Hi, I’m Layla and I’m going to show you how to
take your clarinet apart and how to clean it.  So first of all you need to take your reed off
and if you want to see how to do that there is  a link to another video in the description
below. Then after that you need to get your  cleaning cloth ready and then you start taking
your clarinet apart. So I take it apart from  the top down. So the first bit I want off is
the mouthpiece. You have to be quite careful  when you clean your mouthpiece. So you put the
cleaning cloth in from the bottom and wiggle it  through and then you pull your cleaning cloth
through. Pull it halfway through because some  cleaning costs are too big to call all the
way through. You just give it a wiggle to make  sure that it picks up any moisture inside and
then you pull it back out the way it went in,  like so.
You then pop your ligature back on and
the mouthpiece cap back on and then slot it in  the correct part of your case. So next up is
the barrel. This part of the clarinet you can  pull the cloth all the way through. So it just
goes all the way through and then sometimes in  the little rims you can see a little bit of
moisture there so you can then just dry it  out using your finger on the cloth. And you slot
that part away the next bit to take part is the  top joint from the bottom joint. So here you need
to be careful that you’re lifting up the little  lever down here so you need to push those keys
down, and you twist it carefully and you pull it  up.
Being really careful that you’re not going to
let those metal keys clash together. There we go. And then you pop your cleaning
cloth all the way through like  that. Sometimes around the cork you can
see a little bit of excess grease so  you can also get that off by using your
finger and the cleaning cloth like so. And then you pop that away. In most cases the
best way to position your top and bottom joint  is to make sure that the holes face upwards in
the case.
And then we’ve got the bottom joint  to take apart and you do the same thing with the
cleaning cloth. Pull it all the way through then  get rid of any moisture here and get rid of
any excess cork grease down here. And last but  not least you’ve got the bell. The cleaning
cloth goes through the bell really easily,  so easily that it doesn’t always pick up most
of the moisture either, so just give it a little  wipe and give it a little wipe this way and then
pull it through and pop it away. And then you can  just fold up your cleaning cloth. Don’t forget
cleaning cloths can actually get quite mucky  and they can go in the washing machine just like
your clothes do.
So every now and then make sure  you wash it so that it doesn’t get dirtier
and dirtier so it’s actually cleaning your  clarinet. Just slot that away, close the lid and
be really careful to make sure you lock the case..
Hey everyone uh in today,’s, video, i’m, going to be showing you how i have done like a diy of this violin case. So this is nearly the final product, but not yet the final product i’ve, not finished yet.
You’ll see that at the end of the video and but basically just to tell you in short about why i’m doing this, and i got this case and i love to paint and um.
I decided to basically create a van gage paint, one and and then sell it and give all the money to charity, and the charity i have chosen is one that helps um kids in africa to learn music um.
So you can learn more about that in the description and in the comments what i’m going to be explaining.
But basically this case is for sale and the way it works it’s on sale on ebay.
I’ve put a price like a to start a starting price, and then it works on betting, so basically stop um.
So basically, it just works as in it’s a yeah starting price and then whoever bets more finally gets the case and the whole amount of the money will be given to the charity, um so uh, i hope uh.
Some of you will be interested.
It’s open internationally.
I will be, i can send it wherever you are um and again um. It is all for charity, and i just i just really wanted to do something of my time, especially that i have a bit more now and and no concept.
This summer, so i thought i’d, you know do this, and so i hope you enjoyed the process.
I’m going to be showing you from the beginning of how it looked like and how i’ve come to this, and then you’ll be able to stop and see the end the end product and, as you can see, i’ve got An assistant here who’s not helping so much but yeah, so i hope you enjoy and the link to buy the case is in the description.
So it is for sale and so do spread.
The word share and if you have friends interested in buying a violin case, nobody will have the same than yours.
So it’s very original.
So do um.
Yeah do tell your friends and if you’re interested in buying it, the link is in the description in the comments Music, so Music .
The other night dear, as I lay sleeping I dreamed, I held you in my arms, But when I awoke dear, I was mistaken. So I bowed my head and I cried. You are my sunshine. My only sunshine You make me happy when skies are gray. You’ll, never know dear how much I love you Please. Don’t take my sunshine away. I’ll always love you and make you happy If you will only say the same, But if you leave me to love another, You’ll regret it all some day. You are my sunshine, my only sunshine You make me happy when skies are gray. You’ll, never know dear how much I love you Please! Don’t take my sunshine away. You told me once dear you really loved me And no one else could come between, But now you’ve left me to love another. You have shattered all of my dreams. You are my sunshine, my only sunshine You make me happy when skies are gray, You’ll, never know dear. How much I love you Please. Don’t take my sunshine away. Please don’t take my sunshine away.
Hi, I’m pro saxophonist Jamie Anderson and
you’re watching Get Your Sax Together. I sax up your Sunday every week with
technique tips player profiles, tips on playing great solos and, of course, my
famous breakdowns of the world’s best loved sax lines. In today’s free online
sax lesson you’ll be learning how to play one of the funkiest tastiest most
memorable sax solos of all time and that’s Gerald Albright’s burning tenor
solo on Forget Me Nots by Patrice Rushen. Forget Me Nots is
featured on singer/keyboardist Patrice Rushen’s 1982 album straight from the
heart and was famously sampled by Will Smith for the men in black film. The
funky sax solo is by LA session god Gerald Albright, and it is not easy I’m
afraid folks! Many of you might struggle with this one even on alto especially
the first phrase which is mega high so apologies for that but it’s one of my
favourite solos of all time and at the end of the day it’s my channel and I
love it so much that I’m gonna do it anyway! lol Before we dive into the fiendish
first phrase remember to go down into the description for this video and click
the link to get your free pdf sheet music for Forget Me Nots which looks
like this…
It’s beautiful and it’s written out for alto and tenor sax with
all the phrase numbers marked in. In another life I’m a bit of a music
copyist so believe me these PDFs have a lot of love put into them! OK let’s get
straight on and learn the first phrase now. As I’ve already mentioned this is
super high so you might do better to take it down the octave. However if you
want to give it a go the fingerings shown are for the altissimo notes. Here
it is, played in slow motion for you to learn… Like I said don’t panic with this one if
you can’t scream it out upstairs, just take it down the octave. Just before we
move on to the second phrase though, I wanted to quickly mention my free
saxophone success masterclass. It’s a completely free and exclusive one hour
video lesson with loads of in-depth teaching to help you improve your tone,
improvise a great solo, design a structured practice routine so you don’t
waste your time and there’s loads of other super cool
tips and tricks that I’ve picked up over the years as well.
I’m telling you
there’s no fluff or padding this is 60 minutes of solid in-depth teaching to
transform your playing. I’m not sure why I’m giving it away for free to be honest
but there we go, all the better for you the link is in the description or you
can visit www.getyoursaxtogether.com/mastercalss Okay, without further ado let’s look at phrase two now. Thankfully, this one’s a
bit easier! lol Here it is played nice and slowly and watch out for all those ghosted notes in brackets that are quieter than the other notes… Oof! That one is funky as
you like when it’s played up to tempo actually while we’re on the topic of
funky sax, let’s get some healthy debate going on in the comments then – what’s
your favorite funky sax moment of all time?
I’d say my top faves are this one, Wilton Felder on street life, Brecker on
native New York, Ernie Watts on the dude and about another 100 I haven’t mentioned –
but I want to know what YOURS are and if one is popular enough I’ll even cover it
on the channel! While we’re at it if you’ve never watched to the end of these
YouTube videos keep watching right to the end this time and let me know what
you think of the Get Your Sax Together funky outdo music cos I bloody love it! lol ok
moving on then here’s phrase 3 Apart from the major scale coming up in
the next phrase, every note in this solo is from a concert F# minor blues
pentatonic scale, that’s a G# minor blues scale for tenor and a D# minor
blues scale for alto and you can see this if you go down into the description and
click the link to get your free pdf.
