Music and Best Practice of Karma

The 12 Laws of Karma

1. THE GREAT LAW
2. THE LAW OF CREATION
3. THE LAW OF HUMILITY
4. THE LAW OF GROWTH
5. THE LAW OF RESPONSIBILITY
6. THE LAW OF CONNECTION
7. THE LAW OF FOCUS
8. THE LAW OF GIVING AND HOSPITALITY
9. THE LAW OF HERE AND NOW
10. THE LAW OF CHANGE
11. THE LAW OF PATIENCE AND REWARD
12. THE LAW OF SIGNIFICANCE AND INSPIRATION

Music and Best Practice of Karma

The Twelve Laws of Karma

(An excerpt from ‘Flow Centre’ by David Jean-Baptiste)

1. The Great law
‘As you sow so shall you reap’. There is nowhere to hide. This law is often known as the law of cause and effect. Whatever you do will come around full circle, irrespective of what other people think of you or say. Go about your business and treat all men, women and things in the world with respect, and things will come around for you the right way.

2. The Law of Creation
We ourselves are in control of the various elements in our lives and the situations we find ourselves in. You are not separate from the universe, we are all connected as a tiny part of one great moving universal system. Creation of the world you live in is born of the mind, your thoughts, mental pictures with emotion supporting those pictures, and beliefs become your physical world.

3. The Law of Humility
Acceptance is the key to change and growth. What you refuse to accept will continue for you, until you have enough humility to accept the truth of your situation to yourself at a deep level. When you have enough humility to accept your current situation to those you love, cheer and desire good for you, this can be a powerful catalyst to rapid change.
 
When another person behaves in an inappropriate manner, we may need enough humility to take the higher ground.

4. The Law of Growth
‘Where ever you go you take yourself with you’. As human beings we live in the physical world of now, experience thought in the mental world, and expand awareness through the spiritual world. To grow we must change, as we are the only ones who can do it. A burning desire to grow may be all you need. Raise the vibration of thought, give from the heart, and watch your life change for the better.

5. The Law of Responsibility
Situations and events in life reflect how we are and how we behave. When something turns for the worse in our world, we have to take responsibility for it. Sometimes shit happens. We mirror our surroundings and our surroundings mirrors us; this is a universal truth.

6. The Law of Connection
Everything we do matters even if you think it is irrelevant, it is all connected. Take care of the small money and the big money will take care of itself.

It is of massive importance that you take action to start the journey to make those changes you desire to see happen in your life.

Step by step, each step you make brings you a little closer. Celebrate each milestone you reach and enjoy the moment. Learning and growth acquired along the way is even more valuable than reaching the destination. Every particle and wave in the physical, mental and spiritual realms is connected as a form of energy.

7. The Law of Focus
Power comes through focusing the mind completely on something. Think about the power a pointed arrow has to penetrate a hard surface. This is the power of meditation. Meditation, ‘to concentrate on something for an extended period of time’.

8. The Law of Giving and Hospitality

‘To know and not to do is the same as not to know’.

There is another saying that says, ‘give and you shall receive’.

Giving ten percent of what you earn to a charity or organization you believe in is known as tithe. The word tithe can be looked upon as ‘tie thee’. Ten percent of your talent in the real world becomes a seed to tie you to your universal presence; so that the next cycle of the decimal system can grow. It is the zero that matters. You tie 1, 2, 3, 4, 5, 6, 7, 8, 9, then you tie thee to the presence. Tie thee makes a tie, a link to the universe and your source of supply. By giving a tenth you are planting a seed that makes your supply grow into the next cycle.

9. The Law of Here and Now

‘The point of power is in the present’.

Looking either backward or forward must only be used as a resource to build upon our present situation.

10. The Law of Change
History repeats itself until we get leverage and interrupt the pattern of behavior that repeats. The ego is a powerful thing which entire existence depends on keeping you where you are. Gradually loosen the grip the ego has over you by practicing external awareness, through the practice of meditation of all descriptions, practicing no-mind and regular visualizing.
 
Nerve cells that fire together wire together, a bad habit may give a person pleasure as a secondary gain. All neurological patterns are designed to move you from pain to pleasure, both positive and negative ones. Interrupt the negative pattern. Smoking cigarettes may give a person relaxation, get leverage and learn to relax without the cigarette. Being depressed may get someone attention from other people, scramble this pattern and create a new alternative by getting attention when feeling awesome. ‘You cannot solve a problem with the same thinking that created it’. Nerve cells that don’t fire together don’t wire together, you have the power to change the limited pattern of behavior. Try doing something you don’t expect, the more off the wall it is the more effective it will be.

