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mephew-j · 3 years

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okay now I'm curious about all the Pokemon headcanon stuff you got 👀

Oh, dear.

Right. Didn´t think anyone would be interested. Thought this was just another story for myself.

But I´ll gladly tell ya what my brain got up with so far (and what my time allows me to write - I´m not done yet!). =)

Also sorry for taking so long but I have been chipping away each evening after work as I wanted to give a proper answer. But then I received my second Covid-vaccination on Monday and I didn´t take it too well and felt horrible on Tuesday. But I´m good again. =)

Ok, so it´s literally a persona AU in the Pokemon world which doesn´t have a name - yet at least - located in a new region due to me wanting to have Pokemon that don´t all exist in the same region.

So there´s the ME! Persona – a human girl/woman who moved to a more rural part of the region with her mother when she was younger when her parents decided to split up.

There she went to a normal grammar school and made a small amount of friends while her mother found an office job at the local breeder´s facility that provides the professor of this region – Dr. Primrose – with starters. And like literally every other child she was fascinated by Pokemon and dreamt about becoming a Pokemon trainer after school. Really basic stuff this far.

But when her friends and her graduated she found herself doubting to be ripe to becoming a trainer at the age of 10. She simply didn´t feel ready to be on her own yet.

So as her friends left to become trainers she stood behind alone.

Her mother told her not to worry too much and to proceed school instead giving her an advantage over the others her age one day. And so she did.

She attended and finished high school and the idea of becoming a trainer had taken a backseat in her life.

When she was asked what she wanted to do now that school was officially over she found herself quite clueless and decided on taking a few internships – at the local Pokemon store, the post office, etc. but nothing really seemed fitting.

One day her mother asked her whether she´d want to give the Pokemon breeder facility a try. She agreed and took another internship there.

After just a week in it was clear that she would do an apprenticeship there to become a “Pokemon nursing assistant”. In these three years of practical and scholar education she didn´t just learn the profession but also grew as a person and got her driver´s licence.

Mostly she got educated by the Pokemon working there as it had always been easier for her to work/communicate with them than with other humans. But her human colleagues took great care of her, too, of course:

There was the leader of the facility – an elderly woman in her mid-50s who had once been a trainer herself - her Machamp, Blaziken, Sceptile, Swampert, Kangaskhan, Chansey and a hand-full of employees along with a few other Pokemon that were rather deemed unfit as starters or simply decided to stay, who did a great job at breeding, hatching and raising starters and orphaned Pokemon.

Especially one Treeko had become fond of her and was usually the one who took her by the hand.

Nearly at the end of her apprenticeship the facility leader took her to the side and asked her to consider becoming a trainer after all as she would have “just the right stuff” to be a considerably good one.

Again Me! hesitated for a while until she decided to give it a try this time. She packed her things and when she went to the breeder facility to say Goodbye the previously mentioned Treeko quickly fetched his Pokeball. He stood in front of her waiting for her to kneel. Surprised she followed the invitation and when she had reached his level the Treeko placed the ball into her hands and gave her an asserted look. She reciprocated with a smile and nodded.

The Pokemon:

-Treeko/Grovyle/Sceptile: A male Treeko who was bred and born as one of the first ones in the breeder facility and was later handed to Dr. Primrose along with other starters to be picked by young trainers at the start of their journeys.

Unfortunately, though he was deemed unfit as a starter after several children had called Dr. Primrose shortly after they had chosen him as their partner and told her that they simply couldn´t handle him; he wouldn´t listen to a word they said or that he would be overall renitent.

Dr. Primrose had taken him back every time to give it a new try but decided to send him back to the breeder facility in the end. “No Pokemon can be forced to be a trainer´s Pokemon.”

The facility took him back and let him help there which he did.

Several years passed until one day a young woman showed up and started her internship at the facility. She seemed lost and shy like a Pokemon that had just hatched so the Treeko was quick to take pity on her. The pity then grew into fondness and when it was clear the now graduated trainee would start her own journey he rushed into the warehouse, grabbed his Pokeball and handed it over to her.

He had decided to be her starter.

The Treeko/Grovyle/Sceptile in my AU has a much higher age than a normal starter would have and more knowledge of life. Sometimes his behaviour will come close to that of a parent. His level also had been a little higher due to occasional fun-fights between him and some other Pokemon at the facility. It´s no wonder that he also had been the first one of the team to evolve closely followed by Yamask/Cofagrigus.

- Yamask/Cofagrigus: Me! and Treeko encountered him as they crossed a small deserted and desolate part of the region mostly inhabited by poison and ghost types just a few days from their hometown.

The Yamask seemed to be alone and hid badly behind the little that was there to hide behind as the two travellers took a quick break and meal. As it wasn´t hard to spot the ghost in his concealment Me! prepared a third meal and cautiously shoved it over the hiding Pokemon who took the food gratefully after inspecting it thoroughly.

When the two went on their way the Yamask must have followed them as they spotted him again when they erected their night quarters many hours later and quite far away from the bleak land.

´Weird, especially ghost Pokemon usually act in groups. Why is this one alone?´ Me! thought as she prepared another extra dish for the unusual guest before going to sleep.

In the course of the night Me! woke up again and again only to find the Yamask having come a little closer every time she opened her eyes until he had found his place right next to her and her Treeko on her camping mat by dawn.

So the next morning it had been clear to Me! that they´d have a new team member and as Treeko didn´t seem to mind the the new Pokemon in any negative way either Me! caught the Yamask.

Me! considered the Yamask could have only been a few weeks old as it didn´t act like a ghost type at all – sure every ghost Pokemon had their own personality but they were usually inclined to show certain character traits such as enjoying the one or the other prank or scare on their fellow Pokemon or even trainer – but this one acted more like it had just hatched. She had seen it several times before after all. This assumption had been confirmed in the next Pokemon Centre.

Yamask was a very timid, shy and overall scared Pokemon who would have always hid behind his trainer and would have always searched for shelter and warmth usually sleeping in Me!´s arms and thus in the middle of Me! and Treeko.

Me! never forced him to fight and in the beginning he didn´t seem too keen on doing so anyway. But the more he watched other Pokemon fight the more he seemed to want to try it on his own because one day – a fellow Pokemon trainer had challenged Me! – he simply hopped in front of Treeko and asserted himself. Treeko took a few steps back and gave him the opportunity. Yamask lost the fight horribly and when Treeko took over he evolved.

Spurred on by that event he tried to fight again and again and lost several times. Whenever he went K.O. he´d always watch Grovyle fight and tried to learn from him as best he could.

Until one day he won. From that they on he insisted on fighting all the more and as he actually won his fights now Grovyle barely had to take over.

When he evolved though he was overwhelmed and had a hard time coping with his new form. Other Pokemon – especially smaller ones – suddenly were scared of him and other trainers that had called his prior form “cute” were now frightened as well. He smiled at them but that only made it worse. He was barely able to move around let alone fight and what was he supposed to do with these appendages? He was especially upset that the couldn´t sleep in his trainer’s arms anymore.

The little self-confidence he had been able to built up through fights was blown away.

Me! hit a countless amount of books trying to help her Pokemon and while she could help him with some problems several other were left untouched.

Luckily though the team met another trainer soon after who had a fully grown/asserted Cofagrigus. The trainer and their Cofagrigus gladly helped and things turned better quickly allowing Me!´ Cofagrigus to move around properly and even fight again.

Me!´s Cofagrigus had never been one of the stronger Pokemon but he always tried his best and at some point his high level alone gave him an advantage.

Through all of the story Cofagrigus´ character barely changed; he had always been a timid and friendly Pokemon searching for his trainer´s affection and proximity seeing her as his mother. Though he had grown as a person being more self-confident (especially in fights) and self-aware having learnt that ghost-types were quick on inclining fear on others. The latter he would only “abuse” when things actually got dicey.

He would oftenly search for his trainer´s hand to hold while they were walking.

Me! had the idea to try and learn and teach Cofagrigus sign language as she had seen and read several documentations and articles about people teaching Pokemon this language. And a Pokemon with hands – how handy was that?

Me! sleeps in a sleeping bag on Cofagrigus whenever they are out in the wild with a ghost hand carefully placed on her shoulder. She would never admit that this causes her sacroiliac pain sometimes though.

- Ralts/Kirlia/Gardevoir: Male

- Sizzlipede/Centiskorch: Female

- Darkrai:

- Honedge/Doublade/Aegislash: Male

The other characters:

- (Name) and her Gastly/Haunter/Gengar “Na-na”: (Name) had never had a very close relationship with any of the family members as she had always been the odd one out even as she was little. Her grandmother – she fondly called “Na-na” - was the only exception as she also had been one to fall out the line.

Her grandmother had always used to tell her stories, myths and legends from all around the globe as she had been travelling as a young Pokemon trainer herself. (Name) had always loved these stories and her grandmother´s presence especially as she had always been the one to encourage her on whatever she did.

“I wanna be a Pokemon trainer just like Nana!” she once exclaimed in front of her entire family at a party. Her whole family immediately turned on her grandmother and accused her of planting stupid ideas in the little child´s mind. It wasn´t common to train Pokemon in this family but to get a good graduation and a well-paying job instead.

From that day on she was forbidden to see her grandmother. Though that didn´t stop any of the two to still be in contact; they wrote little messages and attached them onto “Nana”´s Murkrow to deliver the messages, whenever a lesson would have been omitted she would speed to her grandmother´s house to at least see her a few minutes, etc.

One day though no new message had arrived. Nor had any followed the next day.

She kneeled to her parents and pleaded to drive to her grandmother´s house and after a few hours they agreed and drove there. But when no one opened her parent´s started to worry as well and called the police.

…

A few days later was the funeral. (Name) had only been 7 years old and had lost the only person who she truly cared for and she didn´t cope with it well throwing temper tantrums, hitting other children in school, hitting even her parents.

They didn´t know what to do so they sent her to a children-psychologist with little effect.

One night when she had been lying awake again she had decided to go to the graveyard – she needed someone to talk, she needed her grandmother.

When she arrived at her grandmother´s tombstone she couldn´t keep it in any longer and yielded in crying.

Startled by the sound a Gastly flew up from behind the tombstone and paused in mid-air looking at the child below it. (Name) has had raised her eyes by now and looked at the Ghastly with big eyes.

She immediately remembered one of her grandmother´s stories in which a young couple had a baby but the mother died in childbed fever. When the husband and the baby visited the mother´s grave one night a ghost emerged from it and they were together again.

It had only been a legend from another region her grandmother had told her once but for (Name) it had been very real at this moment.

“Na-na” she had whispered and the Ghastly had come closer circling (Name) curiously.

To (Name) that had been an acknowledgement she was seeing her grandmother again.

From that day on she had been visiting the graveyard every night, so very happy to her grandmother again and talk to her and the Ghastly would await her arrival.

The psychologist had been assuming she would have made her grandmother up as some sort of imaginary friend as some children would do. Telling this her parent´s they were very relieved.

Until one morning a Ghastly came hovering down the stairs next to their daughter. The parents immediately panicked and yanked their daughter away from the Pokemon but when (Name) cried out “No! Leave Na-na alone!” they halted and called their daughter´s psychologist.

He advised them to better leave the Pokemon with their daughter as it did her extremely well and they complied unwillingly.

Why- of all Pokemon out there – did it have to be a ghost/poison type, wouldn´t have a Meowth or a Cleffa done too?

Name and Ghastly would have gone everywhere together from now on if others approved of it or not.

When (Name) had been old enough she started her own journey without her parent´s consent yet still they had known they couldn´t have kept her from going – she had been taken too much after her grandmother.

The two have been travelling the region from then on together knowing they can always rely on each other as many situations have already proven.

Of course (Name) has realized Na-na is not her actual grandmother long ago.

Na-na is female.

Institutions:

- The PSO (The Pokemon Safety Orgnaisation)

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anonymouse-thoughts · 4 years

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@starlit-winter @luluthorn I’ve been thinking about all the potential unexplored lore of kwamis in ML and since since the world is shit right now I made a small thing while trying to avoid real life. I figured y’all may enjoy diving back into headcanons if life is rough on your end as well. If I end up writing more little blurbs, you’ll get to meet the narrator of this little history. I think you’d like him though. He’s a real hoot and he loves jelly beans~

[In the beginning...] [Those three were the first...]

-----------------

If these words confuse you, be kind and grant some allowances as explaining things that existed before existence itself is a difficult matter. They’re meant to recount events in the way you will be most likely to understand, but even so you will need to listen closely and with an open mind. Your language limits the depth of this narrative and many parts are simply beyond what you or any human, regardless of how educated they are on such topics, could possibly hope to comprehend. Therefore, you must accept what you hear and trust that the things that seem contrary to what you have previously believed are as they are told. Interpret any inconsistencies as due either to your own limitations as a being of only four dimensions, or to explanations that are too detailed and off-topic to bother with at this time. If you feel something crucial has been left out, you may ask. And if an adequate response is possible and appropriate, you will be answered. But hold your tongue, at least until the end, and try to trust my judgment about what it is you should hear. These are my words, after all. With that being said, let us begin at the Beginning.

In the Beginning there was Nothing. This Nothing was not the black void humans typically envision, however. Instead, it was a bright, luminous Nothing. It was empty of any substance, but it was filled with raw energy. The white expanse was simultaneously everywhere and nowhere as space had not yet formed – or at the very least not in a manner that could be defined. Similarly, time existed in a paradoxical state of both being and not being. For either of these to exist in full, there needed to be something that served as a reference point. Something that relative distance could be measured against, that could anchor time and thus allow it progress. And, eventually, that something came to be. From the vast energy came a speck. This speck was energy that had slowed and condensed. This speck was mass. This speck was matter. This speck was everything. This speck was Everything.

The Nothing and the Everything existed and evolved. They were separate from one another, yet they grew closer and closer still. The Everything was dense and dark, emitting no light but rather taking it all in from the Nothing. The Nothing enveloped the Everything, gravitating towards it and feeding into it as it orbited around the speck. The Everything and Nothing became intertwined, giving part of themselves to the other. From these interactions arose two beings. One was a consciousness of the Nothing imbued with the three foundational properties of the Everything: space, mass, and time. This consciousness came to be known as Null. The other, an avatar of the speck that had been the Everything, now held the attributes that made up the Nothing. These are harder to describe as they are attributes of the immaterial – abstract tendencies for how energy behaves and influences matter. Two can be referred to as enthalpy and entropy. These terms are not exact but they come close enough. Simplified, the former is the tendency for matter to seek out its lowest energy state. The latter is the tendency for matter to exist in the state which gives it the greatest possibilities – the most chaos. The third is an amalgamation of the other two; it’s the reaction process itself and the matter’s state of being. Again, it’s difficult to describe. This second consciousness did not receive a name as it was not around for the rise of names. Over time, it’s been called Essence, All, Full, and Higgs; it’s been given titles such as The First and The Nameless One… But none of these were its true name. Its true name faded along with its consciousness during the Great Spark.