So if you want to get to grips with
pentatonics and with the blues scale used in this solo, which I’d highly recommend,
check out my video linked on the card up there now. Phrase 4 is taken from a B
major scale for tenor F# major for alto, and it goes like this That’s such a great example of the
importance of learning your major scales folks! If you get bored practicing scales
or you don’t know how to do it effectively, check out my scales practice
video linked up there now. Phrase 5 and phrase six are actually one phrase but
I’ve split it into two phrases to make it easier to learn. Now here’s a hot tip –
the next phrase, phrase five is exactly the same as the start of phrase three,
but starting on beat two, proving that this is definitely a pattern that Gerald
Albright uses or used systematically in his solos. Spoiler alert
coming up – everyone uses pre-programmed licks folks, if you’re worried about
being formulaic, get over it! Here’s phrase five in slow motion… As I mentioned, phrase five flows
straight into phrase six and anyone that’s got their eagle eye on will
notice that beats two and three of this final phrase are exactly the same as beats
two and three of the previous phrase except down the octave.
Truefire Guitar
Like I said – everyone
uses pre-prepared licks! So that’s it – we’ve got all the phrases
covered now but just before I play this through for you at full battle speed
it’s worth noting that this whole solo only uses one blues scale and one major
scale, but it still sounds absolutely amazing! If you want some advice on how
to sound great using only a few notes like Gerald Albright does in this solo,
then check out the video linked up there now, where I give you three tips on how
to sound better when you solo WITHOUT learning any new notes or scales.
Okay,
let’s put this whole thing together now – remember to get your free PDF from the
description to follow it along with each phrase as I play it.
I’ve put together a backing track for this one and it features the fantastic
bass playing of my old mate Greg from Greg’s Bass Shed, who does a fantastic
job of recreating the legendary Freddie Washington bass part on this track. I’ve
put a link for a Greg’s Bass Shed on YouTube in the description if you know
any bass players who might be interested. There’s four bars intro and then sax
comes in, so here we go… [Kids sing Get Your Sax Together theme tune!] So that’s it for this Sunday, I hope
you’re enjoying learning Gerald Albright’s wicked solo on Forget Me Nots. So
before we get into the funky end card music that you’ve all been waiting for,
if you want to learn some more in depth sax stuff, go to Get Your Sax Together .com and get your free one-hour lesson with me, and as always you can support me
by giving this video a thumbs up, subscribe to the channel, click the bell
icon to be notified when I upload new content,
check out my insta and my new Facebook page – woo –
all the links are in the description.
Until next Sunday adios amigos and bring
on the outro music! [Kids sing theme music] [whispers] Get Your Sax Together.
In this bass lesson, you’re going to learn
how to solo through one of the most common chord sequences, the 2-5-1 progression using
3 separate must-know approaches. Hi, I’m Luke from becomeabassist.com and
if you want to have the confidence to improvise over this chord progression that I’m certain
you’ve heard before, stick around. I think you’ll like this one! [Video Intro] I can virtually guarantee that you’ve heard
the 251 progression before. It’s in so many different songs and across
so many different styles of music. You’ve got old school artists like the Jackson
5 or Queen using it, if you go back even further, you’ll find it in classical music, tons
of jazz – seriously – it’s everywhere in jazz music! But even more modern artists like Bruno Mars
or Ed Sheeran or Maroon 5 chuck it in their songs too. It just works! Because it’s so common, it makes sense to
know your way around it really well. That way, if you ever need to create a bass
line over this progression or make your own fills, you’ll know exactly what to do and
you can be confident that what you play is going to sound good.
This also applies if you need to improvise
over this progression and that’s what we’ll mostly be talking about in this video. Now just in case you don’t know, a 251 progression
is just a set of 3 chords that all come from the same key. The chords are built from the 2nd, 5th and
1st notes of the major scale. That’s where we get the numbers 2-5-1 from. So if we have a C major scale [plays C major
scale] our 2nd note will be here [plays notes] 1-2 – a D right here.
Our 5-chord is 1-2-3-4-5 some kind of G chord. And of course our 1 is just going to be the
C. So the roots of the progression in this key are D going to G, then landing on C. Straightforward
enough, right? And the final piece of the puzzle are the
qualities of the chords. The D chord is actually going to be a Dm7
chord, [plays Dm7 chord] the G chord will be a G7 or a G ‘dominant’ 7 chord, [plays
G7 chord] and finally, our C chord will be a major 7 chord.
[plays CMaj7 chord] By the way, these chords
don’t have to have the 7ths on them. They could easily just be a D minor chord,
a G major and a C major chord but they’re a bit more colorful with the 7ths on top. By the way, if you want to understand exactly
how these chords are formed and how they all relate, check out my free Ultimate Guide To
The Modes For Bass. If you do have any confusion about this, it’ll
clear it right up. So I’ll drop a link in the description under
this video for you. Now that’s out of the way, let’s talk
about 3 different approaches to improvising over this progression. There are others, but these are the big ones
– the ‘must-knows’. The first approach is probably the easiest
to get started and that’s to simply play ‘within the key’ using a pentatonic scale.
So if we have this 2-5-1 progression – Dm-G7-C,
then our key is just going to be the 1-chord. In this case, the C – so we’re in the key
of C major. That means we can just plug in the C major
pentatonic shape and go to town. I’ve got a really simple 2-5-1 backing track
in the key of C here that we can use, so if we just stick to using the pentatonic, it
might sound something like this. [plays pentatonic over track] You can use
all the other positions of the major pentatonic too. [plays more pentatonic scale] All just the
pentatonic scale all over the bass. This approach works well enough for the most
part, but you’re essentially just using one sound over the 3 different chords. If you wanted to get a bit more advanced,
you can start assigning one sound for each chord and cycle through them that way. So what sounds or scales are going to work
over each of these chords? Well over your 2 chord, a Dorian scale is
going to be great, in this case our 2-chord is a D minor, so we’ll use D Dorian.
Over the 5 chord, a Mixolydian sound is going
to work great and for us, our 5-chord is a G7 so we’ll use G Mixolydian, and of course
over our 1-chord, we can use the plain old major scale. C major for us in this case. If you don’t know these scales, these are
actually what are called ‘modes’ of the major scale and if you need to know all the
shapes and how they work, where and how to use them, then you should really check out
my Ultimate Guide To The Modes For Bass. It’s totally free and it’ll give you the
whole picture and answer all the questions you have about these modes. To get it, just click the link in the description. As far as how to get started using the modes,
I recommend being very methodical with them. Just to get familiar with them, go up each
scale along with each chord.
So when the D minor 7 is playing, go up the
D Dorian, go up the G Mixolydian over the G7 chord and go up the C major scale with
the C major 7 chord. Makes sense, right? That way, you can hear exactly how the scale
relates to the chord. Let’s bring our track back and do exactly
that. So there’s our 2 chord – we’d play our
Dorian, then our 5 chord – Mixolydian for that one, then our 1 chord – the plain old
major scale.
Let’s try to play these ourselves starting
with D Dorian [plays scales with track] G Mixolydian – and the C Major scale. We can come down the C major as well because
it lasts for 2 bars. Let’s go again. [keeps playing modes] Do you see how this works? As we hear one chord, we play one specific
sound and when the chord changes, we shift to another sound. This is going to outline the harmony for us,
but it’s also going to give us a ton more options than just using one sound over all
three chords. Of course this is just the first step. When you get more comfortable with these modes,
you can start playing around with them instead of just going up and down, which can get dull
really fast.
So let’s try that – let’s play around
with the modes a little bit. [plays modes over track] Something like that. Notice that when I do this, I’m going outside
of the shapes and boxes that we were using before. It’s still the same notes, just played on
a higher or lower part of the bass. Again, this gives us more options and lets
you play the music you hear in your head. Chances are, the music that’s inside of
you isn’t going to be confined to a neat little box, so extending the scales and getting
to know them across your entire fretboard is always a good idea. So first we had the pentatonic that worked
well, but wasn’t really playing inside the chords – it was playing over them, then with
the modes, we got more specific about playing one kind of sound for every chord.
