Clarinet History

Clarinets have been around for a very time, although they did not look at first the way they do today. The history of the clarinet goes as far back as the late 1600′s, when an instrument known as a chalumeau was in occasional use in orchestras. The chalumeau is commonly considered to be a forerunner of our modern clarinet, although it bore little resemblance to the ones we play today.

The chalumeau was a cane pipe measuring about 20cm (about 9 inches) long. It had seven holes, including a thumb hole, and a range of not much more than an octave. The name chalumeau suggests a French origin for this little instrument. But it was Johann Denner, a leading German woodwind maker, who was credited with improving it, and in doing so inventing the early clarinet. Sometime around 1700, Denner added two keys to the chalumeau, expanding its range by giving it an upper register. He also may have given it a separate mouthpiece and reed.

The history of the clarinet continued to develop as two-keyed clarinets underwent a variety of improvements and were introduced to France and England. By about 1750, the clarinet body had taken the basic shape we see today, but the keywork continued to evolve. In about 1780, five keys were being used. And by 1820 or 1830, clarinets were commonly in use that had 12 or 13 keys. By 1850 or so Boehm system keywork had been introduced. This system, based on the keywork then being used on the flute, managed to eliminated some very difficult fingerings. It is the system most commonly used today although Albert fingering systems are also still in use, primarily in Europe. In North America, it is rare to see a clarinet that does not use Boehm keywork.

In the mid to late 1700′s, composers had begun writing musical pieces that included, or were specifically written for, clarinets. The instrument became much more prominent in the 1800′s, and large volumes of music were written for it in the early 1900′s.

Today, there are minor variations in different models. Manufacturers use slightly different bore diameters and shapes, and occasionally additional keys. Most modern clarinets have 17 or 18 keys.

The famous Greek bouzouki

The bouzouki is by far the most recognizable and distinctive Greek music instrument. Bouzouki is written as mpouzouki (μπουζούκι) in Greek, but the true sound of the word is closer to bouzouki than mpouzouki.

Bouzouki is a stringed instrument, which belongs to the family of the long-necked lutes. Instruments of a similar shape can be found in Pre-Hellenic civilizations (Egypt, Assyria, China, India). In ancient Greece, an instrument similar to bouzouki was known under the name "pandouris", and from Byzantium onwards, it became known as the "tambouras".

On display in the National Archaeological Museum of Greece is the tambouras of General Makriyiannis, hero of the 1821 Greek revolution. This tambouras bears the main morphological characteristics of the bouzouki used by the rebetes playing rebetika songs.
Greek Bouzouki

The bouzouki has a pear-shaped sound-box and a fretboard of about 60-70cm in length, populated with metallic frets. It has three double metallic strings (each pair tuned in unison). Its basic tuning is D-A-Doct. There are variations such as the G-A-D or A-E-Aoct., which is not currently used.

At some point in the 1960s, a fourth string was adopted into the bouzouki's configuration. Regarding the intervals, the new D-A-F-C tuning became identical to the first four strings of the traditional guitar. The bouzouki is played with a plectrum (pena or pick), which, in older times, would have been made from a bird's feather, a horn or the bark of a cherry tree. Greek bouzouki is different from the Irish bouzouki that looks like a mandolin.

Bouzouki History

The history of bouzouki is actually intertwined with the rebetika songs, which is among the most distinctive Greek music sounds. The culture of rebetika  songs started blooming in the hashish venues and prisons of the port towns in Asia Minor and the Aegean Sea islands at the early years of the 20th century, and reached its peak later during and between the main World Wars.

In the first years the assembly would include the singer, two players of bouzouki that played simple chords at first, and of course the baglama, which is a small version of the bouzouki. Its sound and rhythm is little different than bouzouki, being more of a staccato rhythm. At first, though, it was always accompanying the bouzouki.

These rebetika  songs had lyrics about hookers and pimps, drugs, love, money, death and everything that could be associated with everyday life. The chords of the songs were based on a wide range of rhythms and ancient modes, and stood out due to the improvisation of their introductions known as taxims.

The bouzouki was reintroduced and brought to Greece by immigrants from Asia Minor and Turkey in the early 1900’s.

In the early part of the 20th century the “Rebetes” played the Bouzouki and the baglamas, later they added the guitar for chords. The baglamas is a smaller version of the bouzouki.

