, a neoteric producer, an incredible dancer and striking performer, all wrapped up in a stunning package that could grace the cover of any magazine in the world, and yet, her down to earth country girl charm is what makes this extraordinary artist so real. JD Reynolds was born an artist. “It’s in my blood. Music, melody, lyrics and dance flow through my veins, gifts straight from God for which I am thankful”. JD’s Mother had Elvis, Michael Jackson, Prince, Roy Orbison, Dolly Parton and Whitney Houston on daily replay in the house, so JD grew up listening to the King of Rock ‘n Roll, The Prince of Pop, The PRINCE of Everything, The Caruso of Rock, The Queen of Country Music and The Queen of the Night. JD’s sound is fresh originality for country music. “My entire album came to me like a bolt of lightning, the JD sound, my sound, respecting country music routes yet having my own next level twist”. As an up and coming producer, JD teamed up with seasoned producer Braddon Williams to co-produce what country music insiders have nicknamed “The Jagged Little Pill of country". Braddon has achieved more than thirty top-ten hits, amassed over thirty times platinum in record sales, and his work has received both Grammy and ARIA award nominations, credits include Beyoncé, Snoop Dogg, P Diddy, The Script, Kelly Clarkson, and his latest favourite, JD Reynolds. Braddon knew he was helping to create a unique country album for an incredible talent. -
Competition Rules and Regulations (Updated September 2019)
Competition Rules and Regulations (Updated September 2019) Category Guidelines: YOUTH - 15 and under ADULT - 16 and up Youth are open to perform in adult categories. Adults not permitted, other than as an accompanist, in youth categories. Categories include Fiddle, Banjo, Flatpick Guitar, Mandolin, Band, and Miscellaneous Instrumental Guidelines: 1. Fiddle - Contest is for traditional four string (five string is acceptable but not ideal), acoustic fiddles only. Standards such as “Listen to the Mockingbird,” “Orange Blossom Special,” or “Black Mountain Rag” are strongly discouraged. 2. Banjo - 4 and/or 5 string acoustic banjos okay. Standards such as “Foggy Mountain Breakdown,” “John Hardy,” and “Dueling Banjos” are strongly discouraged. 3. Guitar - Acoustic Steel String Guitars only 4. Mandolin - Acoustic Mandolins 5. Bass - Acoustic and/or electric basses allowed 6. Band - Must consist of a minimum 3 members. Band contestants are only allowed to compete in ONE band. Same song restrictions apply. 7. Miscellaneous - Any instrument not covered above, that is a part of the “bluegrass/old-time music family” - such as resonator guitar, finger-style guitar, spoons, jaw harp, mandola, bouzouki, accordion, other stringed instruments such as cello and viola. NO DRUMS NO SIX-STRING BANJO/GUITJOS Registration Guidelines 1. Contestants MUST sign in upon arrival at the judges table. 2. No contestant is allowed to register after a category is completed. 3. Judges are not permitted to enter or perform in any category. 4. Contestants must be ready and available to perform when their category is called. Failure to do so may result in disqualification. 5. Tuning, warm-up, rehearsal, or any other audible actions MUST be done away from the stage, active competitor, and convention audience. -
A Violin by Jacobus Stainer 1679
146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer . -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Die Welt Der Taylor Gitarren