Now, let’s take that one step further with
the 3rd approach – using arpeggios to outline each of the chords. This means instead of using a whole scale,
we’ll only use the notes that make up each of the chords. For the Dm7 chord, our notes are D-F-A and
C. There’s a couple of options to play this. You can play it here [plays arpeggios] 10th
and 13th fret on the E-string, 12th fret on the A-string and 10th fret on the D-string. You can also extend this up to the 12th fret
on your D-string, then the 10th and 14th fret on your G-string as well. [plays arpeggio] For the G7 chord, you’ve got options as
well. The notes are G-B-D and F, and you can play
that here [plays root position arpeggio] But you can also go below that – remember the
F and D are also part of the arpeggio. [plays lower notes] And you can also start
on the G-string up here [plays arpeggio] It gives you a few more options.
And finally, for the C major 7 chord, our
notes are C-E-G and B, and you can play them here [plays arpeggio] Again, you can extend
this arpeggio all the way to this G up here [plays arpeggio] It gives you a nice spread
all across your fretboard. So how are we going to use these shapes? Again, let’s be methodical and systematic
about it. Let’s start off by simply going up and down
each arpeggio as it relates to each chord. Let’s grab up the track
and give it a crack. [plays arpeggios in order over track] Now
let’s keep the track going and try to use these arpeggios to make some music rather
than just go up and down. [plays arpeggios] This approach is actually kind of tricky,
right? At the start, it’s very possible that you’ll
sound like you’re just running arpeggios, but there’s a way to get them to sound way
more melodic and that’s to jump around between the notes of each arpeggio.
Going from one note to the next, then the
next is fine, but not the most musical way of using these arpeggios. Plus, once you start skipping notes, you get
a whole ton of wider intervals in your playing and they can be melodic as hell! If we were to do that, it might sound like
this. [plays melodic arpeggios] Now we’ve gone through 3 separate approaches,
and I’d encourage you to go through all 3 approaches and see which ones work for you,
but that doesn’t mean you have to limit yourself to just using one.
In fact, experienced improvisers will use
all 3 approaches all the time and blend them together. Doing this gives your playing more variety
and keeps people guessing – makes sure they don’t get bored of your playing. If we were to do this over this 251 progression,
it might look like this. [improvises over track] You see what I’m doing there. I’m using some scale fragments, some arpeggios,
sometimes getting all pentatonic with it.
There aren’t any rules here – you can mix
and match however you want to get the music that’s in your head to come out through
your fingers and onto your bass. That’s the whole idea, and it’s wicked
fun when it starts working for you! The key is to practice each individual approach
– even the ones that might not fall under your fingers naturally. If you really start getting your head around
these ideas, they’ll start coming out in your playing naturally. Once again, if you’re at all confused about
the modes – the scales we used in approach #2 – I’ve got to recommend my Ultimate Guide
To The Modes for you.
You’ll get the full picture of where the
modes come from, how they work, and where you can use them, but what you won’t get
is any of the confusing jargon that people use that just makes you even more confused. It comes with 2 videos plus a 16-page PDF
with all the tabs, notation and shapes for the modes. But it’s only for people who subscribe to
the email newsletter, so click the link in the description, sign up on that page and
I’ll send it straight to you – completely free. To recap though, you learned 3 separate approaches
for getting through the 251 progression on bass. You learned that the first one was to use
the major pentatonic scale of the 1-chord. If you’re in the key of G major, use G major
pentatonic, if you’re in Bb, use Bb major pentatonic etc. etc. The second approach was to use the modes of
the major scale. A Dorian mode over the 2-chord, a Mixolydian
over the 5-chord and your plain old major scale over the 1-chord.
You also learned that you can make music with
the arpeggios of the chords, and to make it sound more musical and melodic, you can play
the notes of each arpeggio out of sequence. Finally, you learned that you can combine
all the different approaches so your playing has variety and people won’t get bored of
you just playing the same thing all the time. Thanks so much for watching – I really appreciate
it. Go ahead and grab that Ultimate Guide To The
Modes if you haven’t already. I’d love to see you in there too. I’m Luke from Become A Bassist and I’ll
catch you soon..
The infamous stuck mouthpiece. This
will happen to every brass player at some point in
their life. And unfortunately, their dad, their friend, the trumpet player, will want to try to
take the mouthpiece out. And like I said, you can't hide from me-
I know that you've been here. So, telltale signs. Look around the
mouthpiece here-it's all scored up, there's big gouge marks on this part the
mouthpiece. I've got plier marks on the trumpet. I can see, if you look at it, that the lead
pipe has been twisted to the point of
breaking this brace here. All of this because somebody thought, thought that a pair of pliers was the best way to take this mouthpiece out. No. Throw the pliers away, get rid of the vice
grips. Daddy, you can't touch my horn. Mouthpieces generally
get stuck for two reasons. Number one is just in playing, you've left the mouthpiece on there; the natural acids in your body have worked a little bit and have created
a little bit of corrosion, and the mouthpiece just won't come out.
The other one is some sort of, it's been dropped, a lot of players like
to put the mouthpiece in and do that thing; they like the way that it
sounds.
Over time that tends to be a bad idea. So as we remove the
mouthpiece we'll cut, we'll start with the least invasive and up to the the more difficult ones. So, one of the first things is, just a gentle
tapping that has to be gentle has to be something that is not
gonna mar the instrument, that doesn't have enough
force to break any braces. This is called a
Delrin hammer I've got this in my shop. We went to our
budget store, and we got this little brass hammer.
Metal is a bad idea, so we're going to take one of our little silicone bumper dots that we found,
probably in the framing/photography section of the store.
We'll put one on there I'd like a little bit more cushion so I'm
gonna put a cork dot on top of that. That kinda
gives us a little bit more the protection of the
silicone and the resiliency at the cork, and so, first thing, a little bit light tapping around the rim and primarily this little spot here, where the
mouthpiece goes into the mouthpiece receiver.
A few attempts, and you too gentle twist and see if it comes out. Typically it won't. But if it will, that's
about as much hammering things as you should
do in an environment like that. If you can't
get it out with just a a moderate amount of tapping, then you're just gonna have to put this into a bag when you're done with the job; take it to
a repair shop. That's not one of those things that's helpful by having more force
by, well let me tap and somebody else pulls. There are special mouthpiece pullers that I'll show you in a sec, that work for that reason.
The problem is just
knowing exactly what direction. It's easy to pull the instrument apart, it easy to bend it, it's easy to twist it. Again, on this one, somebody used a motion in that direction. So, bending and twisting; somebody had used some pliers on this instrument to try to
twist it. In doing that, they've twisted the first brace, they've made the mouth pipe wrong, and
then finally in the end here, they broke this brace lose and this brace loose. So, that's just a bad deal. So let me show you; there are a couple of commercially available products, that if you're a band
director, or you know, you're the section leader, or
in charge of something with the band that you may want to invest in.
They're not
particularly expensive. This is called, I think it's pretty much
called the Bobcat mouthpiece puller. Yep, Bobcat. Says it right here. This is available from a
number of your different suppliers. It's very reasonable. This mouthpiece puller is fairly easy to use. All them work on a principle of having
something that pulls the cup of the mouthpiece that way, while resting on the trumpet itself going this way. So, slide that over; this holds on the
cup of the mouthpiece; these things here get adjusted so that they rest firmly on the mouthpiece, I mean on the
mouthpiece receiver. We tighten these down, and then, gently from both sides, we tighten these, and the mouthpiece comes right out. On a really bad one, you'll hear this
really distinctive *PING*. That's the point when the corrosion, or
whatever, finally let's go. It's a very satisfying ring when that
happens. Sometimes it's with so much force that it even kinda shoots the mouthpiece
out a little bit, and then it dents the bottom which is another problem.