Scramble the sensations we link to our stupid patterns of behavior beyond recognition, and reinforce with new and better ones. Your brain cannot tell the difference between something intensely imagined or what is experienced in reality because the same neural nets fire for both.
 
The law of reinforcement, any pattern of emotion or behavior that is continually reinforced will become an automatic response. Creating new choices of behavior or response without reinforcement won’t last. Continually reinforce attitude behind the shifts you desire to make, and the changes will appear.

11. The Law of Patience and Reward
Anything worthwhile requires work to begin with. True satisfaction comes through working towards something we value, and enjoying the process; knowing that the rewards will eventually appear.

12. The Law of Significance and Inspiration
People get back from something what has been put into it. The true value of something is a direct result of the energy expended.

Albert Einstein’s groundbreaking equation E=MC2 is interesting to look at in view of what it means in daily life. E as Energy, M as Mass and C as the Constant of Proportionality. Mass energy is proportional to mass. Twice as much mass means twice as much energy, therefore no mass means no mass energy. C2 does the job of converting from the unit of mass to the unit in which energy is expressed. In a similar way C2 is a price. It is energy per unit mass.
 
Let’s change it to C=SP2 C being the cost of shares, is equal to the number of shares S multiplied by the price per share P.

• Turn on the passion through the love of music.

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Music and Best Practice of Karma

Music and Best Practice of Karma

Music and Best Practice of Karma

Music and Best Practice of Karma

Music and Best Practice of Karma

Music and Best Practice of Karma

Music and Best Practice of Karma

Playing Music with Passion

What drives your passion positively?

Playing Music with Passion

Passion sometimes reaches boiling point. What happens when your passion for something, someone or a situation in your life was so intense it was on fire, burning inside you with life?
Passion is it!!!
You need to locate your passion button and turn it on. Can you think of a time when you felt passionate towards something you did or someone in your life?
Passion is the magical elixir that makes things happen.
What are you positively passionate about?
What do you love?
What gives you strongest feeling positively?
What makes you sizzle?
What melts you?
Where are you?
What are you doing?
Explain the scenario in detail.

What do you hear see and feel?
What’s in the picture?
How are you dressed?
Is there any color you focus on the most?
As you think of it is it a movie or a picture in still frame?
Is it in color or in black and white?
Is the image on the right, the left or centre weighted?
Is the image positioned up, middle or down?
Is the image bright, dim or dark?
Is the image life-size bigger or smaller than life-size?
Is the image near you or further away?
How does your level of pleasure change when you bring it closer to you?
Is the speed of the image fast medium or slow?
Is there a particular element focused on consistently?

Are you in the picture or watching it from afar?
Does the image have a frame or is it picture panoramic?
How does making your picture 3 dimensional change the level of pleasure you feel?
Is there a particular color that impacts you the most?
From what viewpoint are you looking at the picture, are you looking down on it, up at it, from the left or right or at an angle?
Is there anything else that triggers strong feelings?
Find the zoom lens of your camera and zoom in.
Are there sounds in the picture? Is there a sound that impacts the level of pleasure you feel the most?
Are you saying something to yourself or hearing it from others? How do you hear or say it?

What specifically do you hear or say? How many sounds are there, and where do they come from?
If you are imagining the sound of someone’s voice experiment with different inflections and accents.
What does raising the volume do to the level of pleasure you feel?
What tonality is it? Are there deep and bass sounds and or higher ones?
Are they even or changing sounds?
At what pace do you hear it, how fast is it?
Can you feel the music in your body?
How does the rhythm and vibration impact the level of pleasure you feel?
Does it speed up or does it slow down?
Where is the sound coming from?
Is the sound melodic or unmelodic?
Is the sound in harmony or noisy?
Is the sound regular or unusual?

Do you hear it more in one ear than the other?
If there is a voice is there inflection in it?
Are certain words emphasized?
How long does the sound last?
Is there something unique about the sound?
Is there anything else that triggers strong feelings?
Now double the feeling and the passion…and then again.
As you remember this pleasurable experience, how does changing the feeling elements intensify or decrease your pleasure?
Does raising the temperature intensify the level of pleasure you feel?
Did you notice a texture change, rough or smooth?
Is the sensation on touch rigid or flexible?
Is there vibration?
How intensely do you feel the vibration?
Is there an increase or decrease of pressure?