Wilder Charakter Blackheart Sassafras Herbst-LTDs Blackwood 500er Voll-Koa 300er & GS Mini 40 Taylor-Innovationen Warum man mit Verstärker spielen sollte Zeit für einen Saitenwechsel 2 www.taylorguitars.com | Sommerausgabe]. Ich war von 1984 12 hatte ich mal Klavierunterricht gehabt, sofort, dass sich die Basswiedergabe AUSGABE 80 herbst 2014 bis 1988 der Fahrer von Prince. Auch aber als ich die Mädchen entdeckte, war der A- und E-Saite massiv verschlechtert Leserbriefe auf der Purple Rain-Tour war ich dabei. es mit meiner angehenden Musikkarriere hatte. Ich war niedergeschmettert. Die Mir wurde ein umgebauter schwarzer am Ende. Ein langjähriger Freund vom Gitarre klang nicht mehr wie eine Taylor. > IN DIESER AUSGABE < Besuchen Sie uns auf Facebook. Abonnieren Sie uns auf YouTube. Folgen Sie uns auf Twitter: @taylorguitars Transporter zugeteilt, um Prince zu Hot Licks Guitar Shop verkauft Taylor- Außerdem war nicht mehr viel vom Steg den klanglichen Verbesserungen, von fahren. Als ich mir den Wagen ansah, Gitarren. Er war überzeugt davon, dass übrig, und die Justierung hatte einen den strahlenden Höhen bis zu den stieß ich auf einen Gitarrenkoffer. Ich ich noch was lernen kann. Also kaufte dämpfenden Effekt auf das Sustain der tiefen, artikulierten Bässen, rockt es spiele selbst Gitarre, weshalb ich ich eine 518e, und ich liebe ihren Klang. tiefen E-Saite. Es fehlten die starken mit dieser Gitarre viel besser, und ich neugierig war. Ich sah an der Seite Inzwischen sieht mein Zuhause aus wie Bass-Schwingungen, die ich zu hören muss sie nicht missbrauchen, um die den Taylor-Schriftzug, aber ich muss eine Taylor-Ausstellung. Jedes Modell ist und fühlen gewöhnt war. -
Bio.Inthismomentritu
Throughout history, art rejoices and revels in the wisdom of women. Within a deck of tarot cards, the High Priestess serves as the guardian of the unconscious. In Greek mythology, the old oracles celebrate the Mother Goddess. William Shakespeare posited portentous prescience in the form of MacBeth’s “Three Witches.” On their sixth full-length album Ritual, In This Moment—Maria Brink [vocals, piano], Chris Howorth [lead guitar], Travis Johnson [bass], Randy Weitzel [rhythm guitar], and Kent Diimel [drums]—unearth a furious and focused feminine fire from a cauldron of jagged heavy metal, hypnotic alternative, and smoky voodoo blues. It’s an evolution. It’s a statement. It’s In This Moment 2017… “It’s like we’re going into the next realm,” asserts Maria. “I had a conviction of feeling empowered in my life and with myself. I always write from a personal place, and I needed to share that sense of strength. I’ve never been afraid to hold back. Sometimes, I can be very suggestive. However, I wanted to show our fans that this is the most powerful side of myself and it’s without overt sexuality. It’s that deeper serious fire inside of my heart.” “What Maria is saying comes from deep inside,” Chris affirms. “This time, we had a bunch of ideas started before we hit the studio. There was a really clear direction. It’s different.” The group spent two years supporting their biggest album yet 2014’s Black Widow. Upon release, it seized their highest position to date on the Billboard Top 200, bowing at #8. -
GEAR Roundup!
GEAR Roundup! Post your review—or challenge ours—at the GP forum. SPECS | Hanson Musical Instruments, (773) 251-9684; hansonguitars.com MODEL CHICAGOAN CIGNO FIRENZE ST GATTO PRICE $870 direct $675 direct $599 direct $675 direct NECK Maple, set Mahogany, set Maple, bolt-on Mahogany, set FRETBOARD Ebony Rosewood Rosewood Rosewood FRETS Medium jumbo Medium jumbo Medium jumbo Medium jumbo SCALE 24.75" 24.75" 25.5" 24.75" BODY Bound maple top, back, and sides Mahogany Ash Mahogany PICKUPS Hanson mini-humbuckers Hanson P90s Hanson Blade mini-humbuckers Hanson Classic humbuckers with coil tap CONTROLS 2 Volume, 2 Tone, 3-way pickup Master Volume, Master Tone, Master Volume, Master Tone, Master Volume, Master Tone (pull selector 5-way pickup selector 5-way pickup selector for coil tap), 3-way pickup selector BRIDGE Tune-o-matic with roller saddles, TonePros TonePros TonePros Bigsby B70 tremolo TUNERS Hanson Hanson Hanson Hanson KUDOS Airy tones with great articulation. Round, ballsy sound with punch. Mini humbuckers deliver nice Fat, punchy humbucker tones. Sleek Looks retro fabulous. Looks ultra cool. Love that focused mids with a ton of spank. looks. baseball-bat neck! CONCERNS A few minor cosmetic issues. A few minor cosmetic issues. A few minor cosmetic issues. A few minor cosmetic issues. Neck may be too thick for some. 92 MARCH 2010 GUITARPLAYER.COM Hanson Chicagoan, Cigno, Firenze ST, and Gatto TESTED BY MICHAEL MOLENDA HANSON MUSICAL INSTRUMENTS OF CHICAGO STARTED OUT APPROXIMATELY five years ago making bass pickups, then guitar pickups, and, finally, gui- tars. The evolution of the product line informed the company’s approach to guitar making, as it developed a series of pickups first, and then designed guitars around the tone and vibe of each pickup. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Rodeo Icon Dies in Agency Car Crash
PRSRT STD U.S. Postage Tribal Tribune wins General Excellence award at PAID SPOKANE, WA National Native News Conference Permit #7 A4 Tribal member an original at Hoopfest Issues arising with A16 sacred pinnacles A7 THE OFFICIAL PUBLICATION OF THE CONFEDERATED TRIBES OF THE COLVILLE RESERVATION Rodeo icon Songwriter dies in agency remembers car crash ‘Little Wolf’ • Kartar’s Condon was regarded as one of BY JUSTUS CAUDELL The Tribune the greatest Indian cowboys of all-time ometimes when he’s playing a BY JUSTUS CAUDELL gig an old timer will shout out The Tribune and whoop, “That’s Little Beaver. SThat’s Larry Condon.” Dave Schildt he Colville Reservation—the entire Indian cannot always see the calling party, but rodeo community—lost one of rodeo’s old he hears them in time greats Wednesday, June 5, when Larry the crowd. T“Little Beaver” Condon was killed when his pickup His song “Little collided with a semi-truck on Highway 97 at the Wolf” is always a Nespelem Agency campus. favorite, he said, At 81, Condon left a lasting and just as the old impression that was felt timers occasional across the country and at the shout, the song funeral services, held in Kartar is about Larry Valley Monday, June 9, where Condon. horsemen, family and friends Schildt came rode along in a final ride with up riding rodeo— Schildt the cowboy who was once and eventually ranked as the sixth best bull teaching school—in Browning, rider in the world. Montana as a member of the Condon qualified to the RCA Condon Blackfeet Nation. -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
SYNDICATION Partner with Future OUR PURPOSE
SYNDICATION Partner With Future OUR PURPOSE We change people’s lives through “sharing our knowledge and expertise with others, making it easy and fun for them to do what they want ” CONTENTS ● The Future Advantage ● Syndication ● Our Portfolio ● Company History THE FUTURE ADVANTAGE Syndication Our award-winning specialist content can be used to further enrich the experience of your audience. Whilst at the same time saving money on editorial costs. We have 4 million+ images and 670,000 articles available for reuse. And with the support of our dedicated in-house licensing team, this content can be seamlessly adapted into a range of formats such as newspapers, magazines, websites and apps. The Core Benefits: ● Internationally transferable content for a global audience ● Saving costs on editorial budget so improving profit margin ● Immediate, automated and hassle-free access to content via our dedicated content delivery system – FELIX – or custom XML feeds ● Friendly, dynamic and forward-thinking licensing team available to discuss editorial requirements #1 ● Rich and diverse range of material to choose from ● Access to exclusive content written by in-house expert editorial teams Monthly Bookazines Global monthly Social Media magazines users Fans 78 2000+ 148m 52m Source: Google Search 2018 SYNDICATION ACCESS the entire Future portfolio of market leading brands within one agreement. Our in context licence gives you the ability to publish any number of features, reviews or interviews to boost the coverage and quality of your publications. News Features Interviews License the latest news from all our Our brands speak to the moovers and area’s of interest from a single shakers within every subject we write column to a Double Page spread.