Another product that's quite a bit
more expensive than that one but is, works very, very good, is, and I mean it's available from one of the
major suppliers; see if you get an idea what this looks
like; you'll be able to find this. The thing about this, is this covers a
much wider range of mouthpiece sizes, of instrument
sizes. This one here is pretty much gonna be
good for your small tenor trombones, trumpets, French horns.
It's not gonna really work
well: bass trombones, tubas, euphoniums-things like that. Again, it works the same
principle. This engages the cup of the mouthpiece. These two arms have- they've got some little places cut out of it, to make/match the radius of the mouthpiece, and they will rest on
the instrument on these jaws. (this here) Hold these together while we get this in place. Once it's in place, we'll start to pull
this. At this point, while it's under tension, you may need to then put a couple of hits, and then it'll come out. As a general rule, when you're using any
kind of a hammer on a brass instrument, it's the number of blows that are
effective, not the force.
So, you're much better to just tap really
lightly, just you know, have a conversation somebody (tap,tap,tap), than to wail
away on it. That's where the big damage occurs. So we have the mouthpiece off. Typically, you may have a mouthpiece brush or or q-tips to clean the inside. The outside-take like a
finger nail buffing file. These kind tend to have three
different surfaces; they feel very smooth. You don't want one that feels like it's
sandpaper. These kinda work real well, especially in the area where it was
stuck.
We'll buff those areas out. Work yourself
through the different grits until it's nice and shiny, and just do a
final wipe down. And of course I would make that a lot
nicer, but this isn't gonna stick. Whatever corrosion you had is gone. When you put your mouthpiece in, put it in, just a little gel twist. That's it. When you take it out-a little gentle twist out that way. That should prevent most of the sticking that you'll get on your mouthpiece..
After AFTER ONE AFTER, ONE OF, AFTER ONE OF OUR AFTER ONE OF OUR FACEBOOK AFTER, ONE OF OUR FACEBOOK FRIENDS AFTER ONE OF OUR FACEBOOK FRIENDS ASKED AFTER ONE OF OUR FACEBOOK. Friends, ASKED JOHN AFTER ONE OF OUR FACEBOOK.
Friends.
Asked JOHN BARTEL.
After ONE OF OUR FACEBOOK, FRIENDS ASKED JOHN BARTEL TO AFTER ONE OF OUR FACEBOOK, FRIENDS ASKED JOHN BARTEL TO TRACK AFTER ONE OF OUR FACEBOOK, FRIENDS ASKED JOHN BARTEL TO TRACK HIM AFTER ONE OF OUR FACEBOOK, FRIENDS ASKED JOHN BARTEL TO TRACK HIM DOWN AFTER ONE OF Our FACEBOOK FRIENDS ASKED JOHN BARTEL TO TRACK HIM DOWN THIS AFTER ONE OF OUR FACEBOOK FRIENDS ASKED JOHN BARTEL TO TRACK HIM DOWN.
This IS, AFTER ONE OF OUR FACEBOOK FRIENDS ASKED JOHN BARTEL TO TRACK HIM DOWN.
This IS WHAT, AFTER ONE OF OUR FACEBOOK FRIENDS ASKED.
John BARTEL TO TRACK HIM DOWN.
This IS WHAT WE FRIENDS ASKED JOHN BARTEL TO TRACK HIM DOWN.
This IS WHAT WE FRIENDS ASKED JOHN BARTEL TO TRACK HIM DOWN.
This IS WHAT WE FOUND TRACK HIM DOWN. This IS WHAT WE FOUND TRACK HIM DOWN.
This IS WHAT WE FOUND TRACK HIM DOWN.
This IS WHAT WE FOUND Reporter TRACK HIM DOWN.
This IS WHAT WE FOUND Reporter, SOMETIMES TRACK HIM DOWN.
This IS WHAT WE FOUND Reporter.
Sometimes TALENT FOUND Reporter.
Sometimes TALENT FOUND Reporter.
Sometimes TALENT IS FOUND Reporter.
Sometimes TALENT IS IN FOUND Reporter, SOMETIMES TALENT IS IN UNEXPECTED FOUND Reporter.
Sometimes TALENT IS IN UNEXPECTED PLACES Reporter, SOMETIMES TALENT IS IN UNEXPECTED PLACES Reporter. Sometimes TALENT IS IN UNEXPECTED PLACES THAT Reporter SOMETIMES TALENT IS IN UNEXPECTED PLACES THAT WAS Reporter.
Sometimes TALENT IS IN UNEXPECTED PLACES THAT WAS THE Reporter.
Sometimes TALENT IS IN UNEXPECTED PLACES.
That WAS THE CASE Reporter.
Sometimes TALENT IS IN UNEXPECTED PLACES.
That WAS THE CASE FOR Reporter.
Sometimes, TALENT IS IN UNEXPECTED PLACES.
That WAS THE CASE FOR CATHERINE IS IN UNEXPECTED PLACES.
That WAS THE CASE FOR CATHERINE IS IN UNEXPECTED PLACES.
That WAS THE CASE FOR CATHERINE BARNETT. That WAS THE CASE FOR CATHERINE BARNETT.
That WAS THE CASE FOR CATHERINE BARNETT.
She, THAT WAS THE CASE FOR CATHERINE BARNETT.
She SENT THAT WAS THE CASE FOR CATHERINE BARNETT.
She SENT US THAT WAS THE CASE FOR CATHERINE BARNETT.
She SENT US THIS.
That WAS THE CASE FOR CATHERINE BARNETT.
She SENT US THIS VIDEO.
That WAS THE CASE FOR CATHERINE BARNETT.
She SENT US THIS. Video OF THAT WAS THE CASE FOR CATHERINE BARNETT.
She SENT US THIS VIDEO OF A THAT WAS THE CASE FOR CATHERINE BARNETT.
She SENT US THIS VIDEO OF A MAN BARNETT.
She SENT US THIS VIDEO OF A MAN BARNETT.
She SENT US THIS VIDEO OF A MAN PLAYING BARNETT.
She SENT US THIS VIDEO OF A MAN PLAYING TRUMPET BARNETT.
She SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE BARNETT.
She SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE SMART.
She SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE SMART.
She SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE SMART AND SHE SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE SMART AND FINAL. She SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE SMART AND FINAL IN SHE SENT US THIS VIDEO OF A MAN PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE.
That PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE THAT MAN PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE THAT MAN IS PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE.
That MAN IS HANK PLAYING TRUMPET OUTSIDE SMART AND FINAL IN ROSEVILLE.
That MAN IS HANK HENDERSON AND FINAL.
In ROSEVILLE THAT MAN IS HANK HENDERSON AND FINAL IN ROSEVILLE, THAT MAN IS HANK HENDERSON FOR AND FINAL IN ROSEVILLE, THAT MAN IS HANK HENDERSON FOR THE AND FINAL IN ROSEVILLE.
That MAN IS HANK HENDERSON FOR THE PAST AND FINAL IN ROSEVILLE.
That MAN IS HANK HENDERSON FOR THE PAST FEW AND FINAL IN ROSEVILLE, THAT MAN IS HANK HENDERSON FOR THE PAST FEW WEEKS AND FINAL IN ROSEVILLE THAT MAN IS HANK HENDERSON FOR THE PAST FEW WEEKS, WE AND FINAL IN ROSEVILLE THAT MAN IS HANK HENDERSON.
For THE PAST FEW WEEKS WE HAVE THAT MAN IS HANK HENDERSON FOR THE PAST FEW WEEKS WE HAVE THAT MAN IS HANK HENDERSON.
For THE PAST FEW WEEKS WE HAVE BEEN THAT MAN IS HANK HENDERSON.