The Great Spark. That too lacks a proper name. It was an event – the event. It was the true start of the universe, its birth per se. Everything before that was merely its conception.

Null and All – for simplicity’s sake, The Nameless One shall be referred to as All – were aware. They were aware of themselves and of each other. Null still orbited All, being content with simply basking in the other’s presence. But All sought for there to be more. All was everything that was left from the initial Everything, but it was so… small. Every universe that now exists was contained within it. And, although Null was content to hover just out of reach, All desperately wished for real contact with its match. The two knew things would change if that happened though. Through some instinctual premonition, they could tell that the moment they were truly united they would never be together again. Null feared this and thus kept a distance, but All beckoned until the former gave in. Each consciousness learned the nature of the other, found the pieces of itself the other had held, gave itself to the other. The moment they touched had been both infinite and instantaneous. A great surge of energy rippled outwards as all matter was freed. And then the consciousness of All was gone.

Fragments of All’s consciousness were scattered through all that now existed, spanning through various dimensions and connecting the universe. In All’s place, three distinct beings were left. These were the parts of Null that had been held by All and which were now, once again, in the former’s domain. Null cared for these three and kept them safe. In Null’s presence, they grew until they too became aware. These were beings of energy and light, but they could manipulate matter and pass through different dimensional planes. They were the manifestations of the abstract tendencies that had been released by All. The first to awaken was the avatar of Creation, the one who embodied the very existence of matter. The other two gained awareness at roughly the same time, but in very different ways. Having remained in passive stasis, the avatar of Destruction had grown larger than Creation. On the other hand, the avatar of Chaos had phased through all its possible forms during its incubation and thus emerged smaller and more loosely bound than the others.

These were the first kwamis. And like all things perfect, they came in three.

#ml lore au #ml au

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mirrerover · 4 years

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Shipyard Stars

Spock’s bedroom on Earth would be called spacious by almost everyone’s standards. His parents allocated him almost the entire third level in the building -adequate room to meditate, study, and exercise- upon their arrival one year ago. His father out of practical reasons, his mother for reasons Spock believes might be partially grounded in emotions. Perhaps guilt for uprooting his life on Vulcan. Or out of an impulse to cosset him as human mothers are prone to. Both unnecessary.

The space is minimal and open, per Vulcan tradition, but never seems as small as it does with James Tiberius Kirk at the centre of it. With Jim comes a presence that seems to large to be contained by his adolescent body. Jim is a bright blaze of fire and gold, feelings boldly crackling in the air around him in a way that would be considered shameful on Spock’s home planet. But there’s never shame in the kaleidoscope of Jim’ many human emotions. Only anger.

Spock observes Jim from his mat on the floor. He had been meditating when interrupted by Jim climbing in through the window to unapologetically rummage through his drawers. Jim has taken to keeping many of his things at Spock’s place where they cannot be confiscated by his mother or teachers. A safe place as Spock’s parents haven’t entered his room or gone through his possessions without his explicit permission since he was four.

“May I enquire to the reason for your presence?”

Jim turns over one of his data pads in his hand before depositing it back where he found it.

“They’re sending her up soon.”

After a year on Earth, Spock has become very familiar with how humans will eschew clear and concise language in favour of a mixture of verbal and nonverbal cues. Jim in particular will start every conversation somewhere in the middle, brain ten steps ahead of his words, confident Spock will catch up to him. This time it’s easy. The newest addition to the fleet has been nearly all that Jim has spoken of these last few months.

“The final stages of assembly will require the ship to be in orbit.”

Jim’s bright blue eyes lock with Spock’s briefly before he returns to his task of depositing and retrieving his belongings in Spock’s space at will.

“It’ll be impossible to get to her up there.”

Spock knows this to be the truth. But he has also learned that for however loud and brash Vulcans and humans alike might consider Jim to be, the things Jim does not say or do can be just as telling.

“You do not possess access clearance to it on Earth either.”

Jim sighs and rolls his eyes towards the heavens, indicating that he finds Spock particularly obtuse at this moment. The gesture used to irk Spock. Maybe it still would if he wasn’t trained from a young age in controlling such a feeling because –despite Jim possessing a remarkable mind compared to his human peers— Spock has been at the top of his classes for his entire life, even back on Vulcan where his genetic heritage was thought to put him at a disadvantage. And these days he’s more aware of Jim’s tendency to manipulate others into action by appealing to their baser instincts. Like pride.

“Y’know, I’ve found that a lot of the times it’s better to ask for forgiveness than permission.”

There’s a tremor in Spock’s eyebrow that has started to plague him ever since his family moved to Iowa.

“You are choosing short term gratification over long-term gains. Your freedom gets reduced every time you break the rules people set for you.” Jim seems completely preoccupied with packing his bag while Spock considers this a notion worth his attention. “Some might call that short-sightedness.”

The tool Spock gifted Jim for his birthday, a scanner of Vulcan technology that had made Jim come alight upon receiving it, is shoved into the bottom of his bag.

“She would never let me.”

Spock has little doubt that Admiral Winona Kirk would not grant access to two members of the public to roam around on what was going to be Starfleet’s most technological advanced ship in the fleet. Regardless of one of them being her youngest son. Or the other the son of one of their most important foreign diplomats.

Still.

“You should address your query through the proper channels.”

“What’s the point of proper channels if they’re not gonna listen anyway? All that’ll accomplish is tipping them off.” Jim zips the bag closed with unnecessary force and smiles a smile that Spock isn’t sure could be qualified as a smile at all. A sharp and cutting thing showing teeth but no happiness. “Wouldn’t be the same anyway. There’s a difference with having to make do with what people give you and just going out there and capturing it.”

Spock has noticed a growing fascination on Jim’s part with stealing, both in the literal and metaphorical sense, that he firmly resolves to curb in the future.

“I agree,” Spock says, eyes firmly locked with Jim’s. “Things freely given and things taken by force cannot be considered the same.”

Silence can be even louder than words when wielded by James Tiberius Kirk. He lets his gaze wander pointedly across Spock’s room and the sophisticated educational tools provided within it. Material possessions that Spock doesn’t share with anyone but Jim.

“Some are given more than others.”

Jealousy. An emotion even humans strive to repress. But Spock knows that it doesn’t drive Jim as much as it controls many other humans he has encountered. Fairness. Injustice. Those are the primary motivators of Jim’s anger even at his relatively young age.

“Yes,” Spock acknowledges. “We are not born equal.”

There’s a pause to Jim, as if he’s deciding whether he will allow Spock's acknowledgement of his world view to kill the momentum of his growing anger. Within their time together, Spock has become apt at sensing and steering Jim’s moods in a way no one else in Jim’s life has. And Jim, possessing great skill at picking people’s motivations apart himself, seems to constantly swing between joy at being known by Spock and fearful rebellion at being so completely seen by another person.

Vulnerability. Jim hardly ever shows it like he does now, body still and voice soft: “What if this is my only chance? To be on a ship like her?”

Fear. Spock has discovered that in Jim fear and anger run close at times. Sometimes Jim chooses anger because he prefers it over the cold touch of fear. Fear at not living up to his parents, fear of never leaving Iowa, fear of never exploring the stars. His dreams slowly suffocating between the endless oppressive stretches of corn until they die.

“You’ll serve aboard many star ships when you join Starfleet,” Spock says decisively. Like there is no doubt Jim will join the ranks of Earth’s primary space branch. And Spock doesn’t have any doubts. Jim has many qualities that humans admire in one another. Qualities that would even garner respect from non-humans. From Vulcans.

Spock speaks the words as he speaks all his words. Because he thinks they deserve to be heard. And even though Jim is heading towards the exit, shoulders squared like he’s already willing his soft-spoken question into a soon forgotten memory, Spock has little doubt his answer is being heard. Spock finds his own words throw back into his face by Jim in the most inopportune of moments.

“So,” Jim says, caught in the doorway like a frozen storm, “you comin’?”

Within hours of first meeting him Spock had discovered that in Jim’s world there were clear sides. His mother, verbally abusive stepfather, and other figures of authority on one side. And Jim, fierce and alone, abandoned by his older brother, on the other. But since the start Spock had recognized the falsehood of this lone wolf narrative Jim had spun for himself. Their peers are drawn to Jim; they rally behind him in his school rebellions, captivated by his charisma, and cheer him on in his revolts. The day Jim realises the full scope of his magnetism would surely prove to be… interesting.

Also, there is Spock. Where Jim goes, Spock follows, despite his human mother’s reservation and his Vulcan father’s disapproval. Spock’s presence to curtail some of Jim’s most reckless impulses could only prove to be beneficial. It is the logical choice.

So Spock rises from the bed and smooths down the creases in his robes. “I shall accompany you.”

A siren starts to blare in the distance.

“You think that’s for us?”

They’d ventured deeper into the belly of Starfleet’s future flagship than Spock had anticipated beforehand. Jim had been prepared, as Spock had known he would be, circumventing the security with his mother’s cloned Starfleet credentials. The Vulcan technology Spock had gifted Jim in the past played a key role in this deception and had immediately forced Spock to re-examine the tools deemed save to bestow upon Jim’s moral creativity and technical aptitude.

Spock tilts his head to the left in consideration. “Our breaking and entering would seem the most likely explanation for setting off the alarms to a secured facility.”

“Yeah,” Jim agrees, seemingly in awe of the flashing red lights and ear-piercing shrill of the alarm bouncing off the walls in increasing urgency.

Then Jim does something so illogical it stuns. He laughs, deep and boisterous, shaking his frame with tremors as if his body can’t contain the wealth of mirth he’s feeling. A display of emotion so blatant it would be considered indecent back home. Unseen. Spock can feel heat rising to his cheeks.

“We should run,” Jim says when he catches his breath, pupils blown wide in excitement.

“It would be futile. The activated security measures would take too long for us to circumvent. The chance of achieving a successful escape is negligible.”

Another pearl of laughter rips from Jim’s throat. The sound tugging at a counterpart hidden somewhere deep inside that Spock keeps carefully locked behind years of rigid mental training.

“They’ll never take us alive.”

A nonsensical statement as Starfleet would never use deadly force on two adolescent children but Spock knows Jim is alluding to something else he can’t grasp the meaning of yet. Jim’s mother tongue is full of allegories and again Spock curses the language’s lack of precision and layered meanings. But Spock is yet to find a puzzle he can’t solve if he fully applies himself and he doesn’t see how a single teenage human boy could be any different.

Then Jim runs, a flash of gold down a corridor.

And Spock runs after.

@anarchisticandy @blueberrymafia, I finished a 1500 word Spirk drabble I started for you guys 2 years ago. XD

Inspired by one of our fav fics Magpie by @waldorph

#mirre writes #spirk #star trek fanfic #spirk fanfic

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dukeofviseu · 4 years

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TASK 001.

FULL NAME : antónio afonso de bragança MEANING: an apt noble of incalculable worth, from the district of braga.

BASIC INFORMATION

FULL NAME : antónio afonso de bragança

MEANING :

antónio: of incalculable worth, worthy

afonso: 'noble', alternatively 'ready', 'apt' - the first king of portugal

bragança: from the capital city of braga, of the braga district

MONIKERS / NICKNAMES : nino ( family & close friends ), tonho ( vitoria )

TITLE : infante de portugal, duque de viseu/duque de beja, governador geral do brasil ( infante of portugal, duke of viseu, governor-geral of brazil )

GENDER & PRONOUNS :

cisgender male

he / his

ETHNICITY : white european & african black

DATE OF BIRTH & AGE : march 28th, 1531 / twenty-eight

ZODIAC SIGN : aries

ORIENTATION : bisexual biromantic

MARITAL STATUS : unmarried

OCCUPATION : governor-geral of brazil

CURRENT LOCATION : castelgrande castle, switzerland

BACKGROUND

PLACE OF BIRTH : lisboa, portugal

RESIDENCES : paço da ribeira

RELIGIOUS VIEWS : roman catholicism

EDUCATION : antónio was educated accordingly for a second son in his time - firstly in how to behave properly as a royal, then to fulfill what was expected of him at all moments. he was raised to be a skilled strategist and counselor for his father and his older brother, who will one day assume the throne. aside from being taught his duties as infante, antónio had tutors for many of his interests - some that his father deemed useful for him as a prince, some that he didn't (such as specific subjects in arts and literature). antónio has great swordsmanship and horsemanship, as well as well stretched social skills that range from the lowest to highest social class.

LANGUAGES SPOKEN : portuguese ( native ), latin ( fluent ), spanish ( fluent ), english ( fluent ), italian ( conversational ) french ( conversational ), german ( learning )

ALLEGIANCES :

house of bragança ( first, by birth )

brazilian colony ( second, by vocation )

the holy roman empire & its allies ( third, by tact )

FAMILY :

king joão of portugal ( father )

queen carlota of barcelos ( mother, deceased )

beatriz of portugal, queen of spain ( sister )

prince sebastião ( brother )

infanta vitória ( sister )

OTHER FAMILIAL RELATIONS :

archduchess louisa of portugal ( aunt )

grand duchess augusta of styria ( cousin )

grand duke lucas of carinthia ( cousin )

archduke augustinus of bavaria-munich ( uncle )

king alonso of spain ( brother-in-law )

tomás, duke of barcelona ( brother-in-law )

infanta luciana ( sister-in-law, deceased )

infanta mariana ( sister-in-law )

infanta teresa ( sister-in-law )

manuel, prince of asturias ( nephew )

infante cristóbal ( nephew )

infante miguel ( nephew )

infanta inés ( niece )

infanta carlota ( niece )

APPEARANCE

FACECLAIM : keiynan lonsdale

HAIR COLOUR / STYLE : black in color. cut short, well trimmed and cared for, in an unusual manner for the time.

EYE COLOUR / SHAPE : deep set, black eyes, piercing in stare.

HEIGHT : 1.83 m / 6'0’’

BUILD : athletic in build ; little body fat due to extensive athletic leisure, toned but proportionate muscles..