The baglamas is tuned (re,la,re) exactly like the (trichordo) bouzouki. The baglamas was an easy instrument to carry because of its small size. Today the baglamas is used to add color and to give a precise, distinct, vibrato sound to the composition.
Influential bouzouki players

Some of the most known early bouzouki players also called rebetes,  were Ioannis Papaioannou and Márkos Vamvakáris.

vassilis tsitsanis playing bouzoukiThe somewhat harsh reputation of rebetika songs finally softened a few years later, allowing bouzouki to enter the mainstream Greek music. Greece had the chance to introduce its most important player, who was both a master player and a prolific composer of music, the famous Vasilis Tsitsanis.

It was Tsitsanis the one who  enhanced the known rhythms with a more elaborate and modern chord progression adding a a western sound and music sensibility, writing lyrics that touched the hearts of his audience more, having a greater appeal to the Greeks compared to the heavy and roughneck lyrics and tales created by former composers and lyric writers.

Tsitsanis made bouzouki more recognizable and more acceptable to the Greek society. Speaking on modern words we could say that he was the first star of the bouzouki in Greece. Later on, when he died in 1983, more than 200 thousand people went to his funerals, most of them holding baglamas and bouzoukis in the streets of the city.

There were, though, many bouzouki virtuosos who took over Tsitsanis' legacy. One of them was Manolis Hiotis, who made a rather impressive addition to bouzouki: he added a 4th course of strings to the instrument, making a huge change to its sound and tuning to CFAD. This was a more modern arrangement that allowed bouzouki to produce a different, more appealing sound, giving the composers the chance to compose in a more flexible and diverse way as well.

The bouzouki has been persecuted by the authorities in the past century and part of this century as they had associated it to the criminal society of Greece, (unfairly and wrongly). It is purely a "sole" instrument and even though various qualified teachers have written many books, it may never be learned by just anyone.

By this statement we mean that even though everyone may have the ability with proper training, to make music with a bouzouki, few of us posses the ability to be able to perform with it and to relay through the instrument our most inner feelings, thoughts, and emotions, which change from moment to moment. In a nutshell it is the "mirror" of our soul.

A good bouzouki player must be able to produce clean notes at a higher speed than other stringed instruments. It takes years of studying and countless hours of constant practicing on a daily basis. Once a player commits to playing the instrument he may not be able to slack off and ignore daily practice time, as this will result in a decline in his dexterity and agility.

The Cheng

Chinese history books trace back to the very birth of music itself, an event pinpointed in the Book Of Chronicles (Schu-Ching) as occurring during the reign of the legendary "Yellow Emperor", Huang Ti, around the year 3000 B.C. Huang's other accomplishments included the invention of boats, money, and religious sacrifice. He is said to have sent the noted scholar Ling Lun to the western mountain regions of his domain to find a way to reproduce the song of the phoenix bird. Ling returned with the cheng (or sheng), and captured music for mankind, taking the first step toward the genesis of the accordion.

The cheng is in fact the first known instrument to use the free vibrating reed principle, which is the basis of the accordion's sound production. Shaped to resemble the phoenix, the cheng had between 13 and 24 bamboo pipes, a small gourd which acted as a resonator box and wind chamber, and a mouthpiece. Other instruments using a free vibrating reed were developed in ancient Egypt and Greece, and were depicted in many beliefs.

Reed Instrument Development

Virtually unchanged after centuries of use, the cheng attracted the attention of European musicians and craftsmen after being taken to Russia around the year 1770. Assertions that this marked the introduction of the free-vibrating reed principle in Europe are debatable. Among the earlier variations on this design in the West was the portative, which was widely heard in England during the 12th and 13th centuries. The portative consisted of a small keyboard, bellows, and reed pipes, and was strapped onto the player. The regal, later termed the Bible regal because of its wide use in churches, was the next step along this line. It had a keyboard, one or two sets of bellows, and, unlike the accordion and other open-reed instruments, close beating oboe-like reeds. This instrument eventually lost popularity due to a tendency to go out of tune too easily. It was frequently used for accompanying madrigal singers, between the 15th and 18th centuries.