For THE PAST FEW WEEKS WE HAVE BEEN UNKNOWINGLY THAT MAN IS HANK HENDERSON. For THE PAST FEW WEEKS WE HAVE BEEN UNKNOWINGLY SERENADING.
For THE PAST FEW WEEKS WE HAVE BEEN UNKNOWINGLY SERENADING.
For THE PAST FEW WEEKS WE HAVE BEEN UNKNOWINGLY, SERENADING CUSTOMERS BEEN UNKNOWINGLY, SERENADING CUSTOMERS BEEN UNKNOWINGLY, SERENADING CUSTOMERS BEEN UNKNOWINGLY, SERENADING CUSTOMERS.
He BEEN UNKNOWINGLY SERENADING CUSTOMERS.
He HAS BEEN UNKNOWINGLY SERENADING CUSTOMERS.
He HAS BEEN BEEN UNKNOWINGLY, SERENADING CUSTOMERS.
He HAS BEEN UNKNOWINGLY CUSTOMERS.
He HAS BEEN UNKNOWINGLY CUSTOMERS, HE HAS BEEN UNKNOWINGLY, SERENADING CUSTOMERS.
He HAS BEEN UNKNOWINGLY, SERENADING CUSTOMERS, CUSTOMERS.
He HAS BEEN UNKNOWINGLY, SERENADING CUSTOMERS WITH CUSTOMERS. He HAS BEEN UNKNOWINGLY, SERENADING CUSTOMERS WITH HIS.
He HAS BEEN UNKNOWINGLY SERENADING CUSTOMERS WITH HIS.
He HAS BEEN UNKNOWINGLY SERENADING CUSTOMERS WITH HIS HORN, SERENADING CUSTOMERS WITH HIS HORN, SERENADING CUSTOMERS WITH HIS HORN.
He SERENADING CUSTOMERS WITH HIS HORN.
He DOES SERENADING CUSTOMERS WITH HIS HORN.
He DOES NOT SERENADING CUSTOMERS WITH HIS HORN.
He DOES NOT PLAY SERENADING CUSTOMERS WITH HIS HORN.
He DOES NOT PLAY OUTSIDE SERENADING CUSTOMERS WITH HIS HORN.
He DOES NOT PLAY OUTSIDE THE HORN.
He DOES NOT PLAY OUTSIDE THE HORN. He DOES NOT PLAY OUTSIDE THE GROCERY HORN.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE HORN.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR HORN.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE HORN.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS.
He HE DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS HE PLAYS.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE.
He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE OUT. He DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE.
Out OF, HE DOES NOT PLAY OUTSIDE THE GROCERY STORE FOR THE ACOUSTICS.
He PLAYS HERE OUT OF COURTESY, GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE OUT OF COURTESY, GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE OUT OF COURTESY, COURTESY, GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE OUT OF COURTESY, COURTESY FOR GROCERY STORE FOR THE ACOUSTICS HE PLAYS Here, OUT OF COURTESY, COURTESY FOR THOSE GROCERY STORE FOR THE ACOUSTICS, HE PLAYS HERE OUT OF COURTESY, COURTESY FOR THOSE WHO GROCERY STORE FOR THE ACOUSTICS HE PLAYS HERE OUT OF COURTESY, COURTESY FOR THOSE WHO LIVE.
He PLAYS HERE OUT OF COURTESY, COURTESY FOR THOSE WHO LIVE.
He PLAYS HERE OUT OF COURTESY, COURTESY FOR THOSE WHO LIVE NEXT.
He PLAYS HERE OUT OF COURTESY, COURTESY FOR THOSE WHO LIVE NEXT TO HE PLAYS HERE OUT OF COURTESY, COURTESY FOR THOSE WHO LIVE NEXT TO HIM, COURTESY FOR THOSE WHO LIVE NEXT TO HIM, COURTESY FOR THOSE WHO LIVE NEXT TO HIM, COURTESY FOR THOSE WHO LIVE NEXT.
To HIM MY COURTESY FOR THOSE WHO LIVE NEXT TO HIM, MY NEXT DOOR, COURTESY FOR THOSE WHO LIVE NEXT TO HIM, MY NEXT DOOR, NEIGHBOR COURTESY FOR THOSE WHO LIVE NEXT TO HIM.
My NEXT DOOR, NEIGHBOR MOVED NEXT TO HIM.
My NEXT DOOR, NEIGHBOR MOVED NEXT TO HIM.
My NEXT DOOR, NEIGHBOR MOVED OUT MY NEXT DOOR, NEIGHBOR MOVED OUT MY NEXT DOOR, NEIGHBOR MOVED OUT. I MY NEXT DOOR NEIGHBOR MOVED OUT.
I SAID MY NEXT DOOR.
Neighbor MOVED OUT.
I SAID I, MY NEXT DOOR.
Neighbor MOVED OUT, I SAID I WONDER MY NEXT DOOR NEIGHBOR MOVED OUT.
I SAID I WONDER IF MY NEXT DOOR NEIGHBOR MOVED OUT.
I SAID I WONDER IF THEY MY NEXT DOOR.
Neighbor MOVED OUT.
I SAID I WONDER IF THEY MOVED OUT.
I SAID I WONDER IF THEY MOVED OUT. I SAID I WONDER IF THEY MOVED OUT OUT.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OUT, I SAID I WONDER IF THEY MOVED OUT BECAUSE OF OUT.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E Reporter.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E Reporter HAKE.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E Reporter HAKE LIVES.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E Reporter HAKE LIVES AT.
I SAID I WONDER IF THEY MOVED OUT BECAUSE OF E Reporter HAKE LIVES AT THE OUT BECAUSE OF E Reporter HAKE LIVES AT THE OUT BECAUSE OF E Reporter HAKE LIVES AT THE ROSEVILLE OUT BECAUSE OF E Reporter HAKE LIVES AT THE ROSEVILLE COMMONS OUT. Because OF E Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A OUT BECAUSE OF E Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A QUIET Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A QUIET Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A QUIET SENIOR Reporter HAKE LIVES AT THE ROSEVILLE Commons, A QUIET SENIOR LIVING Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT Reporter HAKE LIVES AT THE ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT THE ROSEVILLE COMMONS, A QUIET, SENIOR Living CENTER AT THE ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT THE OTHER ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT THE OTHER END ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT THE OTHER END OF ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER.
At THE OTHER END OF THE ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT THE OTHER END OF THE PARKING ROSEVILLE COMMONS, A QUIET SENIOR LIVING CENTER AT THE OTHER END OF THE PARKING LOT SENIOR LIVING CENTER AT THE OTHER END OF THE PARKING LOT SENIOR LIVING CENTER.
At THE OTHER END OF THE PARKING LOT HE SENIOR LIVING CENTER AT THE OTHER END OF THE PARKING LOT HE INVITED SENIOR LIVING CENTER.
At THE OTHER END OF THE PARKING LOT, HE INVITED US SENIOR LIVING CENTER.
At THE OTHER END OF THE PARKING LOT HE INVITED US INSIDE SENIOR LIVING CENTER.
At THE OTHER END OF THE PARKING LOT HE INVITED US INSIDE TO SENIOR LIVING CENTER.
At THE OTHER END OF THE PARKING LOT, HE INVITED US INSIDE TO SHOW SENIOR LIVING CENTER AT THE OTHER END OF THE PARKING LOT HE INVITED US INSIDE TO SHOW US OTHER END OF THE PARKING LOT HE INVITED US INSIDE TO SHOW US OTHER END OF THE Parking LOT HE INVITED US INSIDE TO SHOW US HIS OTHER END OF THE PARKING LOT.
He INVITED US INSIDE TO SHOW US HIS LIFE OTHER END OF THE PARKING LOT.
He INVITED US INSIDE TO SHOW US HIS LIFE STORY.
He INVITED US INSIDE TO SHOW US HIS LIFE STORY. He INVITED US INSIDE TO SHOW US HIS LIFE STORY.