SPEECH STYLE : antónio is a soft spoken young man, with vast rhetorical knowledge, which he uses accordingly to social situations. his portuguese accent is always present and considerably heavy to the ears, and he will speak in his mother tongue whenever he can. when talking amongst his cared for, he will enthusiastically ramble and often get lost in his own thoughts. in official situations (or around his father), his tone and speech pattern will change, turning into a calmer, more responsible sounding tone, proper of a young infante. antónio seeks to always better represent his country and family.

RECOGNIZABLE MARKINGS : squared jaw

BEAUTY HABITS : bathes regularly, likes infused water with herbs and flowers (the latter mostly for aesthetic pleasure). takes care of dental hygiene (accordingly to the time). carries a nosegay when strolling through in public. wears bright colored attire, harmonious with his country colors - mostly red, golden and bege - in undershirts, trousers, tunics and cloaks, frequently uses leggigns for protection or belts to secure his trousers. sometimes will wear wrap-over coats and puffier sleeves for more official and/or social occasions.

PERSONALITY

TROPES : crowd pleaser, like a duck takes to water, wake-up call

INSPIRATIONS : i literally do not know?? maybe a bit on dom pedro i just because of the whole 'choosing the colony over the metropole, despite him being far from like dom pedro (also cause dom pedro is from the 1700s-1800s)

MBTI : enfp-t ; the campaigner

ENNEAGRAM : type 9 ; the peacemaker

ALIGNMENT : lawful good

TEMPERAMENT : sanguine ( melancholic, phlegmatic, choleric )

HOGWARTS HOUSE : hufflepuff

POSITIVE TRAITS : buoyant, altruistic, merciful, principled, loyal, tolerant, gregarious

NEGATIVE TRAITS : tactless, quixotic, lenient, hesitant, submissive

HABITS : switching between accents/dialects/languages, pacing, overly expressing physically, restless leg

HOBBIES : athletic leisure (quarter staff, jousting, archery, riding, hunting), music related pastimes (listening to music, playing the moorish guitar and the harpsichord), painting, literature (reading and writing poetry, troubadours), academic endeavors, social encounters (drinking involved) & sailing

USUAL DEMEANOR : surrounded by his closest and most trustworthy, antónio is a bright and light young man, talkative and friendly, full of ideas and easily excited. he stands goofily and doesn't appease to royal standards. amongst court, he's stiffer and less expressive, unless in defence of his family and country's honor, but is more of a listened than a talker - unless in festive environment, when he's capable to mix his public persona with his personal social talents, an energetic and magnetic man.

HEALTH

PHYSICAL AILMENTS : none worth mention. always an active and healthy child, antónio never suffered from grave illness, only usual summer fevers..

NEUROLOGICAL CONDITION : from a young age, tutors and staff noticed antónio's restlessness. even when doing things he enjoyed, he displayed anxious behaviors, such as inability to wait for his own turn, having difficulty maintaining attention in one task - description compatible with symptoms of ADHD-C. despite the hardships of his lack of focus and generalized anxieties, antónio grew up to be an emotionally intelligent man, although only mildly aware of his own emotional dependency on his father's opinions. aside from the above and the sleep disorder, which will be described later), antónio struggles with a sense of lack of self-awareness. not a complete disruption of perception, which would make him identifiable with a dissociative disorder, but mild enough to be considered a sort of dissociation from material reality, such as depersonalization, in which antónio is detached from his surroundings in midst of anxiety episodes and finds himself as a third-party, observant of himself, but is aware that the feeling is not reality. in defiance of all the above, antónio remains a light-hearted individual, usually seem as a happy young man. he would not describe himself as unhappy in any given time, but is aware of his inner turmoils - only to categorize them as usual human emotions. he has no intention of pursuing explanations for his behaviors, nor treatment for them (despite his father's constant attempts of calming him down as a child).

PHOBIAS : fear of disappointing his family, fear of being forgotten

ALLERGIES : none

SLEEPING HABITS : antónio has difficulties in falling asleep, and once he does, he might wake up several times throughout the evening. he's gone through weeks at a time with minimal amounts of sleep, but his overall appearance and posture is hardly affected by it. antónio suffers from episodes of dissociation during sleep, such as being unable to dream in first person, which affects him while awake as he sometimes has a hard time knowing if he's awake or dreaming. overall, antónio sleeps late when he does, just as sun's about to rise, and wakes up throughout his sleep several times, but eventually gets up around 3-5 hours later, average. when he has early duties, he often does not sleep.

SOCIABILITY : extremely extroverted, antónio will make a point to talk to as many people as he can in any given situation, whatever the matter is. he's constantly and impatiently looking for new acquaintances and companies, whether it be for sexual reasons or merely social ones. he is usually seen as the life of the party in many people's eyes. although he prefers writing, painting and studying by himself, all his other leisure activities are prefered to be done with groups of people. antónio is more than capable of spending good alone time, but prefers to keep the company of others.

ADDICTIONS : antónio is exhaustingly drawn to physical activity - for leisure and health purposes. considered addiction of not, he participates in competitions and tournaments often, thrilled by the adrenaline suppressed in it. besides that, he's not much of a heavy drinker, choosing to do so only in social gatherings or to impress someone (he's that guy). he enjoys the feeling of being drunk, and is always aware of his limitations with alcohol.

#bgtask #anxiety tw #dissociative disorder tw #insomnia tw #adhd tw #idk just making sure!!!!

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sweetbitterpdf · 4 years

Note

Any tips for learning french? :(

ooh this is such an interesting question!!

i’m gonna first give context on my experience with french. as i said in a previous ask, i spent nine years learning it. this was in school, and for the first three years, it was in mandatory classes (there’s no national standard for canadian french education across all the provinces, but in my schooling system you had to start in third grade, and you could stop in tenth grade if you wanted to), the latter six years (7th through 12th) were in what’s called french immersion, an optional and—evidently— more immersive french education than the mandatory french classes that everyone had to take (we called it “core french”)

so i spent a long time learning french. when i graduated high school at 18, i had been learning french half my life. i also got an award for getting the highest marks in the french class i took in grade 12 which was, frankly, mad litty, still one of my crowning achievements, go 2017 em

... but telling you ‘dedicate nine years of your life to it’ clearly isn’t super practical for someone trying to learn it! so here are some more concrete tips:

vocab, vocab, vocab!!

the MOST IMPORTANT part of learning any language. keep track of vocab in any way possible. you can write words down, make physical flashcards, or use a resource like quizlet to make flashcards electronically. this is useful for french because of the gendering of nouns, which english doesn’t do. it’s a strange concept to grasp, and there isn’t a whole lot of logic to it— of course ‘girl’ is feminine (la fille) and ‘boy’ is masculine (le garçon), but it can be hard to remember whether something like the word ‘chair’ is masculine or feminine (for the record, it’s feminine— la chaise).

so much of language learning is just rote memorisation, which i think a lot of people have trouble getting the hang of. it’s a lot of brute work, a lot of boring work, but seeing your fluency progress is more than worth it, in my opinion!

“but em,” i hear you ask, “where do i get vocab?”

watch french tv/film & listen to french music

i started doing this around sixth grade i believe? it was part of our daily homework, to go home and watch TV in french.

and, if i was lucky, i would understand a word or two in a sentence.

this one seems very daunting at first! and it’ll be super confusing initially, with or without subtitles (that one’s up to you! i’d recommend subtitles at first, before trying to watch without them, or maybe watching with french subtitles!)

skam france (which i’m assuming you’re into, if you’re following me...?) is a lovely option for consuming french media.

listening to music in french is another excellent way to learn! you can look up the lyrics, in french or english, and work your way through the song! i still have to look up lyrics to french songs pretty frequently. though, mind you, i do that for english songs pretty frequently as well oop

there’s this pre-conceived notion that, when you do something like this, you have to understand everything for it to be a success. that’s not the case— far from it, in fact! i spent so long— and in some cases continue to— only being able to get the vague plot of the film/show i was watching, only catching maybe half of the words. but— and stay with me here— that’s an achievement in itself! you aren’t going to ever completely know a language, even your native one! i look up english words all the time, still!!! and understanding the general plot of a story in a language that you’re learning is another one of those super gratifying feelings that you encounter while learning a language.

utilize online resources

this is a huge one, and also a broad one. by this, i mean stuff like duolingo (which i advocate for wholeheartedly!! it has a really good structure lesson-wise, and french is one of its most extensive courses, if not, the most extensive one!)

but by this i also mean things like PDFs of french textbooks! those will give you a similar structure to being in an actual class— i would recommend taking a class if you can, because it forces you to continue learning, even when you don’t want to (because you aren’t always going to be super motivated, let’s be real), but i know that’s not an option, for a lot of people.

and i also mean things like looking up soundbites for introductory french learning. youtube would most likely have plenty of stuff like that. it’s one thing to learn from one source— and if you want to start easy, that’s absolutely fine!— but learning from multiple places would work wonders on comprehension!!

read in french, write in french, speak in french

this is another daunting one, but another ridiculously necessary one. you may feel like you aren’t ready to do any of these things, especially very early on, but one of the biggest tips i have for learning french, or any language really, is to do these as much as you reasonably can, right from the get-go.

another thing i would HIGHLY recommend— and this forces some people to embarrass themselves— is to start off by consuming french media made for babies.

think about it this way: learning a new language is sort of like starting your entire life over. rather than being an english-speaking adult (or teenager), you’re now a french speaking baby. do babies follow proper sentence structure? do they read novels? do they get everything right, linguistically-speaking? no, of course they don’t! conversely— were you born fluent in your native language? or did your parents and family and teachers teach you, word by word, until you got to where you are now?

speaking french aloud is probably the most intimidating part of learning it, at least to me. mind you, this is largely due to circumstances (anglophone teachers, and many of them, leading to me having an awful accent, when i speak french!). for a lot of people, myself included, the fear comes from messing up, especially when talking to francophone people (native french speakers), because there isn’t as much time to think, to verify grammar/vocab/etc.

but this ties in to my baby idea, from above— think of the amount of patience and flexibility that’s necessary when talking to a toddler. do you always understand what a toddler is trying to say to you? no, but you do some of the time! and as the toddler gets older and they learn more and more, conversation gets easier. also, if they get something wrong, you correct them (well, sometimes!) gently, and patiently. you’re basically a toddler that’s more willing to learn than an actual toddler is. communicating with native speakers is key— people that can give you constructive criticism, while also treating you the patience that you deserve. if you know a french person irl, ask them if they’d be willing to talk with you in french, so that you can practice. alternatively, another great way to practice like this if you don’t have someone like that in your life is via email or even snail mail! worldpenpals is lovely for either— you can search for people by country, by language, etc., and once you start talking, you can keep it online, or exchange info and write letters to each other!

another pre-conceived notion that runs rampant in language learning, that i’ve noticed, it the idea that you either know a language or you don’t, that you’re either fluent or you’re not.

and it’s just... not that simple! like at all! like i said a little while ago, i’ve been speaking english for (roughly) 20 years. but would i say that i know english? that i know the entire language? absolutely not!! i look up new words on like a weekly basis!!

if you’re trying to learn a language so you can say “alright, i speak it, i’m done now,” then you’re not learning a language with the right intention! languages are organic things, they grow and change, and you’re never not learning a language, you know? each language is its own little world, and there are so many people who are willing to help you explore it.

#asks;#amis anonymes;#i hope this is at least like... semi-coherent lmao #i just LOVE talking about languages holy shit communication is so wild #also anon i'm not a native speaker by any means but i can definitely help you practice (up to a certain point!)#hope u enjoyed my novel #thx for coming to my TED talk uwu

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kat-hawke · 5 years

Text

Listen When I Speak

The Voice

► ACCENT “country” │ “backwoods” │ “sailor” │ “noble” │ foreign speaker

Having been out of Gilneas since twelve years old, most of Kat’s Gilnean accent has faded over time. Still carrying a lighter accent compared to other Gilneans, she has adapted to a more proper speech in her profession and audience. Though with enough alcohol the accent grows thicker and her country born Gilnean begins to bleed through.

► ELOQUENCE

educated │ uneducated │ doesn’t use contractions │ shortens words │ just makes up their own words │ old English │ dependent on mood or setting

From a young age, and through the Gilnean accent, Kat tends to drop the t’s and g’s from certain words, as well as the back end of most contractions. Some words are shorted to their base sounds and merged with the following, such as “the” and “to” when speaking quicker or emotionally charged. In the work setting and noble gatherings, Kat’s speech is slower and to the point, the accent growing lighter. Part of the job is adapting to the setting and people.

► TONE

loud │ soft │ room volume │ high pitched │ low pitched │seductive │velvety │ speech impediment │ abrasive │ gruff │ shrill │ booming │ matter-of-fact │ toneless │ husky │ gravelly │ breathy │ nasal │ barking │ chatty │ condescending │ musical │ suave │ world-weary │ brash │ authoritative |

Kat’s tone is simple and easily changed to suit the audience and her intentions. In normal conversation her tone is lower pitched with a suave coupling of the accent. Self trained to manipulate easy targets, her tone can shift to lure others in like siren, this was further honed through formal training upon recruitment to specialize in information gathering. Though her current position and long line of hardships over recent years have begun to leave a more condescending and authoritative tone in her voice.

► HABITS

refers to self in third person │ incorporates different languages/terms/sayings │ uses gender-specific terms │ adapts to audience │ changes pitch around animals or children│ shifts tone when lying │ gives others nicknames │ uses terms of respect towards others

Having learned to speak Thalassian, Darnassian, Pandaren, and a few lines of Orcish, Kat is well versed in languages key to her job. Coupled with the already known Common and rarely used Gilnean-code-speak, one of the piercings in her ear is enchanted with tongue. This aids in understanding a foreign language but not in reading it. In formal settings proper titles are used, however Kat often drops the titles in casual conversation unless respect is earned.

► VOICE REFERENCE

When asked for a voice reference I often use Eliza Taylor. She has the tone and accent I picture Kat speaking with, but can also adjust her accent and tone when needed.