Early Pioneers

Cyrillus Damian, a Viennese instrument maker, has often been credited with the creation of the first true accordion. He was, in fact, the first to patent an instrument of that name, having received royal patronage for his invention in 1829. Damian's design featured two to four bass keys that produced chords within a range of an octave. But the first true accordion made its appearance in 1822, when a German instrument maker named Christian Friedrich Buschmann (1775-1832) put some expanding bellows onto a small portable keyboard, with free vibrating reeds inside the instrument itself. He dubbed it the hand-aeoline, and helped spread its fame in 1828 by leaving Berlin and touring with it.

There were actually many varieties of the free-vibrating reed instrument developed during the early 1800s. Some of them are still quite well known today. Sir Charles Wheatstone (1802-1875) was awarded the British Patent No. 5803 for his concertina in 1829. Heinrich Band (1821-1860) of Krefeld, Germany, invented the bandoneon in 1840; this square-shaped instrument, played by pressing finger buttons is popular with Argentine tango bands. That same year Alexandre Debain finished his harmonium in Paris. In this pipeless organ (commonly found in churches and households until the advent of electric organs in the 1930s) air is passed to the reed blocks via foot-operated bellows. In some early models a second person was required to pump air into the instrument through bellows attached to the rear of the keyboard.

Early Literature

As the renowned for accordions grew, so did a demand for instruction manuals. The first such textbook, featuring both original music and arrangements of familiar pieces, was written by A. Reisner and published in Paris in 1832. Another tutorial volume, Pichenot's Methode pour l'accordeon, appeared later that year. In 1834 Adolph Muller published his instructional book in Vienna, and since then the music market has sustained a flood of similar programs, with about 30 titles published during the 1860s alone.

Further Instrument Development

Meanwhile, from 1830 onwards, the development of the accordion continued at an accelerating pace. Still, there were some important differences between the instruments of that era and those of today. For one, early accordions did not have shoulder straps that allowed the player to hold the instrument close to the body. The older models were played by placing the thumb, the little finger, and sometimes the fourth finger of the right hand under the treble keyboard, leaving only the remaining two or three fingers free to press the keys. The thumb of the left hand was also placed under the instrument to steady it, with only the second and fifth fingers used for playing. Most players today wear double straps, although single-strapped accordions, which leave the keyboard at a less upright angle, are popular in the Soviet Union.

Additionally, early accordions, like the bandoneon (and, for that matter, the harmonica) that exists today, produced different notes on the press and draw of the bellows. Thus, if the C key were pressed to produce that note on the opening of the bellows, the note D might sound when the bellows were closed. These instruments are characterised as diatonic, and the pitch of their notes was determined by the placement of the keys and the reeds by each maker.

The chromatic accordion, which produced the same note on the press and the draw of the bellows, came into use in 1850 when an accordionist named Walter requested that one be custom-built for him. His model, incidentally, also featured 12 bass buttons, cleverly arranged so that all 12 key signatures could be accommodated.

One interesting development from this period was the appearance of what subsequently became known as the Schrammel accordion, first used in 1877 with a quartet comprising an accordion, two violins, and bass guitar. The Schrammel had 52 treble buttons arranged in three rows that produced the same notes, together with 12 basses that produced different notes, on the press and draw of the bellows. This model was used often at Viennese gatherings and can still be heard today, but its popularity is limited because of its small range of notes and the difficulty with which it is mastered.

It seems clear that at this stage the accordion was being conceived of as a portable type of organ. Pipe organs had of course become extremely sophisticated by then, with tones produced through open-ended wooden or metal flue pipes of up to eight feet (for the lowest C then in the instrument's range) in length, and with its own free vibrating reeds set in a brass plate, to be activated when the reed stop is engaged. This exact design was incorporated into the accordions of that era, with several brass or steel reeds embedded into a long wooden block in a somewhat simplified version of the modern accordion design.

The Modern Accordion

So when the first piano accordion, or the first accordion to feature a piano-style ivory keyboard, was produced in Vienna in 1863, many performers regarded it as a means of liberating themselves, to a limited extent, from being confined to their massive and immobile walls of pipes. As with the modern accordion, these keys were much smaller than those on the piano, and more rounded to allow for faster playing. Design requests from musicians helped refine the shape and appearance of the accordion keyboard even more over the next several years. One of these artists, Pietro Deiro, brought his custom built piano accordion to the United States and, thanks to a successful New York concert at the Washington Square Theatre in 1909, earned a reputation for himself as the father of the American accordion playing.