He INVITED US INSIDE TO SHOW US HIS LIFE STORY.
This.
He INVITED US INSIDE TO SHOW US HIS LIFE STORY.
This WAS HE INVITED US INSIDE TO SHOW US HIS LIFE STORY.
This WAS IN.
He INVITED US INSIDE TO SHOW US HIS LIFE STORY.
This WAS IN 1924, HIS LIFE STORY.
This WAS IN 1924, HIS LIFE STORY.
This WAS IN 1924, HIS LIFE STORY. This WAS IN 1924 Reporter HIS LIFE STORY.
This WAS IN 1924 Reporter HANK HIS LIFE STORY.
This WAS IN 1924.
Reporter HANK GREW HIS LIFE STORY.
This WAS IN 1924, Reporter HANK GREW UP HIS LIFE STORY.
This WAS IN 1924, Reporter HANK GREW UP IN THIS WAS IN 1924, Reporter HANK GREW UP IN THIS WAS IN 1924, Reporter HANK GREW UP IN MISSOURI Reporter HANK GREW UP IN MISSOURI Reporter HANK GREW UP IN MISSOURI.
His Reporter HANK GREW UP IN MISSOURI HIS FATHER.
Reporter HANK GREW UP IN MISSOURI.
His FATHER GAVE Reporter HANK GREW UP IN MISSOURI.
His FATHER GAVE HIM Reporter. Hank GREW UP IN MISSOURI.
His FATHER GAVE HIM HIS Reporter.
Hank GREW UP IN MISSOURI.
His FATHER GAVE HIM HIS FIRST MISSOURI.
His FATHER GAVE HIM HIS FIRST MISSOURI.
His FATHER GAVE HIM HIS FIRST TRUMPET MISSOURI.
His FATHER GAVE HIM HIS FIRST TRUMPET WHEN MISSOURI HIS FATHER GAVE HIM HIS FIRST TRUMPET WHEN HE MISSOURI HIS FATHER GAVE HIM HIS FIRST TRUMPET WHEN HE WAS MISSOURI.
His FATHER GAVE HIM HIS FIRST TRUMPET WHEN HE WAS JUST MISSOURI.
His FATHER GAVE HIM HIS FIRST TRUMPET WHEN HE WAS JUST A.
His FATHER GAVE HIM HIS FIRST TRUMPET WHEN HE WAS JUST A. His FATHER GAVE HIM HIS FIRST TRUMPET WHEN HE WAS JUST A TODDLER.
Trumpet WHEN HE WAS JUST A TODDLER TRUMPET WHEN HE WAS JUST A TODDLER TRUMPET WHEN HE WAS JUST A TODDLER IT TRUMPET WHEN HE WAS JUST A TODDLER, IT WAS TRUMPET WHEN HE WAS JUST A TODDLER.
It WAS THE TRUMPET WHEN HE WAS JUST A TODDLER.
It WAS THE DEPRESSION TRUMPET WHEN HE WAS JUST A TODDLER.
It WAS THE DEPRESSION TIME TODDLER.
It WAS THE DEPRESSION TIME TODDLER.
It WAS THE DEPRESSION TIME.
My TODDLER, IT WAS THE DEPRESSION TIME MY DAD TODDLER.
It WAS THE DEPRESSION TIME MY DAD HAD TODDLER.
It WAS THE DEPRESSION TIME MY DAD HAD TO TODDLER. It WAS THE DEPRESSION TIME MY DAD HAD TO TAKE TODDLER.
It WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT TODDLER.
It WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT BACK.
It WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT BACK.
It WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT BACK, BECAUSE IT WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT BACK, BECAUSE WE, IT WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT BACK, BECAUSE WE LIKED IT WAS THE DEPRESSION TIME.
My DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO IT WAS THE DEPRESSION TIME MY DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO EAT MY DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO EAT MY DAD HAD TO TAKE IT BACK, BECAUSE WE Liked TO EAT MY DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO EAT Reporter.
My DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO EAT Reporter HANK.
My DAD HAD TO TAKE IT BACK, BECAUSE WE LIKED TO EAT Reporter HANK PICKED.
My DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO EAT Reporter HANK PICKED UP.
My DAD HAD TO TAKE IT BACK BECAUSE WE LIKED TO EAT Reporter. Hank PICKED UP THE BECAUSE WE LIKED TO EAT Reporter.
Hank PICKED UP THE BECAUSE WE LIKED TO EAT Reporter.
Hank PICKED UP THE HORN BECAUSE WE LIKED TO EAT Reporter.
Hank PICKED UP THE HORN AGAIN BECAUSE WE LIKED TO EAT Reporter.
Hank PICKED UP THE HORN AGAIN ON BECAUSE WE LIKED TO EAT Reporter.
Hank PICKED UP THE HORN AGAIN ON HIS BECAUSE WE LIKED TO EAT Reporter HANK PICKED UP THE HORN AGAIN ON HIS 11th Reporter HANK PICKED UP THE HORN AGAIN ON HIS 11th, Reporter HANK PICKED UP THE HORN AGAIN ON HIS 11th BIRTHDAY HORN.
Again, ON HIS 11th BIRTHDAY HORN, AGAIN ON HIS 11th BIRTHDAY, THIS HORN, AGAIN ON HIS 11th BIRTHDAY, THIS TIME, HORN AGAIN ON HIS 11th BIRTHDAY THIS TIME HE HORN AGAIN ON HIS 11th BIRTHDAY.
This TIME HE TOOK HORN AGAIN ON HIS 11th BIRTHDAY.
This TIME HE TOOK LESSONS HORN AGAIN ON HIS 11th BIRTHDAY.
This TIME HE TOOK LESSONS FOR BIRTHDAY THIS TIME. He TOOK LESSONS FOR BIRTHDAY THIS TIME.
He TOOK LESSONS FOR 0 50 BIRTHDAY THIS TIME HE TOOK LESSONS FOR 0 50 PER BIRTHDAY.
This TIME HE TOOK LESSONS FOR 0 50 PER SESSION THIS TIME HE TOOK LESSONS FOR 0 50 PER SESSION THIS TIME HE TOOK LESSONS FOR 0 50 PER SESSION.
After THIS TIME.
He TOOK LESSONS FOR 0 50 PER SESSION AFTER HIGH THIS TIME.
He TOOK LESSONS FOR 0 50 PER SESSION AFTER HIGH SCHOOL.
This TIME HE TOOK LESSONS FOR 0 50 PER SESSION AFTER HIGH SCHOOL.
He THIS TIME HE TOOK LESSONS FOR 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED 0 50 PER SESSION AFTER HIGH SCHOOL. He JOINED THE 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED THE NAVY 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED THE NAVY AND 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED THE NAVY AND TOOK 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED THE NAVY AND TOOK THE 0 50 PER SESSION AFTER HIGH SCHOOL.
He JOINED THE NAVY AND TOOK THE TRUMPET AFTER HIGH SCHOOL.
He JOINED THE NAVY AND TOOK THE TRUMPET AFTER HIGH SCHOOL.
He JOINED THE NAVY AND TOOK THE TRUMPET WITH AFTER HIGH SCHOOL.
He JOINED THE NAVY AND TOOK THE TRUMPET WITH HIM THE NAVY AND TOOK THE TRUMPET WITH HIM THE NAVY AND TOOK THE TRUMPET WITH HIM HANK THE NAVY AND TOOK THE TRUMPET WITH HIM.
Hank PLAYED THE NAVY AND TOOK THE TRUMPET WITH HIM. Hank PLAYED THE THE NAVY AND TOOK THE TRUMPET WITH HIM.
Hank PLAYED THE TRUMPET THE NAVY AND TOOK THE TRUMPET WITH HIM.