Tagged by: @shewolf-jacqueline

Tagging: @alyssa-ward @roses-and-arrows @tirasiantrouper @westfallbound @forhonorandglory @paigemaster-wra

#tagged #completed #|character|

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brucearnold · 5 years

Text

Modal Sequencing -Two Note for All Instrumentalists

Two Note Modal Sequencing for All Instrumentalists

Modal Sequencing has long been a tool that musicians use to create great melodies and to improve their technical ability and aural comprehension. This series of courses covering Two, Three and Four Note Modal Sequencing provides a student with a comprehensive range of information on multiple levels to help understand this crucial aspect of music. Twenty Nine different modes are covered for a student to practice and master these important structures. Each course from Modal Sequencing shows how every melodic sequence could be changed to create not only other melodic but also rhythmic permutations, which gives an improviser many choices when applying these melodies. A PDF showing the modal sequence along with MP3s and Midifiles to hear each exercise have been included for all sequences. This greatly aids overall development because the student can check their accuracy when playing, singing or doing ear training exercises. Each course of the Modal Sequencing provides you with multiple exercises that you can do to improve your ear training skills. No matter how you use these exercises, by working with them you are using musically familiar patterns that will prepare you to improvise or compose over common melodies you encounter throughout your musical life. There are many ways these modal sequences can help your musicianship. Below are just some of the uses you will find for these courses: Developing new ideas for improvising whether you are a beginner or an advanced player Developing a deeper knowledge of the scales included in this study. Developing your technical skills. Modal Sequences are a "super" chops building machine. Developing your ear training skills by singing and hearing various examples. Developing the ability to both technically and aurally recognize common melodic movement. Developing a melodic language that allows you to be more compositional in your improvisations Developing a way to organize scalar ideas. Developing a way to use these melodic patterns on multiple metric levels. Please Note: If you are a guitarist we highly recommend that you also work with the Guitar Technique and Physiology Course so that you develop the modal sequences with the proper technique.

What's in each Course?

First, if you look further down on this page you will see examples from PDFs from the series so you can get a better idea of the layout of each course. Modal sequencing is playing through a scale with a pattern, such as playing a scale ascending and descending with thirds. This type of technique has been around since at least the 17th century. One listen to Johann Sebastian Bach's music will give you many examples of using modal sequencing as will listening to any Jazz, Blues or Heavy Metal player. The Two, Three and Four Note Modal Sequencing course uses 29 scales which include the following: Click on triangle to see lists of scales: Major Dorian Phrygian Lydian Mixolydian Aeolian Locrian Melodic Minor Ascending Dorian b2 Lydian #5 Lydian b7 Mixolydian b6 Locrian Natural 2 Altered Diminished Symmetrical Diminished Whole Tone Harmonic Minor Mixolydian b2b6 Major Pentatonic Minor Pentatonic Blues Harmonic Major Dorian b5 Phrygian b4 Lydian b3 Mixolydian b2 Lydian #2#5 Locrian bb7 This course concentrates on Two Note Melodic Sequences through 29 scales. There is a Bundle which contains all 29 scales or individual courses that contain only a subset of these scales. Below is a breakdown of the individual courses available for Two Note Modal Sequencing. Two Note Modal Sequencing Bundle contains all 29 Scales Two Note Modal Sequencing Group 1 contains the modes of Major Two Note Modal Sequencing Group 2 contains the modes of Melodic Minor Ascending Two Note Modal Sequencing Group 3 contains Symmetric, Major/Minor Pentatonic, Blues and Two modes of Harmonic Minor Two Note Modal Sequencing Group 4 contains the modes of Harmonic Major

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why You Should Work With 2 Note Sequences Working with Two Note Modal Sequences Working with Sixths Two Note Modal Sequences Moving in Major Thirds Two Note Modal Sequences Moving in Fourths Two Note Modal Sequences Applying 2 Note Sequences to Ear Training.mp4 Different scales are used more in certain idioms. Here are some overall recommendations: If you want to develop a well rounded music education and know 29 of the most used scales purchase the Bundle(s). Traditional rock players should choose Groups 1 and 3 Jazz players should choose the Bundle(s). Country music players should choose Groups 1 and 3. Blues only players should choose Group 3. Heavy Metal players should choose Groups 1, 2 and 3. Country music players should choose Groups 1 and 3.

Quick Links to Each Course

Each course includes a massive amount of PDFs, MP3s and Midifiles so that you can customize your study. Purchase the Bundle(s) to save money or individual courses if you prefer a single download. Two Note Sequencing Bundle Two Note Sequencing Group 1 Two Note Sequencing Group 2 Two Note Sequencing Group 3 Two Note Sequencing Group 4

Two Note Modal Sequencing Bundle

Two Note Modal Sequencing Bundle is the most cost effective way to study!

The Bundle contains all 29 scales in the Two Note Series. It will allow a student to learn the most commonly used scales on their instrument plus it contains multiple ear training exercises to internalize the common melodies that are used in all types of music. If you want MEGACHOPS then look no further. These modal sequences will give you a massive quantity of awesome melodies and if you use the midifiles you can speed up your technique over time. These modal sequences are also great for exploring new improvisational ideas, so if you are tired of playing the same old thing, then this is the ticket to expanding your melodic palette!

Two Note Sequences Contain All Melodic Intervals Within an Octave

Remember that the two note modal sequences contain all melodic intervals so learning these sequences prepares you for any melody. In addition, the 29 scales provide you a lexicon of multiple melodic intervals within each sequence so you are covering a large number of the melodic shapes you may find in music.

Who should use the Modal Sequencingcourse?

The quick answer is EVERYONE! But seriously, these sequences help you develop new ideas for improvisation and they will show up in your playing fast. They built build mega-chops but they also make your improvisation more compositional because you can pick sequences that have more affinity with a particular song rather than playing the same type of melodies on all songs. Modal Sequences also help you learn your instrument better and help you recognize scale patterns quickly. Modal sequences sound good at a slow or fast tempo so you will get great use out of them in your improvisations.

Playing Modal Sequences at Different Metric Levels

Playing modal sequences at multiple metric levels not only makes every sequence you learn more useful, but by also changing the type of rhythm used you can further disguise the sequence. Our Two Note Modal Sequence course goes into great detail on these subjects.

Examples from the Bundle Course Package.

Below are some examples from the Bundle Course which contains all 29 modes. There are five different types of files and each is tailored for a specific student level. You will find even more examples if you scroll down into the individual course offerings. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for an advanced student to start because the only the ascending part of the scale is shown and it is assumed that the descending part will be easy to calculate. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for a Eb Lydian b7 Scale. Each line contains a new sequence. This is a good place for an intermediate or advanced student that only needs to see the sequence written ascending. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Minor Pentatonic modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Lydian#2#5 scale using 6ths and ascending and descending one octave.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of exercise which shows you just one sequence. This example shows both permutations of a 2 note modal sequence in B Phrygian b4 scale using 3rds ascending and descending one octave.

There are 1008 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Save money with the Two Note Modal Sequencing Bundle.

The bundle is a great way to save money. If you buy all four of the Two Note Modal Sequencing courses separately it will cost you 49.96. Get them now for the low price seen below.

Get the Two Note Modal Sequencing Bundle

ISBN: 978-1-59489-427-5 This course includes: 54 Page PDF, 6 Videos 15 minutes in total, 6,048 MP3s and 6,048 Midifiles Add digital copy to cart - $39.99 Status: Currently Available, Digital book is available for immediate download!

Two Note Modal Sequencing Individual Courses

If you prefer to order one of the 4 groups that comprise the Bundle you will find information on each below:

Two Note Modal Sequencing Group 1

Each group consists of a number of related scales. Group 1 covers the modes of Major as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 1: Major Dorian Phrygian Lydian Mixolydian Aeolian Locrian The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Any seven note scale will have 6 intervals i.e. 2nds, 3rds, 4ths, 5ths, 6ths and 7ths and each interval has two permutations for a total of 12. Therefore each scale will be permutated through these 12 combination in all keys. There are five different types of files found in this course. Two of these five types have audio in the form of MP3s and midifiles. Five different types of files are included because students require different types of files depending on their musicianship. As a student gets to know a scale or a sequence better they usually can deduce the rest of the sequence without seeing it totally written out. Keep in mind that you will find slight differences in how the modal sequence is written in different examples. This is done to make the sequence resolve on the beat.

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why you should work with Two Note Modal Sequences Working with two Note Modal Sequencing Working with sixths Two Note Modal Sequencing Moving in Thirds Two Note Modal Sequencing Moving in Fourths Two Note Modal Sequencing Using A Minor Third and Whole Step Three Note Modal Sequencing Applying Modal Sequencing to Ear Training

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for a advanced student to start because the only the ascending part of the scale is shown and it is assumed that the descending part will be easy to calculate. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Lydian modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Major scale using 2nds and ascending and descending one octave.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see an example of the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in C Major scale using 2nds and ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 1 download today!

ISBN: 978-1-59489-415-2 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

Two Note Modal Sequencing Group 2

Each group consists of a number of related scales. Group 2 covers the modes of Melodic Minor Ascending which as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 2: Melodic Minor Ascending Dorian b2 Lydian #5 Lydian b7 Mixolydian b6 Locrian Natural 2 Altered The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Videos Included!

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for E Melodic Minor (Jazz Minor.) Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Altered Scale modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files This example shows both permutations of a 2 note modal sequence in C Dorian b2 scale using 5ths and ascending and descending one octave.

This example shows both permutations of a 2 note modal sequence in C C Dorian b2 scale using 2nds and ascending and descending one octave. There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of exercise which shows you just one sequence. This example shows both permutations of a 2 note modal sequence in Db Mixolydian scale using 2nds and ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 2 download today!

ISBN: 978-1-59489-416-9 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

Two Note Modal Sequencing Group 3

Each group consists of a number of related scales. Group 3 covers two modes of Harmonic Minor and these scales: Two Symmetric, Two Pentatonic and the Blues Scales which as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 3: Diminished Symmetrical Diminished Whole Tone Harmonic Minor Mixolydian b2b6 Major Pentatonic Minor Pentatonic Blues The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Because this Group contains six, seven and eight note scales there will be different numbers of permutations for scales with different number of notes. There are five different types of files found in this course. Two of these five types have audio in the form of MP3s and midifiles. Five different types of files are included because students require different types of files depending on their musicianship. As a student gets to know a scale or a sequence better they usually can deduce the rest of the sequence without seeing it totally written out. Keep in mind that you will find slight differences in how the modal sequence is written in different examples. This is done to make the sequence resolve on the beat.

Videos Included!

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for D Blues Scale. Each line contains a new sequence. This is a good place for an advanced student who doesn't need the whole sequence written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for Bb Major Pentatonic. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Harmonic Minor scale using 4ths and ascending and descending one octave.

There are 528 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in Bb Symmetrical Diminished scale using 1 and b5 and then ascending and descending one octave.

There are 1056 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Get The Two Note Modal Sequence for all Instrumentalist Group 3 download today!

ISBN: 978-1-59489-417-6 54 Page PDF, 6 Videos 15 minutes in total, 1584 MP3s and 1584 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

If you prefer to order one of the 4 groups that comprise the Bundle book you will find information on each below:

Two Note Modal Sequencing Group 4

Each group consists of a number of related scales. Group 4 covers the modes of Harmonic Major which as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 4: Harmonic Major Dorian b5 Phrygian b4 Lydian b3 Mixolydian b2 Lydian #2#5 Locrian bb7 The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Videos Included!

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Harmonic Major. Each line contains a new sequence. This is a good place for an advanced student who doesn't need the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for C Mixolydian b2. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Bb Lydian b3 modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in B Phrygian b4 scale using 3rds ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 4 download today!

ISBN: 978-1-59489-418-3 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Reviews

What people are saying: I contacted Bruce because I was trying to get my improvisation going with the modes of major. He recommended doing some modal sequencing to give me ideas because honestly I had very few. I'm not much of a reader but by playing through a few of these sequences I quickly got some new ideas. I also purchased his "One Minute Lessons" which really helped me with adding in articulation to these various melodies. W. Volheim I'm a sax player and really have to thank you for these modal sequences. Especially the Harmonic Major ones. It's really hard to find any good information on them on the internet and your information on how to apply them to diminished chords really showed me that these are important scales. I also like the various types of files found in the course. I needed everything spelled out for me when I started but now I just look at the ascending part of the scale and can figure out the rest. I highly recommend this course it's one of a kind!J. Anders Being a singer it's always hard to find good courses that help me learn improvisation. This course with its MP3 was exactly what I needed. Having audio files really helped me hear these melodies and Mr. Arnold was correct I started just naturally singing these melodies quickly in my improvisations. I would recommend this course wholeheartedly. G. Butterfield I'm not one for books that much but I do like this course. I can just spend a few minutes looking at a sequence then I've got it and can start sticking it into my improv. I also found the information in the book useful. It was direct and to the point. S. Takeshi

Have a story or a review you want to submit. We would love to hear from you please send us an email.

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firstpuffin · 5 years

Text

Using language choices to point towards a certain image.

-Note (08th of February)= So I received the feedback for the assessment I wrote this about and I appear to have the First and Second - orders incorrect. The First-order would appear to be a connection between the feature in question and a group; the Second-order is this connection plus assumptions or ideology. I don’t know if I got that wrong in this article which suggests that I still don’t understand it properly.

I wanted my readers to go into this piece being aware that the content is... maybe incorrect.

I’m gonna cheat with this upload, sorry.

First of all, to get you interested, Indexing is a means of how we construct our self-image and interpret other people’s personas via how they dress, act or speak. It is quite closely connected to stereotyping. Naturally I will be primarily focusing on how people speak, accents and dialects, as that is what I am studying, but you can’t talk about Indexing without focusing on a few areas.

So how am I cheating?

I’ve got an assessment coming up on something called Indexing and I was hesitant to spend time on a personal, non-professional and non-academic blog when I had this to do. The assessment should really be my priority, especially as I have another assessment that I really don’t want to do, and I have a eulogy to write. So I’m kinda busy and was seriously considering not uploading, but then I realised that I could combine my goals.

So I’m gonna write this article on Indexing and hope I don’t plagiarise myself. Two birds, one stone (or scone) and all that.

So where do I start with this? I think an example would help me learn so I’ll do that.

There is a particular variable common in British English called the “glottal-stop” and that is basically when we don’t say the T sound in words like butter. It becomes something like “buh-er”. It’s often considered to be lazy because it is not “propa’ English” and because we aren’t moving our mouths enough to make the T sound. Try it. Say butter, or better or, ironically, glottal and don’t let your teeth meet. After the initial consonant, keep your mouth open.

Congratulations, you are speaking British English.