Where was the pressure located?
How was your pulse rate?
Was there an increase of tension or relaxation?
Was there movement if so what was the direction and speed?
How was your quality of breathing, deep and even? Where did it end/start?
Enjoy the weight, possibly of your feet on the ground, are they heavy or light?
Are the feelings steady or intermittent?
Did it change size or shape?
We’re feeling coming into body or going out?
What is the quality of air on skin, thicker than air?
Lighter than water?
Is there anything else that triggers strong feelings?
Was the aroma sweet, musty or fragrant? Was the aroma uplifting or relaxing?
Find your passion button, step into it and fire up your intention in motion.

David Jean-Baptiste

The Wellness Clarinet LTD

Playing Music with Passion

Jazz Clarinet Players

When you hear the phrase, “New Orleans jazz,” what three instruments immediately come to mid? That’s right: cornet, trombone, and clarinet. In those early jazz combos, the clarinet provided a soaring, high register obbligato that enhanced, and, in the hands of the amazing Sidney Bechet, challenged, the cornet’s lead line. A decade or so later, the clarinet occupied a rightful place as one of the signature instruments of the big band era, serving as a distinctive tone color in the ensemble and an important solo voice. After all, the so-called “King of Swing,” Benny Goodman, was a jazz clarinet player.

But starting with the bebop era, the clarinet inexplicably began to fall out of fashion in jazz. Despite the persistence of such gifted boppers as Buddy De Franco and Jimmy Hamilton, by the end of the 1950s the instrument had all but disappeared from the music’s mainstream. None of the important small bands of the day, and, with the exception of Duke Ellington, very few big bands, featured a clarinetist. As a consequence, few pure clarinet players – as opposed to saxophonist doublers – came to prominence in jazz in the post-war period.

Today, many (perhaps most) jazz listeners regard the clarinet as a relic of the past, the property of moldy figs and swing-era diehards. Nevertheless, though the 1960s and 1970s the avant-gardists, in their quest for new sounds (as well as old ones), rediscovered the instrument, at least in a limited way. Some even began to feature members of its extended family, like the alto, bass, and contrabass varieties, occasionally in multi-clarinet ensembles. And during recent decades, this music has been enriched by a handful of dedicated clarinet specialists, like the late John Carter, Alvin Batiste, and Don Byron, who have fought to keep their instrument in the forefront of creative jazz.

Sidney Bechet: The Best of Sidney Bechet (Blue Note, 1994; original recordings, 1939–1953)
This New Orleans-born master dominated every ensemble he ever played in with his florid, vibrato-driven bravura. Among its treasures, this collection includes two genuine jazz masterpieces: Bechet’s soulful clarinet blues, “Blue Horizon,” and “Summertime,” featuring his inimitable soprano saxophone.

Jimmie Noone: An Introduction to Jimmie Noone: His Best Recordings, 1923–1940 (Best of Jazz,1997)
Originally a New Orleans contemporary of Bechet, Noone made his mark in Chicago as both a blues specialist and a singular interpreter of such popular tunes as “I Know That You Know” and his lovely theme song, “Sweet Lorraine.” He also was an early and important influence on the young Benny Goodman.

Barney Bigard: Barney Bigard Story, 1929–1945 (EPM,1996)
Bigard brought the New Orleans Creole clarinet tradition into Duke Ellington’s orchestra, where, from 1928 to 1942, his fleet solos and intricate embellishments lent color and character to countless jazz classics. His long post-Ellington career included a stint with Louis Armstrong’s All-Stars (1946–55).

Benny Goodman: Complete RCA Victor Small Group Master Takes (Definitive,2000; original recordings, 1935–1939)
Although his big band defined the Swing Era for millions of fans, over the years Goodman played his best jazz with his various all-star small groups. This two-CD set spotlights BG’s original trio (with pianist Teddy Wilson and drummer Gene Krupa) and quartet (which added Lionel Hampton on vibes).

Buddy De Franco: Mr. Clarinet (Verve,1953)
De Franco emerged from mid-1940s big band reed sections (notably that of Tommy Dorsey) to become the essential bebop clarinetist. This typically brilliant session features his stellar working quartet of the day with pianist Kenny Drew, bassist Milt Hinton, and drummer Art Blakey.

Jimmy Hamilton: Can’t Help Swingin’ (Prestige,1961)
For 25 years (1943–1968) this technically superior musician served as Duke Ellington’s principal clarinet soloist. Hamilton plays both clarinet and his Ben Webster-inspired tenor saxophone on these tracks, which also feature two all-time jazz giants, trumpeter Clark Terry and pianist Tommy Flanagan.