Hank PLAYED THE TRUMPET, THROUGH WITH HIM, HANK PLAYED THE TRUMPET, THROUGH WITH HIM, HANK PLAYED THE TRUMPET THROUGH PEARL WITH HIM.
Hank PLAYED THE TRUMPET THROUGH PEARL HARBOR.
With HIM, HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR.
The WITH HIM HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH WITH HIM.
Hank PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH OF WITH HIM HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR.
The BIRTH OF HIS HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR.
The BIRTH OF HIS HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR.
The BIRTH OF HIS SON. Hank PLAYED THE TRUMPET THROUGH PEARL HARBOR.
The BIRTH OF HIS SON AND HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH OF HIS SON AND THE HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH OF HIS SON AND THE DEATH HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH OF HIS SON AND THE Death OF HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH OF HIS SON AND THE DEATH OF HIS HANK PLAYED THE TRUMPET THROUGH PEARL HARBOR, THE BIRTH OF HIS SON AND THE DEATH OF HIS FIRST PEARL HARBOR, THE BIRTH OF HIS SON AND THE DEATH OF HIS First, PEARL HARBOR, THE BIRTH OF HIS SON AND THE DEATH OF HIS FIRST WIFE SON AND THE DEATH OF HIS FIRST WIFE SON AND THE DEATH OF HIS FIRST WIFE, THE SON AND THE DEATH OF HIS FIRST WIFE, THE TRUMPET SON AND THE DEATH OF HIS FIRST Wife, THE TRUMPET HAS SON AND THE DEATH OF HIS FIRST WIFE, THE TRUMPET HAS BEEN SON AND THE DEATH OF HIS FIRST WIFE.
The TRUMPET HAS BEEN WITH SON AND THE DEATH OF HIS FIRST WIFE.
The TRUMPET HAS BEEN WITH HANK WIFE.
The TRUMPET HAS BEEN WITH HANK WIFE, THE TRUMPET HAS BEEN WITH HANK EVERYWHERE THE TRUMPET HAS BEEN WITH HANK EVERYWHERE.
The TRUMPET HAS BEEN WITH HANK EVERYWHERE.
He, THE TRUMPET, HAS BEEN WITH HANK EVERYWHERE HE HAS.
The TRUMPET HAS BEEN WITH HANK EVERYWHERE.
He HAS TRAVELED, THE TRUMPET HAS BEEN WITH HANK EVERYWHERE HE HAS TRAVELED THE THE TRUMPET HAS BEEN WITH HANK EVERYWHERE.
He HAS TRAVELED THE NATION EVERYWHERE HE HAS TRAVELED THE NATION EVERYWHERE HE HAS TRAVELED THE NATION SEVERAL EVERYWHERE HE HAS TRAVELED THE NATION SEVERAL TIMES HE HAS TRAVELED THE NATION SEVERAL TIMES HE HAS TRAVELED THE NATION SEVERAL TIMES THE HE HAS TRAVELED THE NATION SEVERAL TIMES. The FIRST HE HAS TRAVELED THE NATION SEVERAL TIMES THE FIRST TIME HE HAS TRAVELED THE NATION SEVERAL TIMES THE FIRST TIME ON HE HAS TRAVELED THE NATION SEVERAL TIMES THE FIRST TIME ON HIS SEVERAL TIMES, THE FIRST TIME ON HIS SEVERAL TIMES, THE FIRST TIME ON HIS Motorcycle THE FIRST TIME ON HIS MOTORCYCLE, THE FIRST TIME ON HIS MOTORCYCLE, THE THE FIRST TIME ON HIS MOTORCYCLE, THE LAST THE FIRST TIME ON HIS MOTORCYCLE THE LAST TIME, THE FIRST TIME ON HIS MOTORCYCLE.
The LAST TIME WAS THE FIRST TIME ON HIS MOTORCYCLE.
The LAST TIME WAS WITH THE FIRST TIME ON HIS MOTORCYCLE.
The LAST TIME WAS WITH HIS MOTORCYCLE.
The LAST TIME WAS WITH HIS MOTORCYCLE.
The LAST TIME WAS WITH HIS THIRD MOTORCYCLE.
The LAST TIME WAS WITH HIS THIRD WIFE MOTORCYCLE.
The LAST TIME WAS WITH HIS THIRD WIFE, WHO MOTORCYCLE THE LAST TIME WAS WITH HIS THIRD WIFE, WHO PLAYED MOTORCYCLE.
The LAST TIME WAS WITH HIS THIRD WIFE, WHO PLAYED THE MOTORCYCLE.
The LAST TIME WAS WITH HIS THIRD WIFE, WHO PLAYED THE PIANO. The LAST TIME WAS WITH HIS THIRD WIFE, WHO PLAYED THE PIANO.
The LAST TIME WAS WITH HIS THIRD WIFE, WHO PLAYED THE PIANO IN THE LAST TIME, WAS WITH HIS THIRD WIFE, WHO PLAYED THE PIANO IN A THE LAST TIME, WAS WITH HIS THIRD WIFE, WHO PLAYED THE PIANO IN A BAND THIRD WIFE WHO PLAYED THE PIANO IN A BAND THIRD WIFE WHO PLAYED THE PIANO IN A BAND THIRD WIFE WHO PLAYED THE PIANO IN A BAND YOU, THIRD WIFE, WHO PLAYED THE PIANO IN A BAND.
You WERE THIRD WIFE WHO PLAYED THE PIANO IN A BAND.
You WERE LIKE THIRD WIFE WHO PLAYED THE PIANO IN A BAND.
You WERE LIKE A THIRD WIFE WHO PLAYED THE PIANO IN A BAND.
You WERE LIKE A TRUE IN A BAND.
You WERE LIKE A TRUE IN A BAND.
You WERE LIKE A TRUE VAGABOND.
You WERE LIKE A TRUE VAGABOND.
You WERE LIKE A TRUE VAGABOND. You WERE LIKE A TRUE VAGABOND.
Yes, VAGABOND, YES, VAGABOND, YES, VAGABOND! Yes, IT VAGABOND.
Yes, IT IS VAGABOND.
Yes, IT IS TOUGH.
Yes, IT IS TOUGH.
Yes, IT IS TOUGH.
Yes, IT IS TOUGH Reporter.
Yes, IT IS TOUGH Reporter 2003.
Yes, IT IS TOUGH.
Reporter 2003 WAS YES, IT IS TOUGH. Reporter 2003 WAS A YES, IT IS TOUGH.
Reporter 2003 WAS A ROUGH, IT IS TOUGH.
Reporter 2003 WAS A ROUGH, IT IS TOUGH.
Reporter 2003 WAS A ROUGH YEAR.
Reporter 2003 WAS A ROUGH YEAR.
Reporter 2003 WAS A ROUGH YEAR.
Hank’S.
Reporter 2003 WAS A ROUGH YEAR.
Hank’S, WIFE, Reporter 2003 WAS A ROUGH YEAR.
Hank’S, WIFE DIED YEAR. Hank’S, WIFE DIED YEAR.
Hank’S, WIFE DIED.
He YEAR HANK’S, WIFE DIED.
He ALSO YEAR.
Hank’S, WIFE DIED.
He ALSO GOT YEAR.
Hank’S, WIFE DIED.
He ALSO GOT CANCER.
Hank’S.
Wife DIED. He ALSO GOT CANCER.
Hank’S.
Wife DIED.
He ALSO GOT CANCER, IT HANK’S.
Wife DIED.
He ALSO GOT CANCER, IT HAS HANK’S, WIFE DIED.
He ALSO GOT CANCER, IT HAS BEEN HANK’S, WIFE DIED.
He ALSO GOT CANCER, IT HAS BEEN 15 HANK.’S.
Wife DIED.
He ALSO GOT CANCER. It HAS BEEN 15 YEARS.
Hank’S, WIFE DIED.
He ALSO GOT CANCER, IT HAS BEEN 15 YEARS SINCE HANK’S, WIFE DIED.