So what does this variant of the T sound actually say about the speaker? Well practically speaking, it is less likely to occur during careful or formal speech so it is likely that if you hear the glottal-stop then the speaker is being informal. There is no semantic, or dictionary, meaning in a glottal-stop so the meaning is pragmatic (practical). That is “First-order Indexing”.

Second-order Indexing involves the listener’s interpretation. As I said, this variant is common in British English so you may assume that the speaker is English and that they are lazy for speaking like that, even if they are neither. This is where Indexing crosses over into stereotyping.

And then there is the “higher-order”, a name which disagrees with me because it doesn’t follow the established order. Shouldn’t it be Third-order? Whatever.

Higher-order Indexing is also known as “wine talk” which will also work as an example. This higher-order refers to the conscious effort of using technical words and jargon to portray an image. For example, by using the terminology usually reserved for wine tasters a speaker will attempt to be seen as the well-bred, educated sort of person who knows about wine.

Let me try again; a lot of people across the world know about the BBC accent which is considered the posh, “proper” way of speaking. It was common in the past where BBC presenters would use this accent and you wouldn’t hear a glottal-stop anywhere. By using this BBC accent, the presenters were putting over an image of a proper and well-educated Englishman (or woman, I don’t believe we have a unisex term). Chances are they would go home and speak a more common accent, stopping glottals (unofficial terminology, don’t mimic this) and dropping H’s.

In case that wasn’t clear, people will choose words and accents to put across a particular image, like playing at being medieval knights and saying “thee”, “thou” and “art”. And we do the same outside of language all of the time: a man shaves his head to be practical; we see a man with a shaven head and you may think he’s a thug; if your friend wants to look like a thug then he may shave his hair.

This is a simplistic explanation, but I want to imagine this man is wearing a suit. Suddenly he’s not a thug but maybe a professional, too busy to deal with hair. Give him a studded leather jacket and he’s suddenly dangerous again.

Now imagine a woman with a shaven head and what do you think? It may be outdated but she is likely neither threatening nor professional. You may even think that she’s fighting cancer or something similar.

We do this all the time with language and often don’t even know it.

Now this isn’t to say that a glottal-stop equals a British speaker, other languages appear to use them too, but should a glottal-stop appear in the English language, with examples of h-dropping (not saying H like “ ’ouse” instead of “house”) and longer vowel sounds then you might safely assume they are speaking with a Cockney accent rather than speaking Arabic (which apparently has glottal-stops). The skinhead with studs in his jacket, or the bald man in a suit. It’s everything together that works to index a specific image rather than the one thing on its own.

I feel that I should point out that the interpretations of these things are not necessarily correct. A bald man in studded leather is no more likely to be violent than a bald man in a suit; dropping the H in words isn’t necessarily lazy or a sign of poor-education; the point is that it is how people interpret these signs.

All of this Indexing is a part of semiotics, which is basically the study of signs and symbols in communication. Words are symbols as are clothes and accessories. I don’t always do so, but I like to dress smart: dress shirts, ties and blazers. I don’t always wear these, in part because dressing formally in informal situations is a fantastic way of creating space between people and heaven knows I have a hard-enough time communicating.

I also have a Pokémon wallet because I value the series from my childhood. I am fully aware that big and rare words actually make you look dumb, with stupid people using big words to try and look smart (higher-order Indexing, remember?) but I also love words so I’m torn between my passion and not looking like a pretentious prick.

-I went through my cringy “intellectual fedora” phase roughly a decade ago and learned from it-

This is all indexing, which is all semiotics. Fascinating. I tell you, I’ve had three modules this semester, and I’ve only enjoyed this one.

The thing about university is that you can’t just talk out of your rear-end or copy what your lecturer has told you, you need real academic sources, not cool puffin themed blogs, and you need to have read enough of them that when you cite them you can be sure that they say what you say they say. Unfortunately, a lot of academics seem to write for some perverse masturbatory reason rather than to actually explain their ideas and reading their essays can be hell.

I have to take out all of the extra words just to remember how many of the sentences began.

Still, the higher-order Indexicality that I spoke of came from Michael Silverstein’s 2003 paper, although I can’t find out where the first two orders came from. Was it Silverstein? Was it William Labov who writes just as confusingly as Silverstein? If I am to go by how Moore and Podesva (2009) explain it then it is all Silverstein, but not only does Labov have his own, similar three-step method but someone called Blommaert has come up with something they call Order of Indexicality and I don’t think they are the same. Why so confusing?

Still, that ramble has four papers that I could cite and there’s more considering the same authors revisit their own theories later.

So at this point I’ve finished writing my assessment and don’t have a whole lot else to add. Indexing is fascinating and I’m still a long way from understanding it all. I keep finding myself wishing that I had chose a purely English Language course rather then a Joint Honours, so then I would have more time to focus on what I’m learning.

Ah well. I have nothing left to say. Maybe not very professional to end like this but hey, I’m not a professional.

#first puffin #english language #indexing #indexical order #sociology #sociolinguistics #Michael Silverstein #words #language #semiotics #accents #dialect #thosetagswilldofornow

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christimesteele · 3 years

Text

Transcript - Time Talks Ep 37 - Felicia Rose Chavez on Poetry, Dismantling Patriarchy, Anti-Racist Writing Workshops, Mutualism, Building Power, and Grief

chris time steele 00:06

Welcome to Episode 37 of the Time Talks podcast part of the channel zero network. This month I had the opportunity to speak to Felicia Rose Chavez, along with being an educator and professor, Chavez is an activist, writer and author of the book The Anti Racist Writing Workshop: How to Decolonize the Creative C lassroom. In this episode, Felicia Rose Chavez spoke about poetry, dismantling patriarchy, anti racist writing workshops, mutualism, building power and grief. Thank you to awareness for the music. And here's a brief jingle by fellow channel zero network member.

Silverthreads 00:41

still walking, still waking is co hosted by me carla bergman, and me Eleanor Goldfield. This is where we interview long term organizers and radicals about their watershed moments, what they've learned along the way and how they maintain their hope on this path, dreaming and building emergent worlds for a present and future anchored in justice and freedom for all because there are forks in the road. But they all lead us home to the fight to the build

chris time steele 01:38

You wrote about the influence of June Jordan's Poetry for the People. I wanted to read an excerpt from it because I feel your book does this just so much as well and your writing. I read all of your, most of your short stories and essays that I could find online as well which were just so powerful. She writes, "poetry is a political action undertaken for the sake of information, the faith, the exorcism and the lyrical invention, that telling the truth makes possible. Poetry means taking control of the language of your life. Good poems can interdict a suicide, rescue a love affair and build revolution in which speaking, and listening to somebody becomes the first and last purpose to every social encounter." And building on top of this, I was wondering if you could speak on a transformational moment. I don't know if this goes back to when you went to Albuquerque Academy, or after it or before or maybe it's a process, a moment that radicalized you to interrogate the white supremacist capitalist patriarchy further, but to also fight against it, but also building outside of it?

Felicia Rose Chavez 02:48

That's a powerful question. I don't believe that it's any one moment. I mean, I think there are shocking moments that we lived through, that we can point to and remember, by the narrative that I've had the opportunity to reflect on is one of consistent lived experiences that I like to think of as splinters right, they just kind of splinter under the skin where you're like, something's not right about that. That's not, is it just me, am I being crazy? Am I being overly sensitive, or why being too critical? And it happens again, and again, and again, until something's just like so much in your face that you can't, you can't deny it anymore. And you have a choice to make, you know, do I, you know, shake my head walk away, talk about it later, rant privately with my friends, my parents, my partner, or do I take action against it. And I think it took me many, many years to finally commit to that action. First through proper channels. You know, like in graduate school, I was petitioning for change and working on academic committees, working with faculty to create my own class. And nothing happened as a result of that. I mean, it was a lot of extra labor with no real fruit. So it took me writing down my own experience on the page and being vulnerable, and saying, hey, you know, I'm going to I'm going to count these splinters, I'm going to take them out one by one. And that started as early as, you know, elementary school where you're like, ah, why am I being treated differently as a student of color, you know, and then throughout middle school in high school, as you said, I went to a private predominantly white school in Albuquerque, New Mexico. And by that senior year, I was furious. The context of college changed everything. You know, when I when I saw how easily my peers kind of transitioned into higher education, as though it were all laid out for them. And it was, you know, it was it was predestined. And for me it was real work, something I had to kind of claw for, and hang on to. So, you know, I guess the ability to articulate what it is that was wrong, presented itself in my teenage years. But it wasn't until later in life in my in my 30s, really where I was able to put it down on the page in a way that felt like I was doing it justice.

chris time steele 05:36

Your thoughts about that moment were really, blossoming. When you were in Iceland, going back to when you said, when you were in elementary school, I remember you mentioning, in the book or a talk when you handed your husband, something from the third grade, where you were really,

Felicia Rose Chavez 05:54

He was like, really, we're going all the way back? And I'm like, yeah, we're going all the way back. But that experience of reading, the very earliest rendition of the book was a 10 minute speech, where I just spoke to what I experienced at the University of Iowa as an MFA graduate student in creative nonfiction writing. And then a list of practical strategies that I do now kind of pivoting, from the way I was taught and embracing a new way to teach creative writing in the classroom. And I cried during that speech I stood up and just cried and cried. Because I was saying it. I was, it was my testimony, I was testifying to the people I went to school with and the people who taught me they were in the room. And I was, I was really summoning the courage to say what I experienced out loud, I think so many of us don't, we don't have that opportunity to go back and say, listen, this is what happened to me here. And we need to change so that this doesn't happen again, to your current students and your future students, it was a powerful, powerful moment that I think emboldened me to move forward to write the book.

chris time steele 07:12

And I really thought the Iceland story was so powerful, because you said in, in one moment, you were so emotional, and cried, because you felt like you were betraying some of these people. But at the same time, when you when you did that, you found that you had so many people on your side, you know, when people were passing around the paper and trying to dismantle the systems that you spoke about was so violent.

Felicia Rose Chavez 07:39

That was the great surprise of this book. And it happened twice. So once in Iceland, where I'm sobbing, because I think, what are they going to say, you know, and then I get this glorious response as you said from, from both the people of color in the room and the white educators in the room who said, we don't want to, we don't want to replicate this sort of harm. So what can we do to help? You know, like, can we have a copy of your speech? Send it to us, you know, and I thought, well, I could do more than a speech, i'll write on this, I'll really give it everything I have. But in the process of writing, I can't tell you. I mean, it was two years of constant paranoia, I mean, really awful, agonizing moments, day and night, where not only am I dredging up, hard to confront moments from my past and trying to make art out of it, trying to make a message out of it. But at the same time, I'm thinking, this person from graduate school is going to call me a liar. This person who taught me is going to is going to, you know, say that I got it all wrong. This person, I mean, I just was constantly thinking of strategies of defensiveness and dismissiveness and denial that has been the signature moves of white supremacy throughout all of our lives, right throughout history, and so I thought how many people are going to shut this down before he even has a chance to speak to anyone? Luckily, before it was published, as we were in the editing phase, a group at the University of Iowa called Black at Iowa Writers came forward and started calling out faculty members by name, specifically one faculty member John Degotta(?) and spoke out against their unfair treatment in the nonfiction writing program. I wasn't hip to it, a friend kind of nudged me to check out this social media account and I cried and cried. Then too, I mean, just out of pure relief, that it was real, that this experience was shared, and that someone was bold enough to come out before me and do this work. And then in an, in a sense, hold my hand and walk me through the process so that I could be brave enough to do it next.

chris time steele 10:08

Thank you for sharing that story. That's, that's really powerful. And it really shows you that when you have the courage to stand up, that others are going to stand with you, even though they feel so alone. And that vulnerable moment,

Felicia Rose Chavez 10:20

Absolutely, they didn't know, no one knew that I was working on this manuscript, it wasn't like I kept in touch with the alumni committee. You know, like, you never know, you never know how your work is going to impact someone, how your story, just sharing it aloud, it's gonna impact someone to, to go on and share their own story. And that's the power in in storytelling, right. And so, that was such a relief for me to feel supported in that way and less isolated.

chris time steele 10:55

I think, another part of your, your writing that has such a liberatory and powerful effect is that you call out these systems as they are by using bell hooks, white supremacist capitalist patriarchy. It's, it's right out in the open is, it's not something that some writers try to hide it by talking about systems and things like this and something so refreshing about your work. And you explicitly tell your story, which I feel calls out patriarchy as well. You mentioned how a colleague had to leave, and someone said we don't want to mother, these students and I loved how you reformatted the language. And you made it so powerful of talking about how we are multitudes mothered again and again in rhythm and time. And you talk about in the piece Color Lines about the coop living situation and the racism and patriarchy you had to endure there. From your story, the Brown Line, which just, which would be a simple walk for a man is this horrifying event for you. And for a woman that shows that inside your house, you have sanctuary but you should have that outside as well. It should be your sanctuary, your stories make these be so apparent. And was just wondering if if these tools to dismantle these systems like patriarchy? Is it just in the writing? Or what are some strategies you use to help dismantle or show these systems with students or more in your own writing?