During the early part of the twentieth century the leading accordion manufacturers began increasing their output and, thanks to pressure from professional players, settling on a general standard size and shape for the instrument, with 19½" the agreed length for a 41 note keyboard. One company in particular managed to establish a solid slot for itself in the industry hierarchy. It is commonly accepted that Matthias Hohner (1833 - 1902) was to the accordion what Henry Ford was to the automobile and enterprising figure who made his product available to a great number of people at reasonable prices. Originally a clockmaker in Trossingen, Germany, Hohner had begun building accordions at his workshop in 1857, but by roughly 20 years after his death the business he had founded was creating them by mass production.

The Global Effect

Today the accordion is truly an international phenomenon. There are several manufacturers of fine accordions in the U.S., but their output is small compared to their European counterparts. Large contemporary producers are located in Germany, France, and the U.S.S.R., where the bavan, and accordion with a button keyboard, is frequently played. But by far the most voluminous companies are in Italy. About 75 percent of the instruments built there are exported around the world; one firm, Scandali, a subsidiary of Farfisa, does an especially good business with the Soviet Union. In China the instrument is being built in large numbers there too, with two large manufacturers.

Performance and Recent Composers

With all these improvements, it is no surprise that the parameters of performance have also grown in recent years. Music for piano, celeste, harpsichord, harmonium, and organ may now be played on the free bass accordion without having to alter a note of the score, thanks to the greater freedom allowed for the left hand. And there is a substantial repertoire of works specifically written for accordion by such composers as Tchaikovsky, Berg, Paul Creston, Henry Cowell, Walter Riegger, Alan Hovhaness, Tito Guidotti, Lukas Foss, James Nightingale, William Schimmel, Ole Schmidt, Tjorborn Lundquist, Hugo Hermann, Richard Rodney, Bennett Douglas Ward, Wolfgang Jacobi, Nicolas Tchaikin, and many others. New works are also frequently commissioned by the American Accordionists' Association, the Accordion Teachers Guild, and other organisations.

Colleges and universities in the U.S. now accept music students majoring in accordion, a fact that reflects the instrument's unquestioned legitimacy in classical music. It has been seen on the concert platform at Lincoln Center, Carnegie Hall, and the Albert and Festival Halls in England, and has appeared as the featured solo instrument with the New York Philharmonic, the Boston Pops Orchestra, the Philadelphia Orchestra, the New Zealand Symphony Orchestra and the Royal Philharmonic Orchestra of London.

The accordion has also made inroads into the field of popular music. The Beatles, Billy Joel, Neil Diamond, the Rolling Stones, Emerson, Lake & Palmer, Jimmy Webb, the Beach Boys, Bob Dylan, and a host of other artists have used the accordion on records and onstage, while it has proven itself as ideal for soloing and for blending in well with the clarinet, the saxophone, and the flute in jazz settings too. The jazz world has seen such notable accordionists as Art Van Damme, Mat Matthews, Tommy Gumina, Leon Sash, Ernie Felice, Angelo di Pippo, and Jack Emblow

History of the flute

Japanese FlutesThe oldest flutes found, are thousands of years old and made of bones. These flutes were used during hunting and in magic rituals.

Later on flutes are found which were made of wood or bamboo. All flutes used to have only holes. You could hold a flute to the left or right side and there were even flutes you could hold straight like a recorder.

Until the middle ages flutes were played by hunters, shepherds, musicians in festive occasions and from the 13th century on also by soldiers. Did you know that these kinds of flutes are still played all over the world?

From the 16th century on the flute developed into the modern flute which we know nowadays. In that time the flute was made in one piece and still didn't have any keys at all. About 1670 the flute became more and more popular. The flute was made in three pieces and got its first key: The d sharp key, which we still have on the modern flute; it is the key for your right little finger. This flute is nowadays called the barock flute. There used to be many intonation problems on the flute. This was not only because of the holes, but it was also caused by the different intonations (pitch) in different countries and cities. Therefore flutes were also available in 4 pieces after 1720. The shorter pieces were for playing much more sharp (higher pitch) and the longer pieces were for playing much more flat (lower pitch).

Because there was only one key on the flute you had to play with very complicated fingerings. These fingerings are called fork fingerings and the tones of these fork fingerings sounded not too good. There came extra holes and keys on the flute to get rid of the fork fingerings. Around 1775 the flute had four keys: d sharp (already existed), b flat key, g sharp key and f key.