Eric Dolphy: Out There (New Jazz/OJC,1960)
More than anyone else, this visionary multi-reedplayer established the bass clarinet as a jazz instrument. On this pianoless quartet date with Ron Carter on cello, Dolphy is heard on bass (“Serene” and “The Baron”) and B-flat clarinets (Charles Mingus’ “Eclipse”), as well as flute and alto saxophone.

John Carter: Castles of Ghana (Grammavision,1986)
A gifted instrumentalist and an important composer, Carter helped carve a niche for the clarinet in the jazz avant-garde. This recording, the second movement of his monumental five-part epic Roots and Folklore: Episodes in the Development of American Folk Music , is regarded by many as Carter’s finest work.

Clarinet Summit (Alvin Batiste, John Carter, Jimmy Hamilton, David Murray): In Concert at the Public Theater (India Navigation,1981)
Formed by John Carter, this quartet united three hardcore modernists – Carter, Batiste (who lives and works in New Orleans), and Murray (on bass clarinet) – with respected veteran Hamilton. Their now legendary debut concert offered a wide-ranging repertoire of Ellingtonia, bebop, and free playing.

Hamiet Bluiett: The Clarinet Family (Black Saint,1984)
This eight-clarinet ensemble (plus bass and drums) truly encompasses the instrument’s entire family, from the tiny E-flat sopranino to the large contrabass. This one-time-only live performance features Bluiett on alto clarinet, along with such accomplished clarinetists as Buddy Collette, Don Byron, and J.D. Parran.

Don Byron: Music for Six Musicians (Nonesuch,1995)
Committed to bringing the clarinet back into the forefront of creative jazz, Byron respects no musical boundaries. His creed is, “If it can be played, it can be played on the clarinet” – swing, klezmer, lieder, show tunes, funk, or, on this sextet session, skronky, Afro-Cuban-inspired original compositions.

Paquito D’Rivera: The Clarinetist: Vol. 1 (Music Haus,2001)
On this rare all-clarinet recording, the Cuban-born reed virtuoso performs with a chamber orchestra and a Latin jazz rhythm section, and in trio with piano and cello. D’Rivera skillfully bridges the gap between classical and jazz, with a healthy helping of tango á la Astor Piazzola mixed in.

By BOB BERNOTAS

Jazz Clarinet Players

www.clarinetfamily.com

How Do I Get Music Sponsorship?

How Do I Get a Music Sponsorship? The first step in getting a music sponsorship is typically to know and understand your audience. Most companies or organizations that might offer you sponsorship money will want some form of advertising or endorsement in return, so it can be helpful to show them demographics on your current and potential fan bases. After you have this type of information, you can write an introductory letter to send to potential sponsors. You can also craft a more in depth presentation to provide to any companies that express interest in offering you a music sponsorship. The process of finding companies or organizations that offer sponsorships can be simplified by using Internet based resources, though you can also inquire within your local arts community.

Sponsorships are a type of music funding that an artist or band can acquire from numerous different sources. This money can be used to fund tours, cover recording costs, or for other various expenses. Many large corporations offer music sponsorships, though they typically come with some strings attached. There may be advertising or endorsement requirements, so it can be helpful to start off by doing some research on both your fan base and potential sources of music sponsorship.

Demographics are typically very important to companies that offer music sponsorships because they usually have certain groups of people that they want to market to. If you can research your current fan base by polling them via your website or other means, this information can be very useful when constructing an introductory letter or presentation. Another tactic is to research the general demographics of people who listen to and buy your type of music, since these groups represent your potential new fans any time you go on tour.

After you have done some research, you can craft an introductory letter to send out to potential sponsors. This document should be concise and convey all the relevant information, such as the potential benefits you can offer in return if you receive a music sponsorship. You will typically want to include a request to follow up with more detailed information. If your initial contact with a company or organization is successful, they will usually request a more in depth presentation.

Your in depth presentation should typically begin with a detailed rundown of why you need a music sponsorship, the way you will use the money, and why this opportunity will benefit your sponsor. Other details can include your tour itinerary, the venues you will attend, and the demographics of the people that will be exposed to your sponsor’s brand. A well organized presentation and the promise of a solid return on a company or organization’s investment can be instrumental in securing a music sponsorship.

How Do I Get Music Sponsorship?

Written By: Jeremy Laukkonen
Edited By: Allegra J. Lingo
Last Modified Date: 05 July 2015
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Need help finding sources of sponsorship? Contact 

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