Felicia Rose Chavez 12:30

Well, first of all, thank you, I feel so heard and seen by that quick analysis. That was really that was wonderful for me. Thank you for, for that quick overview of different works that I've put out in the world. That was really special. Yeah, I think that it takes this reorienting, we're so accustomed to, especially within our educational journeys to say the right thing, to be what ever the person in front of us teaching us needs us to be in order to move forward, move on, get the grade, whatever it may be, right tune out. My practice, at heart, it's about tuning in, it's about doing the opposite, right? It's not about the authority in the room. It's about becoming our own authority. And the more that we can tune in and quiet everything around us, and listen. And the first step is to listen to our fears, and to listen to our insecurities, because that's just another iteration of white supremacy in our brain. So it's just another form of manipulation and control to say, you can't do this, you're not any good at this. Who do you think you are? Right? And sometimes these are the voices within our own families from internalized racism, right? This is who you know, who do you owe your fancy? Who do you think you are? Right? So, so these are, these are the voices that haunt us, but they live there and they're not going away? We just got to acknowledge that that's what that is. And then we move forward and we say, Okay, if I can move past fear, right, what do I want to try? What do I want to risk and failure's okay. So if we just accept the failures, okay, what do I want to try? And when we attempt something, whatever classroom it may be, it doesn't have to be a creative writing classroom. My goal was the anti racist writing workshop, is to couch it in creative writing, but like, please extend it. Right? I'm working with science teachers, I'm working with math teachers and working with history teachers, like extend it beyond, let's activate our imaginations to see how much we can empower students across the academic curriculum. And so we we embolden our students to try something that they're afraid to try and, and then as they're doing it, we ask them to listen. How's it going? check in with yourself? What are you proud of? What, what's really hard for you? What do you want this to be? But it's not yet, right? And we ask questions, encourage students to ask questions of themselves to be their own assessors. And then finally, how did it go? Right? What do you think about what you produced? What do you want to change, if you had an opportunity to change it, go on and try it, right? until they're able to tune in and say, I trust my own voice, I trust who I am, my gut, whatever we want to call it right to be able to go inward and say, I'm going to tune you out right now and listen to me. And I think that is so powerful for all of our students, but especially our students of color, and especially our young women of color, who can say, okay, now I can trust me, I'm going to listen to that voice that tells me this is an unsafe situation. I'm going to listen to that voice that says leave now. Right? I'm going to listen to that voice that says you cannot talk to me. No, thank you. Don't talk to me that way. And I'm going to trust that voice. And I'm going to act on it. So it is, as I said, it's couched in creative writing. But the whole gist of it is, how can we truly embrace our own voices and exercise those voices to create change in our culture?

chris time steele 16:28

Yeah, I love that answer. And you really talk about boundaries in your in your book as well. And how were you when you were turning 30. And you talked about the trust in yourself and the power of No, and how this helped you fight back against educational and academic trauma that you were experiencing?

Felicia Rose Chavez 16:46

Yeah, that that was the turn for me, was becoming a mother. And it was a really hard time period in my life. My husband, I was a new mother. And I don't consider myself maternal. And there are some women who are like that I've since learned, you know, are we like, you know, I changed the diaper for the first time when I changed my son's diaper. It was on on the job learning. And, and I had I experienced postpartum depression, probably as a situational and hormonal kind of situation, we had just moved to a new town, my husband took on a new job, he was traveling a lot, I didn't know anybody. And I just remember being in the house a lot. There was this huge wildfire. And so we weren't allowed to go outside for weeks because of the smoke. And so it was just like, contained. And and this, not a good recipe for mental health, for a new mother especially. And it was then that I start I knew I had to speak up. Like I knew I had to start saying what I wanted, what I needed. And so that was a that was a big turn for me. Again, intricately linked with with being a woman.

chris time steele 18:05

I was wondering on my next question, Is this the kind of two questions they may relate I notice a lot of mutualism in your writing in your pedagogy? How you talk about deep listening, it also reminds me of some of those Zapatista teachings of asking, we walk kind of that we, we learn as we go, and we reflect as we go. But we don't get paralyzed by that fear. I was wondering if if there's a relation with mutualism, with your inspiration for your writing. And it also sees this ties in with Audre Lorde on quote you used, the way we can do is by creating another whole structure that touches every aspect of our existence at the same time as we are resisting it.

Felicia Rose Chavez 18:51

I mean, that's, that's the difficulty that presents itself, right is that we're on a learning journey together as educators, those of us who are invested in doing the work, and I'm doing facilitations now all over the country, with elementary, middle, high school, undergraduate and graduate teachers, who are eager to learn that the question comes up again and again, is this the right place to do this work? Can we do this work within the institution? How do we, how do we flourish when the structure is set up so that we fail? And it's a tough question? It's a question that's keeping me up at night. Especially when it comes to our younger students like they're so they're held to a particular learning standard, right? Very strict learning standard. And there's no collapsing that system yet. As one brilliant educator just shared with me the other day on a meeting. He said let's do it anyway. With our with our kiddos with our little ones, let's just do it. Let's Let's lead them through an anti racist writing workshop curriculum. And then they'll become the next generation to overturn the standardized tests and the learning standards that they've been held prisoner to, for so, so long. And I thought that was really exciting, exciting way to think about it, right? How do we, how do we learn along the journey to change the restrictions that we face on a daily basis? Right. And it's, it's reminiscent of that last letter that I include in the book, which is addressed to the reader? And it's something like how do we live racism and mourn racism and fight racism all at the same time, it feels impossible, sometimes it's just, I'm just gonna lie in the bed, be useless, because I'm so overwhelmed by all of this. And then there are other days where you can take on the fight and try to change the system within so

chris time steele 21:03

are you referring to the Letter to Close? When the police officer was blocking your driveway? This, this may lead to my my next question. And you may have already answered it with I really liked that answer. We're planting the seeds, and the students in the next generations to fight the threat to blossoming that is in academia or just education systems. And this question is of the do you worry about your book being co opted by liberal institutions? As an example, after George Floyd was murdered, we saw many businesses and colleges make statements about white supremacy and racial justice. But at the same time, there's been so many murders since then, of people of color Black, Indigenous communities and Black trans communities. And also with the recent killings of Daunte Wright and now Adam Toledo. My academic institution has been silent as well. Do you worry, the term anti racist writing workshop will be branded but still reproduce the violent and toxic problems that you wrote about?

Felicia Rose Chavez 22:11

I mean, likely? Likely, I mean, look at, you know, these schools that I'm working with now, quite a few of them preempted, you know, before the book preemptively took on this anti racist initiative. Right, Colorado College, whom I work for, has taken on an anti racist initiative college wide. They're attempting to do the work. I feel, perhaps more so than some of the colleges that I kind of, you know, step foot in, and then and then exit. When I do these facilitations. They're at the very beginning of this initiative, whatever they label it is true anti racist work. I wouldn't call it that. Right. I think that's the term that's popular at the moment. But hey, that's a lot further than what we were three years ago, right? No one was throwing around that term at the college and university level, to the extent that they are now, again, co opting is the right term. I think that they're putting out fires. Because students are demanding again and again and again, that there's change. So I think it's a gesture to address those concerns. The real work happens daily, and college wide. And that's where we get into trouble. Because I think the attitude of many faculty members is, oh, well, we'll just have to wait on so and so's retirement in order to stop implementing harm. Because we all know so and so is, you know, horribly terrible, right? There's this 10 year old system where we have folks who are irresponsibly educating their students, it's hard for me to enter into the Zoom space and do these facilitations when I can see the dismissiveness at play sometimes with faculty. This isn't to say that it's always this way. Sometimes they're very sincere groups who are asking a lot of questions that are very engaged. Sometimes people turn their turn their bodies away from me, they'll roll their eyes, they'll sigh they're clearly doing something else, right. they're required to be there to hear me out or tune me out, whatever it is that they're doing. The University of Iowa just brought me in to do a panel and a public reading, which was a surprise for me, and it was one of the worst couple of weeks I've had since the book came out. I was not eating well, I couldn't sleep. It was reliving a trauma that I hadn't anticipated would be so difficult. For me, and it truly was, and I think that was also damage control. Right? I think it was putting public facing events out to the world to say, Yes, she, you know, she writes about her experience. So look, we're listening to her, will there be change that comes as a result of that I'm not facilitating workshops with those faculty members. And I'm curious if that does happen, right? I don't know. It's disappointing a lot of the time, and I get a lot of hate mail. And you've talked about the gendered politics of this all I mean, there's horribly sexist, as well as racist. And it's discouraging. It's disappointing to hear echoes of these hate messages out of the mouths of professors who are responsible for generations of students, you know, quick to dismiss and deny that racism even exists. It's scary sometimes.

chris time steele 25:58

I think you made a great point of many awesome points, that just having an anti racist workshop, even if it's not being lived up to it lays this great foundation for it to be called out and put back into place, when it's not being used correctly. By as you said, these students who seeds were planted in optimism of this?

Felicia Rose Chavez 26:20

Absolutely, I do a facilitation called self advocacy for students. And that's my favorite one to do. Because it's, it's how to hold one another as peers accountable and how to hold our educators accountable. Every time I talk to educators, I say you need to explicitly say it. I teach an anti racist writing workshop, I teach an anti racist econ class, I teach an anti racist history class, like, How can you be so explicit, so as to empower your students to hold you accountable, right, because if you just come out and say it, now you've got to follow through. And, and I want all of our young people to be able to exercise their voices in that way, where they were their reminders, constant reminders to one another, and to their, to their teachers, that they deserve better.

chris time steele 27:17

I also loved throughout this book that you call out gatekeeping even with, not just within academia, but within these writing groups that these workshops, there's often a lot of gatekeeping that goes on, and I like the you talk about gaslighting, and also the importance of language, all these different things that really cause so much violence, and how you call out words like literary and classical, which are another synonyms for gatekeeper. And I just really love that you I just wanted to highlight that this is so important what you bring out. And when I was teaching political science and history, this was something I was trying to change in my department to stop using words like slave and using enslaved, I had a big fight with my department when I tried to get rid of a Pearson textbook, and try to add Roxanne Dunbar Ortiz, The People's Indigenous History of the US.

Felicia Rose Chavez 28:14

Wow, that was a fight?

chris time steele 28:16

Yeah, then they told me because I didn't have a PhD. I didn't know about scholarship, that the book was against America and all kinds of things is so horribly racist things and it really reminded me of your story on Shakespeare, but not being a play that was highlighted for just not one time, which became an outrage.

Felicia Rose Chavez 28:37

Yeah, yeah. I mean, I just just earlier today I, a board member at the creative writing studies organization, I just joined, and they put out a call for proposals for conference panels. And I just read the call and noted language in there, like, you know, you must have, you must cite other sources, scholarly sources that support this work, you know, this, this is the same old rhetoric that that we offer one another to maintain this, this domination over who gets the control of the narrative, right. And to me, that's no different from our officers saying, you know, there was a meme that I posted, you know, it's a package of Skittles, it's a gunm a cell phone, it's a gun, a sandwich, it's a gun and then a taser? Oh, no. Right. I got confused. I didn't have you know, a gun is a taser like it's, it's control of the narrative. So, so it extends across our culture. It's not just within academia, but it is shameful, how we use that as as a standard to enforce white supremacy without having to use those words.

chris time steele 29:56

Definitely. Thank you. This is probably my last question, I want to be mindful of your time, along with your amazing book which I have already recommended it to so many people, the Anti Racist Writing Workshop, I'd like to talk about your other writings as well. And I love Femme Fatal. the great frat boy in the sky, your other writings, how they deal with a field to deal with a lot of grief, Anatomy of a Life is one, the Mindful Birthing. I love that one. I was wondering if you could talk about the piece Memory Loop, which I found extremely personal and powerful and vulnerable. Wondering if you could talk about the process for this piece of was it therapeutic to write? Did it reopen wounds? Or did it help to heal wounds? Or was it a combination?

Felicia Rose Chavez 30:49

That's That's the one. I feel like all the other writing was just practice, right. I mean, it was just fun. Well, not always fun. But but more experiments. You know, I wanted to try different things with my writing. But that was the very first piece I ever wrote. I taught writing for many years as a way of supporting myself. And I taught writing because I was such an avid reader. And so I think the two go hand in hand and in that I was able to share strategies that appealed to me, as a reader, and relay that but not necessarily coming from a place of a writer speaking to another writer, I thought of myself as a teacher for so many years. And it took needing to relocate to Albuquerque, from Chicago, to go back home and serve as a caretaker, to my parents, my dad specifically, that motivated me to say, well, I'll try. I'll try graduate school, I'll try a writing program, let me dedicate some time to writing. So I showed up for a two week period, I showed up every day, a little bit early to work. And I wrote, you know, maybe 20-30 minutes per day in my little cubicle. And I would write and cry and write and cry. And what I created, I didn't edit I just sent out. And that was the very early version of memory loop. It took me between 10 and 12 years to return to that piece over and over and over again, I did so many different versions of that piece. I mean, the bones are still the same, but I tried reordering it, retitling it, like I mean, I just just adding a ton of research, taking it out. It was the, it never felt right. And once I achieved the draft the current draft, I thought I just knew it. It's like the body knows. It just I just knew it was almost like a sigh of relief. Like I finally did it. And it was, I think, transitioning from this is what happened to me, right, which I think is what we all come to the page as an act of like, release, right, this is what happened to me, I was witness to this, then, you know, this is, let me try to get inside the head of my mother who had experienced great depression. And it's kind of a stunning, shocking depression, which felt out of nowhere, when in truth was years long in the making, once I stepped out of her experience and into my own and really owned my own my own actions, like I'm complicit in this story, I'm not just there watching it happen. I'm involved, and I need to point the finger at myself as well, it needs to be, you know, like, it needed to be way more complicated than I was initially prepared to make it because I had to, I had to process it first. So to make something of it took many, many years. And it taught me something I learned about myself in writing that and coming to terms with my own guilt, as a you know, a participant in in the story. And in that in that few years, you know, 10, 5 years of my mom's life. And I'm really grateful that I didn't settle for that first draft. I'm really grateful that I did that work and went back again and again. Because I think that I needed to teach myself something in that writing.

chris time steele 34:22

Wow, thanks for sharing that process it's such a powerful piece, you switch from narrative so smoothly. You know, some writers have to use the three stars to show we can do the scene as a new narrative. And then your piece went to so many different avenues that was just so powerful. Thank you for explaining that process. Thank you for listening to this episode of the time talks podcast. Please check out some other shows on the Channel Zero Network. Thanks to Awareness for the music, please support his music on Bandcamp and please pick up Felicia Rose Chavez's his book out on Haymarket, the Anti Racist Writing Workshop, and check out her other writings. I'll link them in the show notes. See you all next time and free Palestine.

#anti racism #channel zero network #Haymarket Books #patriarchy

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wickedbananas · 6 years

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Your Red-Tape Toolkit: 7 Ways to Earn Trust and Get Your Search Work Implemented

Posted by HeatherPhysioc

Tell me if this rings a bell. Are your search recommendations overlooked and misunderstood? Do you feel like you hit roadblocks at every turn? Are you worried that people don't understand the value of your work?

I had an eye-opening moment when my colleague David Mitchell, Chief Technology Officer at VML, said to me, “You know the best creatives here aren’t the ones who are the best artists — they’re the ones who are best at talking about the work.”

I have found that the same holds true in search. As an industry, we are great at talking about the work — we’re fabulous about sharing technical knowledge and new developments in search. But we’re not so great at talking about how we talk about the work. And that can make all the difference between our work getting implementing and achieving great results, or languishing in a backlog.

It’s so important to learn how to navigate corporate bureaucracy and cut through red tape to help your clients and colleagues understand your search work — and actually get it implemented. From diagnosing client maturity to communicating where search fits into the big picture, the tools I share in this article can help equip you to overcome obstacles to doing your best work.