Theobald Boehm (1794-1881)Eventually more and more keys were added to the flute, but there still wasn't a good system for the keys. The very famous English flautist Charles Nicholson (1795-1837) introduced larger holes for the fingers and a larger hole for the mouth piece in order to get a better sound.

The famous flute maker Theobald Boehm (1794-1881) once heard Charles Nicholson play in a concert. Boehm was so impressed by his sound that he started developing the flute further. In 1832 the flute with key mechanism by Theobald Boehm was ready. Boehm called this new flute Ringklappenflöte. With this mechanism playing the flute became much easier and the flute did sound much better. Flautists and orchestras were very happy with the invention by Boehm. We still play on flutes made with the mechanism invented by Boehm. Only nowadays flutes are not so often made of wood as they used to be.

Ask most people who created the modern electric bass guitar and they will tell you it was Leo Fender. However, there were at least five other prototypes resembling the now well-known design of the modern bass, each created well before Fender introduced the world to the Precision bass in 1951. The modern bass is a direct descendant of the double bass, which dates back to the 17th century. However, it was not until the early twentieth century that the design of the bass was changed to be more practical. In the 1920's, Lloyd Loar, working for Gibson, designed the first 'electric double bass'.

The bass used an electro-static pickup, but amplification of bass frequencies was as yet undeveloped, so there was no practical way of hearing the instrument. In the early 1930's, Paul Tutmarc became the first known individual to refine the double bass to a more practical size. The first prototype was about the size of a cello, and featured a rudimentary pickup, but this was found to be too heavy, and the design was refined to be more like a guitar. This new bass was 42 inches long, solid body, made of black walnut and piano strings and, like the previous, featuring a pickup. In the mid '30s, several established musical instrument firms - Lyon & Healy, Gibson and Rickenbacker to name a few - began marketing experimental electric basses that were, like Tutmarc's prototype bass, much less bulky than a standard double bass. However, these were all still tall, unfretted, upright instruments held in the standard vertical position. Around 1940, Paul Tutmarc Jr began manufacturing guitars and basses, including the Serenader bass. This was distributed by L.D. Heater Music Co., in Portland, Oregon, and was the first time a large distributor handled the electric bass. The genius was that this new instrument was a bass Guitar - a compact, fretted instrument that could be held and played horizontally.

The main features of the design were:
The pickup - designed because the double bass was often drowned out by the brass sections of jazz bands.

The size - the double bass player had to travel alone because of the instrument's size, and often got lost on road trips to shows, due to being separated from the rest of the band. The new compact design meant that the bass player could travel with the rest of the group. There was very little progression until Leo Fender famously created the Precision bass in 1951. This was named the Precision bass as the frets on the instrument allowed the notes to be played with precision. This was, to many people, the first real electric bass, as it was the most mass-produced and recognisable bass guitar at that time, and still is.

Its design is the most copied in bass guitar history. In 1957, the pickup was changed to be a split pickup, and the pickguard and headstock were redesigned. In 1960, Fender designed and created the Jazz bass, with two separate pickups rather than a split pickup like that of the Precision. The popularity of the Fender basses meant that later followed bass guitars from Gibson, Rickenbacker, and Hofner. This led to a surge of popularity in the modern bass guitar, and led to it being known as it is today - an important part of rock, blues, jazz, funk, reggae and countless other genres of popular music. In 1959 Danelectro created the first 6 string bass, tunes E A D G B E, and Gibson and Fender used this idea to make the Gibson EB-6 in 1960, and the Fender VI in 1962. Fender created the first 5 string in 1964, with the Fender V. In 1965 came the first fretless Bass Aubi from Ampeg and in 1968, there appeared an 8 string bass from Hagstroem. The first fretless 6 string, (later owned by Les Claypool) was built by Carl Thompson in 1978. Because of playing styles like Slap and Pop, the variable number of strings and the different combinations of woods, necks, etc. pickups had to become much more varied. EMG pickups became widely used on bass guitars. Bass guitar was popularised early on by players like John Entwistle and James Jamerson in the 60's, Jaco Pastorious and Stanley Clarke in the 70's, and Marcus Miller and Cliff Burton in the 80's.