He ALSO GOT CANCER, IT HAS BEEN 15 YEARS SINCE HE HE ALSO GOT CANCER.
It HAS BEEN 15 YEARS SINCE HE HE ALSO GOT CANCER.
It HAS BEEN 15 YEARS SINCE HE PICKED.
He ALSO GOT CANCER.
It HAS BEEN 15 YEARS SINCE HE PICKED UP.
He ALSO GOT CANCER.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A. He ALSO GOT CANCER.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It IT HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It IS, IT HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It IS GOING.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It IS GOING TO. It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It IS GOING TO TAKE.
It HAS BEEN 15 YEARS SINCE HE PICKED UP A HORN.
It IS GOING TO TAKE SOME PICKED UP A HORN.
It IS GOING TO TAKE SOME PICKED UP A HORN.
It IS GOING TO TAKE SOME WORK.
It IS GOING TO TAKE SOME WORK.
It IS GOING TO TAKE SOME WORK.
It IS GOING TO TAKE SOME WORK Reporter.
It IS GOING TO TAKE SOME WORK Reporter HANK. It IS GOING TO TAKE SOME WORK Reporter HANK IS.
It IS GOING TO TAKE SOME WORK Reporter HANK IS 94.
It IS GOING TO TAKE SOME WORK Reporter HANK IS 94 YEARS WORK Reporter HANK IS 94 YEARS WORK Reporter HANK IS 94 YEARS OLD WORK Reporter HANK IS 94 YEARS OLD AND WORK Reporter.
Hank IS 94 YEARS OLD AND THE WORK Reporter HANK IS 94 YEARS OLD AND THE TRUMPET WORK Reporter HANK IS 94 YEARS OLD AND THE TRUMPET HAS WORK Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN WORK Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A PART Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A PART OF Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A PART OF EVERY Reporter. Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A PART OF EVERY MOMENT.
Reporter HANK IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A PART OF EVERY MOMENT OF Reporter.
Hank IS 94 YEARS OLD AND THE TRUMPET HAS BEEN A PART OF EVERY MOMENT OF HIS OLD AND THE TRUMPET HAS BEEN A PART OF EVERY MOMENT OF HIS OLD AND THE TRUMPET HAS BEEN A PART OF EVERY MOMENT OF HIS LIFE.
Part OF EVERY MOMENT.
Of HIS LIFE PART OF EVERY MOMENT OF HIS LIFE PART OF EVERY MOMENT OF HIS LIFE MUSIC, PART OF EVERY MOMENT OF HIS LIFE MUSIC, KEEPS PART OF EVERY MOMENT OF HIS LIFE.
Music.
Keeps YOU PART OF EVERY MOMENT OF HIS LIFE.
Music KEEPS YOU ALIVE, LIFE MUSIC, KEEPS YOU ALIVE.
Life MUSIC, KEEPS YOU ALIVE.
Life MUSIC, KEEPS YOU ALIVE Reporter LIFE MUSIC KEEPS YOU ALIVE Reporter. The LIFE MUSIC KEEPS YOU ALIVE Reporter.
The GROCERY LIFE MUSIC KEEPS YOU ALIVE Reporter.
The GROCERY STORE.
Music KEEPS YOU ALIVE Reporter.
The GROCERY STORE MUSIC KEEPS YOU ALIVE Reporter.
The GROCERY STORE PARKING MUSIC KEEPS YOU ALIVE Reporter THE GROCERY STORE PARKING LOT.
Music.
Keeps YOU ALIVE Reporter THE GROCERY STORE PARKING LOT.
May MUSIC KEEPS YOU ALIVE Reporter.
The GROCERY STORE PARKING LOT. May NOT MUSIC KEEPS YOU ALIVE Reporter.
The GROCERY STORE PARKING LOT MAY NOT BE MUSIC.
Keeps YOU ALIVE Reporter.
The GROCERY STORE PARKING LOT MAY NOT BE THE Reporter.
The GROCERY STORE PARKING LOT MAY NOT BE THE Reporter.
The GROCERY STORE PARKING LOT MAY NOT BE THE FANCIEST Reporter.
The GROCERY STORE PARKING LOT MAY NOT BE THE FANCIEST PLACE Reporter.
The GROCERY STORE PARKING LOT MAY NOT BE THE FANCIEST PLACE.
Hank Reporter THE GROCERY STORE PARKING LOT MAY NOT BE THE FANCIEST PLACE.
Hank HAS Reporter THE GROCERY STORE PARKING. Lot MAY NOT BE THE FANCIEST PLACE.
Hank HAS PLAYED PARKING, LOT, MAY NOT BE THE FANCIEST PLACE.
Hank HAS PLAYED PARKING, LOT, MAY NOT BE THE FANCIEST PLACE, HANK HAS PLAYED, BUT PARKING LOT MAY NOT BE THE FANCIEST PLACE.
Hank HAS PLAYED, BUT FOR PARKING LOT MAY NOT BE THE FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW PARKING LOT MAY NOT BE THE FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT PARKING LOT MAY NOT BE THE FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT Suits PARKING LOT MAY NOT BE THE FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT Suits HIM IF FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM IF I FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM IF I COULD FANCIEST PLACE HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM.
If I COULD JUST FANCIEST PLACE, HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM IF I COULD JUST GET FANCIEST PLACE, HANK HAS PLAYED, BUT FOR NOW IT SUITS HIM.
If I COULD JUST GET MYSELF, BUT FOR NOW IT SUITS HIM.
If I COULD JUST GET MYSELF, BUT FOR NOW IT SUITS HIM IF I COULD JUST GET MYSELF BACK, BUT FOR NOW IT SUITS HIM IF I COULD JUST GET MYSELF BACK INTO, BUT FOR NOW IT SUITS HIM IF I COULD JUST GET MYSELF BACK INTO SHAPE, BUT For NOW IT SUITS HIM IF I COULD JUST GET MYSELF BACK INTO SHAPE THAT, BUT FOR NOW IT SUITS HIM IF I COULD JUST GET MYSELF BACK INTO SHAPE.
That IS, BUT FOR NOW IT SUITS HIM IF I COULD JUST GET MYSELF BACK INTO SHAPE.
Hey guys this is Joel with Guitars United
I just want to show you another really cool guitar this is a classical guitar made in
Canada and its called a La Patrie and its owed by the company Seagull which owns quite
a few other companies like Simon & Patrick and Godin Stuff like that I think Godin
owns all of them to be honest with you but this is a all solid wood classical guitar
and it is $479.99 US This is March 2014 and we think this is one of the best guitars for
$479 thats all solid and so this guitar is not laminated and what I mean by that is that
this top is one layer it might to pieces you know book matched but its one layer of wood
same thing for the back and sides is that its one layer of wood in stead of laminated
sheets of wood glued together so just a really good resonation from that type of wood
you pay it I mean its not a inexpensive guitar by no means in todays economy But I think
its the best value out there somebody looking to get a really nice guitar that not made
in china that is all solid and you don't want to break the bank this is it right here its
call the concert model its $479 and its rock and roll we've been selling these of for quite
a few years now and we have a lot of kids that are in these magnet schools and a lot
of adults that pick these up these are just really hight quality they have like 7 or 8
models they've been building them for years and we like it yeah know they got a really
good fit and finish to it the necks are a standard 2" nut width on them and um were
real happy with them its for the Tusq compensated saddle and the tusk nut on it so its really
high quality synthetic materials that are being used today that have a good resonation
throughout so very balanced guitar good weight to it cases for them they make of em are like
$79 if you want to get a Trik case if you want to get a hard shell regular hard shell
case there like a hundred dollars so best bang for your buck March 2014 Rock and Roll
its got a Cedar top too
![The Dead South – You Are My Sunshine [Official Music Video]](https://musicalinstrumentcaserepairs.com.au/storage/2023/06/htmlF_IMG_647b3ea321aea-240x172.jpg)