Buying Your Services ≠ Buying In

Just because a client signed a contract with you does not mean they are bought-in to implement every change you recommend. It seemingly defies all logic that someone would agree that they need organic search help enough to sign a contract and pay you to make recommendations, only for the recommendations to never go live.

When I was an independent contractor serving small businesses, they were often overwhelmed by their marketing and willing to hand over the keys to the website so my developers could implement SEO recommendations.

Then, as I got into agency life and worked on larger and larger businesses, I quickly realized it was a lot harder to get SEO work implemented. I started hitting roadblocks with a number of clients, and it was a slow, arduous process to get even small projects pushed through. It was easy to get impatient and fed up.

Worse, it was hard for some of my team members to see their colleagues getting great search work implemented and earning awesome results for their clients, while their own clients couldn’t seem to get anything implemented. It left them frustrated, jaded, feeling inadequate, and burned out — all the while the client was asking where the results were for the projects they didn’t implement.

What Stands in the Way of Getting Your Work Implemented

I surveyed colleagues in our industry about the common challenges they experience when trying to get their recommendations implemented. (Thank you to the 141 people who submitted!) The results were roughly one-third in-house marketers and two-thirds external marketers providing services to clients.

The most common obstacles we asked about fell into a few main categories:

Low Understanding of Search

Client Understanding

Peer/Colleague Understanding

Boss Understanding

Prioritization & Buy-In

Low Prioritization of Search Work

External Buy-In from Clients

Internal Buy-In from Peers

Internal Buy-In from Bosses

Past Unsuccessful Projects or Mistakes

Corporate Bureaucracy

Red Tape and Slow Approvals

No Advocate or Champion for Search

Turnover or Personnel Changes (Client-Side)

Difficult or Hostile Client

Resource Limitations

Technical Resources for Developers / Full Backlog

Budget / Scope Too Low to Make Impact

Technical Limitations of Digital Platform

The chart below shows how the obstacles in the survey stacked up. Higher scores mean people reported it as a more frequent or common problem they experience:

Some participants also wrote in additional blocks they’ve encountered - everything from bottlenecks in the workflow to over-complicated processes, lack of ownership to internal politics, shifting budgets to shifting priorities.

Too real? Are you completely bummed out yet? There is clearly no shortage of things that can stand in the way of SEO progress, and likely our work as marketers will never be without challenges.

Playing the Blame Game

When things don’t go our way and our work gets intercepted or lost before it ever goes live, we tend to be quick to blame clients. It’s the client’s fault things are hung up, or if the client had only listened to us, and the client’s business is the problem.

But I don’t buy it.

Don’t get me wrong — this could possibly be true in part in some cases, but rarely is it the whole story and rarely are we completely hopeless to affect change. Sometimes the problem is the system, sometimes the problem is the people, and my friends, sometimes the problem is you.

But fortunately, we are all optimizers — we all inherently believe that things could be just a little bit better.

These are the tools you need in your belt to face many of the common obstacles to implementing your best search work.

7 Techniques to Get Your Search Work Approved & Implemented

When we enter the world of search, we are instantly trained on how to execute the work – not the soft skills needed to sustain and grow the work, break down barriers, get buy-in and get stuff implemented. These soft skills are critical to maximize your search success for clients, and can lead to more fruitful, long-lasting relationships.

Below are seven of the most highly recommended skills and techniques, from the SEO professionals surveyed and my own experience, to learn in order to increase the likelihood your work will get implemented by your clients.

1. How Mature Is Your Client?

Challenges to implementation tend to be organizational, people, integration, and process problems. Conducting a search maturity assessment with your client can be eye-opening to what needs to be solved internally before great search work can be implemented. Pairing a search capabilities model with an organizational maturity model gives you a wealth of knowledge and tools to help your client.

I recently wrote an in-depth article for the Moz blog about how to diagnose your client’s search maturity in both technical SEO capabilities and their organizational maturity as it pertains to a search program.

For search, we can think about a maturity model two ways. One may be the actual technical implementation of search best practices — is the client implementing exceptional, advanced SEO, just the basics, nothing at all, or even operating counterproductively? This helps identify what kinds of project make sense to start with for your client. Here is a sample maturity model across several aspects of search that you can use or modify for your purposes:

This SEO capabilities maturity model only starts to solve for what you should implement, but doesn’t get to the heart of why it’s so hard to get your work implemented. The real problems are a lot more nuanced, and aren’t as easy as checking the boxes of “best practices SEO.”

We also need to diagnose the organizational maturity of the client as it pertains to building, using and evolving an organic search practice. We have to understand the assets and obstacles of our client’s organization that either aid or block the implementation of our recommendations in order to move the ball forward.

If, after conducting these maturity model exercises, we find that a client has extremely limited personnel, budget and capacity to complete the work, that’s the first problem we should focus on solving for — helping them allocate proper resources and prioritization to the work.

If we find that they have plenty of personnel, budget, and capacity, but have no discernible, repeatable process for integrating search into their marketing mix, we focus our efforts there. How can we help them define, implement, and continually evolve processes that work for them and with the agency?

Perhaps the maturity assessment finds that they are adequate in most categories, but struggle with being reactive and implementing retrofitted SEO only as an afterthought, we may help them investigate their actionable workflows and connect dots across departments. How can we insert organic search expertise in the right ways at the right moments to have the greatest impact?

2. Speak to CEOs and CMOs, Not SEOs

Because we are subject matter experts in search, we are responsible for educating clients and colleagues on the power of SEO and the impact it can have on brands. If the executives are skeptical or don’t care about search, it won’t happen. If you want to educate and inspire people, you can’t waste time losing them in the details.

Speak Their Language

Tailor your educational content to busy CEOs and CMOs, not SEOs. Make the effort to listen to, read, write, and speak their corporate language. Their jargon is return on investment, earnings per share, operational costs. Yours is canonicalization, HTTPS and SSL encryption, 302 redirects, and 301 redirect chains.

Be mindful that you are coming from different places and meet them in the middle. Use layperson’s terms that anyone can understand, not technical jargon, when explaining search.

Don’t be afraid to use analogies (i.e. instead of “implement permanent 301 redirect rewrite rules in the .htaccess file to correct 404 not found errors,” perhaps “it’s like forwarding your mail when you change addresses.”)

Get Out of the Weeds

Perhaps because we are so passionate about the inner workings of search, we often get deep into the weeds of explaining how every SEO signal works. Even things that seem not-so-technical to us (title tags and meta description tags, for example) can lose your audience’s attention in a heartbeat. Unless you know that the client is a technical mind who loves to get in the weeds or that they have search experience, stay at 30,000 feet.

Another powerful tool here is to show, not tell. Often you can tell a much more effective and hard-hitting story using images or smart data visualization. Your audience being able to see instead of trying to listen and decipher what you’re proposing can allow you to communicate complex information much more succinctly.

Focus on Outcomes

The goal of educating is not teaching peers and clients how to do search. They pay you to know that. Focus on the things that actually matter to your audience. (Come on, we’re inbound marketers — we should know this!) For many brands, that may include benefits like how it will build their brand visibility, how they can conquest competitors, and how they can make more money. Focus on the outcomes and benefits, not the granular, technical steps of how to get there.

What’s In It for Them?

Similarly, if you are doing a roadshow to educate your peers in other disciplines and get their buy-in, don’t focus on teaching them everything you know. Focus on how your work can benefit them (make their work smarter, more visible, make them more money) rather than demanding what other departments need to do for you. Aim to align on when, where, and how your two teams intersect to get greater results together.

3. SEO is Not the Center of the Universe

It was a tough pill for me to swallow when I realized that my clients simply didn’t care as much about organic search as my team and I did. (I mean, honestly, who isn’t passionate about dedicating their careers to understanding human thinking and behavior when we search, then optimizing technical stuff and website content for those humans to find it?!)

Bigger Fish to Fry

While clients may honestly love the sound of things we can do for them with search, rarely is SEO the only thing — or even a sizable thing — on a client’s mind. Rarely is our primary client contact someone who is exclusively dedicated to search, and typically, not even exclusively to digital marketing. We frequently report to digital directors and CMOs who have many more and much bigger fish to fry.

They have to look at the big picture and understand how the entire marketing mix works, and in reality, SEO is only one small part of that. While organic search is typically a client’s biggest source of traffic to their website, we often forget that the website isn’t even at the top of the priorities list for many clients. Our clients are thinking about the whole brand and the entirety of its marketing performance, or the organizational challenges they need to overcome to grow their business. SEO is just one small piece of that.

Acknowledge the Opportunity Cost

The benefits of search are no-brainers for us and it seems so obvious, but we fail to acknowledge that every decision a CMO makes has a risk, time commitment, risks and costs associated with it. Every time they invest in something for search, it is an opportunity cost for another marketing initiative. We fail to take the time to understand all the competing priorities and things that a client has to choose between with a limited budget.

To persuade them to choose an organic search project over something else — like a paid search, creative, paid media, email, or other play — we had better make a damn good case to justify not just the hard cost in dollars, but the opportunity cost to other marketing initiatives. (More on that later.)

Integrated Marketing Efforts

More and more, brands are moving to integrated agency models in hopes of getting more bang for their buck by maximizing the impact of every single campaign across channels working together, side-by-side. Until we start to think more about how SEO ladders up to the big picture and works alongside or supports larger marketing initiatives and brand goals, we will continue to hamstring ourselves when we propose ideas to clients.

It’s our responsibility to seek big-picture perspective and figure out where we fit. We have to understand the realities of a client’s internal and external processes, their larger marketing mix and SEO’s role in that. SEO experts tend to obsess over rankings and website traffic. But we should be making organic search recommendations within the context of their goals and priorities — not what we think their goals and priorities should be.

For example, we have worked on a large CPG food brand for several years. In year one, my colleagues did great discovery works and put together an awesome SEO playbook, and we spent most of the year trying to get integrated and trying to check all these SEO best practices boxes for the client. But no one cared and nothing was getting implemented. It turned out that our “SEO best practices” didn’t seem relevant to the bigger picture initiatives and brand campaigns they had planned for the year, so they were being deprioritized or ignored entirely. In year two, our contract was restructured to focus search efforts primarily on the planned campaigns for the year. Were we doing the search work we thought we would be doing for the client? No. Are we being included more and getting great search work implemented finally? Yes. Because we stopped trying to veer off in our own direction and started pulling the weight alongside everyone else toward a common vision.

4. Don’t Stay in Your Lane, Get Buy-In Across Lanes

Few brands hire only SEO experts and no other marketing services to drive their business. They have to coordinate a lot of moving pieces to drive all of them forward in the same direction as best they can. In order to do that, everyone has to be aligned on where we’re headed and the problems we’re solving for.

Ultimately, for most SEOs, this is about having the wisdom and humility to realize that you’re not in this alone - you can’t be. And even if you don’t get your way 100% of the time, you’re a lot more likely to get your way more of the time when you collaborate with others and ladder your efforts up to the big picture.

One of my survey respondents phrased it beautifully: “Treat all search projects as products that require a complete product team including engineering, project manager, and business-side folks.”

Horizontal Buy-In

You need buy-in across practices in your own agency (or combination of agencies serving the client and internal client team members helping execute the work). We have to stop swimming in entirely separate lanes where SEO is setting goals by themselves and not aligning to the larger business initiatives and marketing channels. We are all in this together to help the client solve for something. We have to learn to better communicate the value of search as it aligns to larger business initiatives, not in a separate swim lane.

Organic Search is uniquely dependent in that we often rely on others to get our work implemented. You can’t operate entirely separately from the analytics experts, developers, user experience designers, social media, paid search, and so on — especially when they’re all working together toward a common goal on behalf of the client.

Vertical Buy-In

To get buy-in for implementing your work, you need buy-in beyond your immediate client contact. You need buy-in top-to-bottom in the client’s organization — it has to support what the C-level executive cares about as much as your day-to-day contacts or their direct reports.

This can be especially helpful when you started within the agency — selling the value of the idea and getting the buy-in of your colleagues first. It forces you to vet and strengthen your idea, helps find blind spots, and craft the pitch for the client. Then, bring those important people to the table with the client — it gives you strength in numbers and expertise to have the developer, user experience designer, client engagement lead, and data analyst on the project in your corner validating the recommendation.

When you get to the client, it is so important to help them understand the benefits and outcomes of doing the project, the cost (and opportunity cost) of doing it, and how this can get them results toward their big picture goals. Understand their role in it and give them a voice, and make them the hero for approving it. If you have to pitch the idea at multiple levels, custom tailor your approach to speak to the client-side team members who will be helping you implement the work differently from how you would speak to the CMO who decides whether your project lives or dies.

5. Build a Bulletproof Plan

Here’s how a typical SEO project is proposed to a client: “You should do this SEO project because SEO.”

This explanation is not good enough, and they don’t care. You need to know what they do care about and are trying to accomplish, and formulate a bullet-proof business plan to sell the idea.

Case Studies as Proof-of-Concept

Case studies serve a few important purposes: they help explain the outcomes and benefits of SEO projects, they prove that you have the chops to get results, and they prove the concept using someone else’s money first, which reduces the perceived risk for your client.

In my experience and in the survey results, case studies come up time and again as the leading way to get client buy-in. Ideally you would use case studies that are your own, very clearly relevant to the project at hand, and created for a client that is similar in nature (like B2B vs. B2C, in a similar vertical, or facing a similar problem).

Even if you don’t have your own case studies to show, do your due diligence and find real examples other companies and practitioners have published. As an added bonus, the results of these case studies can help you forecast the potential high/medium/low impact of your work.

Image source

Simplify the Process for Everyone

It is important to bake the process into your business plan to clearly outline the requirements for the project, identify next steps and assign ownership, and take ownership of moving the ball forward. Do your due diligence up front to understand the role that everyone plays and boil it down into a clear step-by-step plan makes it feel easy for others to buy-in and help. Reducing the unknown reduces friction. When you assume that nothing you are capable of doing falls in the “not my job” description, and make it a breeze for everyone to know what they’re responsible for and where they fit in, you lower barriers and resistance.

Forecast the Potential ROI

SEOs are often incredibly hesitant to forecast potential outcomes, ROI, traffic or revenue impact because of the sheer volumes of unknowns. (“But what if the client actually expects us to achieve the forecast?!”) We naturally want to be accurate and right, so it’s understandable we wouldn’t want to commit to something we can’t say for certain we can accomplish.