The late 80's saw a decline in the popularity of the bass, as the fashion was for electronic synthesised dance music. However, the bass had now diversified further away from the double bass guitar. Nowadays, bass has further increased in popularity due to bassists like Les Claypool (Primus) and Flea (Red Hot Chili Peppers), who have shown the importance of bass in modern music. Unfortunately, the double bass declined in popularity, as it is unable to compete with the compact size and versatility of the electric bass guitar. Now, when somebody talks about a bass, the mind instantly jumps to an image of an electric bass guitar, rather than it's predecessor, the acoustic upright.

Baglamas / Tzouras

The baglama and the tzouras are small, long-necked lutes derived from the bouzouki. The three instruments make up the typical ensemble associated with rebetiko music and songs.

The tzouras is very similar to the bouzouki. Their main difference lies in their size. Both the soundbox and the neck are smaller and that accounts for the deeper sound that the instrument gives. It is also tuned in D-A-D, although the even shorter tzouras is tuned in G-D-G.

The baglamas is the smallest instrument in this group. It has three double-course strings and is tuned an octave higher than the bouzouki. It originated at a time when the rebetes were persecuted by the authorities and their instruments and music were forbidden. It is known as the bouzouki of the prison, where the rebetes started making bouzoukia small enough, so that they could easily be concealed in the cells.

The baglamas was often favored in the early part of the 20th century as a solo instrument for men in jail or for a small group of "rebetes" to play for singing and dancing. It is a smaller version of the bouzouki and is tuned re, la, re (D, A, D), but an octave higher than the bouzouki's tuning.

The baglamas can be used as a melody instrument and can be easily made from wood or other material for the back (including tortoise shells, gourds, or carved solid wood).

A saying that the old "rebetes" used to quote was: "Eho to baglamadaki, kato ap' to sakaki." "I have my baglamadaki under my coat." This refers to the fact that they would carry the small instrument tucked into the back of their belt, under the back of their coat tail so that it did not show. If they found the occasion to play for their own expression, or for some friends, they could take the baglama out. However, if the situation was not appropriate for a good "kefi" (mood), they could keep it out of sight.

It also has been used as a chord and rhythm instrument in small "bouzouki" bands. In this role, it is often played with a simple, driving rhythm giving a high pitched, insistent beat to back up the lead bouzouki. It thus rounds out the sound of the bouzouki band.

The History of Drums and Drumming

History of drums - This page will discuss the history of drums and drumming in a variety of areas in music to communicate a message to influence the mind and release subdued passions. The origins and uses of the drum in the past. The uses today which come from the past may shock and surprise you.

The History of the Drum Set

The drum is one the oldest instruments known and was used by many cultures around the world. Djembe drum Primitive tribal societies used to celebrate victory in battle aswell as in ritual dance and worship to their dieties.

The original drum was a animal hide stretch over a hollow log which was held by wooden or metal pins or twine to these pins. The drum was used for several functions within various societies. From a long djembe drum in Africa to a timbrel in middle east which looked like a tamborine and a tabor in Euorpe which lead to the modern day snare drum.

All these plus others from other societies from around the world lead to what is known as the modern day drum kit. This was put together in the early nineteeth century when music began to change and more percussion was needed to acompany the changed music trends and the new dancing styles.

The Origins of Drums History

The first drumming in drums history was a series clapping of hands and hitting the chest and knees with open hands. Various rhythms were adapted using this method but was limited because of the volume one could create and because to create higher volume was painful. So the drum was developed to overcome this problem.

The history of drums and drumming is really a checked one in that it's origins have come out of quite negative circumstances. There are several places where drumming was used. They are:

• Battle

• Celebration of Victory in Battle

• Pagan Worship

• Occult Practices

• General Celebration

• Entertainment

These are the predominent areas in the history of drums where drums were used in the past and are still used today. The part they play in history is not in the good of human life. The tendency is a steady journey towards debasement and depravity to a large exstent. Kingdoms have fallen and nations have been ransacked from within by the use of these methods.

The End Result

The history of drum set and various forms of music have been used to awaken animal aggression and the most vilest of passions man has. This has been done to bring on political and cultural changes that debase the whole of society.

You do not have to look far to see this trend. I have watched and seen this very thing take place over the last thirty years until we are living in a society so changed and debased by this influence I wonder where it will end.

Some of the music of today should not be consummed by idividuals in our society. The depravity that will come from it is scary to say the least. Music and drums are not neutral as many professional musicians will tell you. It is a tool for change which may not be for the betterment of mankind but for it's decline into depravity and ruin.