But to say that forecasting is impossible is patently false. There is a wealth of information out there to help you come up with even conservative estimates of impact with lots of caveats. You need to know why you’re recommending this over other projects. Your clients need some sort of information to weigh one project against the next. A combination of forecasting and your marketer’s experience and intuition can help you define that.

For every project your client invests in, there is an opportunity cost for something else they could be working on. If you can’t articulate the potential benefit to doing the project, how can you expect your client to choose it above dozens of potential other things they could spend their time on?

Show the Impact of Inaction

Sometimes opportunity for growth isn’t enough to light the fire — also demonstrate the negative impact from inaction or incorrect action. The greatest risk I see with most clients is not making a wrong move, but rather making no move at all.

We developed a visual tool that helps us quickly explain to clients that active optimization and expansion can lead to growth (we forecast an estimate of impact based on their budget, their industry, their business goals, the initiatives we plan to prioritize, etc.), small maintenance could at least uphold what we’ve done but the site will likely stagnate, and to do nothing at all could lead to atrophy and decline as their competitors keep optimizing and surpass them.

Remind clients that search success is not only about what they do, it’s about what everyone else in their space is doing, too. If they are not actively monitoring, maintaining and expanding, they are essentially conceding territory to competitors who will fill the space in their absence.

You saw this in my deck at MozCon 2017. We have used it to help clients understand what’s next when we do annual planning with them.

Success Story: Selling AMP

One of my teammates believed that AMP was a key initiative that could have a big impact on one of his B2B automotive clients by making access to their location pages easier, faster, and more streamlined, especially in rural areas where mobile connections are slower and the client’s clients are often found.

He did a brilliant job of due diligence research, finding and dissecting case studies, and using the results of those case studies to forecast conservative, average and ambitious outcomes and calculated the estimated revenue impact for the client. He calculated that even at the most conservative estimate of ROI, it would far outweigh the cost of the project within weeks, and generate significant returns thereafter.

He got the buy-in of our internal developers and experience designers on how they would implement the work, simplified the AMP idea for the client to understand in a non-technical way, and framedin a way that made it clear how low the level of effort was. He was able to confidently propose the idea and get buy-in fast, and the work is now on track for implementation.

6. Headlines, Taglines, and Sound Bytes

You can increase the likelihood that your recommendations will get implemented if you can help the client focus on what’s really important. There are two key ways to accomplish this.

Ask for the Moon, Not the Galaxy

If you’re anything like me, you get a little excited when the to-do of SEO action items for a client is long and actionable. But we do ourselves a disservice when we try to push every recommendation at once - they get overwhelmed and tune out. They have nothing to grab onto, so nothing gets done. It seems counterintuitive that you will get more done by proposing less, but it works.

Prioritize what’s important for your client to care about right now. Don’t push every recommendation — push specific, high-impact recommendations that executives can latch on to, understand and rationalize.

They’re busy and making hard choices. Be their trusted advisor. Give them permission to focus on one thing at a time by communicating what they should care about while other projects stay on the backburner or happen in the background, because this high-impact project is what they should really care about right now.

Give Them Soundbites They Can Sell

It’s easy to forget that our immediate client contact is not always able to make the call to pull the trigger on a project by themselves. They often have to sell it internally to get it prioritized. To help them do this, give them catchy headlines, taglines and sound bites they can sell to their bosses and colleagues. Make them so memorable and repeatable, the clients will shop the ideas around their office clearly and confidently, and may even start to think they came up with the idea themselves.

Success Story: Prioritizing Content

As an example of both of these principles in practice, we have a global client we have worked with for a few years whose greatest chance of gaining ground in search is to improve and increase their website content. Before presenting the annual strategy to the client, we asked ourselves what we really wanted to accomplish with the client if they cut the meeting short or cut their budget for the year, and the answer was unequivocally content.

In our proposal deck, we built up to the big opportunity by reminding the client of the mission we all agreed on, highlighted some of the wins we got in 2017 (including a very sexy voice search win that made our client look like a hero at their office), set the stage with headlines like, “How We’re Going to Break Records in 2018,” then navigated to the section called, “The Big Opportunities.”

Then, we used the headline, “Web Content is the Single Most Important Priority” to kick off the first initiative. There was no mistaking in that room what our point was. We proposed two other initiatives for the year, but we put this one at the very top of the deck and all others fell after. Because this was our number one priority to get approved and implemented, we spent the lion’s share of the meeting focusing on this single point. We backed this slide up verbally and added emphasis by saying things like, “If we did nothing else recommended in this deck, this is the one thing to prioritize, hands down.”

This is the real slide from the real client deck we presented.

The client left that meeting crystal clear, fully understanding our recommendation, and bought in. The best part, though? When we heard different clients who were in the meeting starting to repeat things like, “Content is our number one priority this year.” unprompted on strategy and status calls.

7. Patience, Persistence, & Parallel Paths

Keep Several Irons in the Fire

Where possible, build parallel paths. What time-consuming but high-impact projects can you initiate with the client now that may take time to get approved, while you can concurrently work on lower obstacle tasks alongside? Having multiple irons in the fire increases the likelihood that you will be able to implement SEO recommendations and get measurable results that get people bought in to more work in the future.

Stay Strong

Finally, getting your work implemented is a balance of patience, persistence, communication and follow-up. There are always many things at play, and your empathy and understanding for the situation while bringing a confident point-of-view can ultimately get projects across the finish line.

Special thanks to my VML colleagues Chris, Jeff, Kasey, and Britt, whose real client examples were used in this article.

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

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simmonsjosephine1991 · 4 years

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What Can I Say To My Husband To Save My Marriage Astounding Useful Ideas

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How To Save My Marriage When He Wants Out

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5 Ways To Save A Relationship

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#What Can I Say To My Husband To Save My Marriage Astounding Useful Ideas #Save Marriage 30

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canyouchangeyourcommonapp470 · 4 years

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kalvischools · 4 years

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Are your Children prepared to Face Life with Easy?

Leadership has become the buzzword of corporate boardrooms, political back-rooms, and educational halls. Often, success is limited to those who can inspire their associates, employees, customers, and the public with his or her ideas and drive.

Unfortunately, the ability to lead, though highly desirable, is often elusive, as evidenced by the thousands of articles, books, videos, and training classes available over the Internet dealing with the subject. Whether leaders are born or trained remains a subject of controversy. However, there is no dispute that all leaders share certain skills that can be identified and developed.

The paths we follow as adults are generally determined by the abilities and interests we develop as children. While there are exceptions, the vast majority of people have established characters and personalities by the time they are age seven. As a parent or as a teacher, this means you have the ability to help your children develop critical, advantageous skills.

Critical Skills to Teach Your Children

As parents, we influence our children by what we do and don’t do what we value and ignore how we spend our time with our children, and the interests and activities we encourage. A number of skills can be introduced to children as part of their normal everyday activities, and will serve them well for the rest of their lives.

1. Reading & Writing

Reading and writing builds vocabularies, instills logical and expressive thinking, enhances listening skills, and consequently encourages empathy and sympathy, which are crucial attributes of leadership.

Reading

Strong reading and writing skills are essential to life in the 21st century. The foundation for lifelong reading begins with oral reading to your children, which introduces new ideas and initiates curiosity and creativity. Reading stimulates the brain and is more neurobiological demanding than passive activities like watching television and listening to the radio. When you read, you have more time to think. Reading gives you a unique pause button for comprehension and insight.”

Writing

The act of putting thoughts down on paper enhances self-expression and nurtures individuality. Some experts believe that writing encourages the learning of math and science concepts by “enhancing the brain’s intake, processing, retaining, and retrieving of information.”

Teaching your children to love reading and encouraging writing skills is a gift they will enjoy and cherish for the rest of their lives, and is one that will benefit them in any chosen career. The ability to succinctly and clearly collect one’s thoughts and summarize them into an interesting, persuasive narrative is a skill that many want, but few possess. You can give your child a real advantage in the trials and competitions he or she will face as an adult by encouraging reading and writing.

2. Communication

As the world has grown more interconnected and interdependent, the ability to exchange thoughts, feelings, and information is critical. Effective communication skills on an individual as well as a group basis enable your child to more easily achieve the things he or she wants from life. Despite the obvious advantages of this skill, however, few parents and teachers actively encourage good communication skills, particularly ones that are useful when speaking to groups or public audiences.

However, there are several fairly simple things parents and teachers can do to help their children become good communicators:

Encourage Proper Pronunciation. Words convey meanings and paint verbal pictures. Mispronouncing words, particularly common words that are often mispronounced, creates false impressions and is harmful to your child’s image.

Build Their Vocabulary. The average adult knows approximately 20,000 words out of approximately 470,000 English entries in “Webster’s Third New International Dictionary, Unabridged,” but uses only about 3,000 daily in conversations. The more words your child knows and understands, the better he or she will be able to communicate with others. Reading aloud and encouraging the use of a thesaurus are good ways to improve vocabulary for children.

Teach Them to Speak in Front of Others. Many people develop a fear of standing in front of a group and speaking, even though most children like being the center of attention. Developing an early ability to speak in front of others is an asset that pays benefits throughout one’s life.

3. Bilingualism

Learning a second language at an early age provides multiple benefits, including a physical increase in the density of gray matter in the brain. Gray matter density is associated with language, memory, and attention.

Dr. Andrea Mechelli and her colleagues at London’s Welcome Department of Imaging Neuroscience discovered in a 2004 study that the “structure of the human brain is altered by the experience of acquiring a second language.” Other academic studies have reinforced the fact that bilingual children consistently outperform their peers who speak a single language in tests of comprehension, mental sophistication, and mental dexterity.

In an age where the world is flat, the ability to converse with people in other lands in their own native language, particularly where products are manufactured or sold brings tremendous professional and social opportunities not open to a person limited to English. And, best of all, introducing your child to another language is easy and it’s just as easy for them to learn due to their greater neural and linguistic “plasticity.”

4. Physical Confidence

The benefits of physical activities for children have been known for ages. The development of gross and fine muscles to perform everyday activities, the positive impact upon possible obesity in later years, and the mental stimulus provided by exercise have been found in one study after another. Most experts recommend that children spend a minimum of 60 minutes a day in vigorous play and exercise, and no more than two hours daily, if at all, watching television or engaged in computer games, the Internet, and other electronic media.

How talented your children are at sports is far less important than simply getting out and participating in the ones they like. Parents and teachers should encourage kids to play a variety of different organized sports and games, some which focus on individual achievement like golf, tennis, and swimming, and others requiring team efforts like baseball, basketball, volleyball, and soccer.

Golf and tennis are two sports that can be continued and enjoyed throughout life, providing both physical benefits and regular social interaction. Also, both are conducive to later business careers.

Playing either sport well invariably leads to invitations to “play with the boss,” and thus makes an invaluable connection.

5. Musical Intelligence

While music has been long recognized as an emotional experience, we still don’t know how the sounds are processed in the brain or why music stays in our memories for so long. However, we do know that listening to music or learning to play a musical instrument is helpful in treating children who have experienced physical trauma, have difficulties in regulating their emotions or behavior, or suffer poor concentration.

Dr. Gordon Shaw, Professor Emeritus at the University of California, San Diego, described music as a “window into higher brain function,” and is particularly important during the first five years of life.

Studies of the effects of music on preschoolers through college have revealed several trends:

Involvement in music and movement activities helps children develop good social and emotional skills. Even a single year’s worth of music lessons can have lasting effects on brain functions.

Listening to music, taking musical lessons, or playing an instrument can reduce stress and depression. Introduce your children to the joy of music early so they can appreciate it for the rest of their lives.

Final Word

As parents and teachers, we seek to give our children the tools to gain happiness and success, but we never know for sure whether we’re doing enough or too much. We wonder how to protect them while we prepare for the time when we won’t be around. We may not be able to prepare the future for our children, but we can at least prepare our children for the future.

#Leadership

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brucearnold · 5 years

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Modal Sequencing -Two Note for All Instrumentalists

Two Note Modal Sequencing for All Instrumentalists

What's in each Course?

Videos Included!

Quick Links to Each Course

Two Note Modal Sequencing Bundle

Two Note Modal Sequencing Bundle is the most cost effective way to study!

Two Note Sequences Contain All Melodic Intervals Within an Octave

Who should use the Modal Sequencingcourse?

Playing Modal Sequences at Different Metric Levels

Examples from the Bundle Course Package.

Save money with the Two Note Modal Sequencing Bundle.

The bundle is a great way to save money. If you buy all four of the Two Note Modal Sequencing courses separately it will cost you 49.96. Get them now for the low price seen below.

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Two Note Modal Sequencing Individual Courses

If you prefer to order one of the 4 groups that comprise the Bundle you will find information on each below:

Two Note Modal Sequencing Group 1

The “Two Note Modal Sequencing” score and audio content

Videos Included!

A Look at the Type of Files found in this Course

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Lydian modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Major scale using 2nds and ascending and descending one octave.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see an example of the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in C Major scale using 2nds and ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 1 download today!

ISBN: 978-1-59489-415-2 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

Two Note Modal Sequencing Group 2

The “Two Note Modal Sequencing” score and audio content

Videos Included!

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for E Melodic Minor (Jazz Minor.) Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Altered Scale modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files This example shows both permutations of a 2 note modal sequence in C Dorian b2 scale using 5ths and ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 2 download today!

ISBN: 978-1-59489-416-9 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

Two Note Modal Sequencing Group 3

The “Two Note Modal Sequencing” score and audio content

Videos Included!

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for D Blues Scale. Each line contains a new sequence. This is a good place for an advanced student who doesn't need the whole sequence written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for Bb Major Pentatonic. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Harmonic Minor scale using 4ths and ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 3 download today!

ISBN: 978-1-59489-417-6 54 Page PDF, 6 Videos 15 minutes in total, 1584 MP3s and 1584 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

If you prefer to order one of the 4 groups that comprise the Bundle book you will find information on each below:

Two Note Modal Sequencing Group 4

The “Two Note Modal Sequencing” score and audio content

Videos Included!

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Harmonic Major. Each line contains a new sequence. This is a good place for an advanced student who doesn't need the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for C Mixolydian b2. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Bb Lydian b3 modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in B Phrygian b4 scale using 3rds ascending and descending one octave.

Get The Two Note Modal Sequence for all Instrumentalist Group 4 download today!

ISBN: 978-1-59489-418-3 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

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