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  Stock Market 101: Investing for Beginners: 3 Hour Crash Course , Hörbuch, Digital, ungekürzt, 202min

  A foolproof guide to earning your first big money in the stock market Have you noticed that more and more people in your life are constantly talking about the stock market? Is this conversation appearing at all of your recent social gatherings with friends and family?If so, you’re not alone. Investing in the stock market is one of the smartest things you could do in 2020. Getting started has never been easier.Are you sick of living paycheck to paycheck? Are you done wondering whether or not you’ll have enough money to pay rent? Aren’t you sick of eating fast food simply because it’s cheaper than buying groceries?Investing in the stock market is the answer to all of your financial problems.Some people are scared to invest in stocks because they are afraid of the ups and downs. Yet, if you look at the numbers, there is barely any other place with such a consistent annual return. According to S&P 500 the stock market has had an average 10 percent annual return on investments since 1962.No more worrying about whether or not your retirement is enough. No more concerns if you’re actually doing the best you could with your money. No more feeling undervalued and like you should be earning more.By investing your money in the stock market, you take back your power and put your financial future in your own hands.In Stock Market 101, you’ll discover:The astonishing truth behind what the stock market is and where it all began Who the major players of the market are and why you need to be owning shares Why the stock market fluctuates and how understanding this can earn you a killing The five-step guide to opening your own brokerage account An empowered outlook for getting started with even the most shoestring of budgets The 10 best brokerages of 2020 and why partnering with them is the right move The four most valuable investing strateg ungekürzt. Language: English. Narrator: Jim Rising. Audio sample: https://samples.audible.de/bk/acx0/222330/bk_acx0_222330_sample.mp3. Digital audiobook in aax.

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  Pigeonholed

  A singer/songwriter born of a jazz degree, sideman vocal work, and life. This debut solo album deliciously blends her emotional intuition, skill as a professional vocalist, smart but catchy music and arrangements, and lyrics that reveal her depth. THE SHORT VERSION: Calley Bliss, New York City-based recording and performing artist, is one singer/songwriter you'll want to keep on your radar. After going into the studio in December of this year, plans to release her debut solo album are set for March 2010. The album, entitled 'Pigeonholed', will consist of several flavors of Calley's writing, which fluctuates between jazz, soul, and pop, with occasional elements of folk mixed in, incorporating her versatile voice which gives each individual song it's own unique flavor. As a vocalist, she's been compared to the likes of Feist, Peggy Lee, and Joss Stone, with an even, velvet tone frequently accented by sensitive uses of breathiness, vibrato, and a keen sense for lyric inflection. After growing up around Minneapolis, Minnesota, Calley acquired her training in jazz voice from the acclaimed University of North Texas jazz program, before coming to New York. After five years of study and performance around Dallas/Fort Worth, Calley said goodbye to her comfortable steady gigs and freelance work, and hello to the Big Apple. As a working musician she's done everything from studio work to wedding bands and back-up vocals, sung top 40's, pop, swing, jazz, rock, and soul. In addition to freelance jobs singing for corporate and private parties in New York, recently she's worked with Maryland-based Severn Records as a resident back-up vocalist, playing various blues festivals around the United States, and recording on four of their artists' albums. Calley plays with her own band around New York City, as well as occasional national and international venues. Click the 'live' tab for show listings. THE LONG VERSION I grew up in the burbs of Minneapolis. From a very young age I took an immediate interest in music - my mother tells a story of me as an infant in my crib rocking myself to sleep in time with the music in the tape player. At the age of three, I was often caught practicing my smile and posing in front of the mirror. This is how mom said she knew she was raising a future performer, 'ham' is the endearing term my older sister still prefers to call me. It started innocent enough. I idolized singers like Whitney Houston, Mariah Carey, and Celine Dion, the regular suspect pop stars of the day in the late 80's and early 90's. I was (and still am to some degree) an impulsive child, and in an attempt to ground me, my parents encouraged that I think of other, more stable professions that I might be interested in. So at the young age of seven, I decided I wanted to be a veterinarian, animals having been another passion of mine. This idea stuck with me until a fateful day in the fourth grade. I had just finished a performance in the school musical. I'd been cast the lead in the children's production of, 'Bach to the Future: the Life Story of Johann Sebastian Bach' as Bach himself. An unassuming audience member (probably someone's grand-mother or aunt) congratulated me on my performance, and asked if I planned to pursue singing when I grew up. I, with my ten years of wisdom, responded that of course I would love to, but it wasn't very practical and so I planned to become a veterinarian. To this she replied, 'Oh honey, you are too young to give up on your dreams! If what you want is to become a singer, then that's what you should do!' I decided she was right. It sealed the deal, and ever after I've accepted my fate. The life of a musician can be unstable and unpredictable, and I believe happiness lies in the choice to love these factors instead of seeing them as casualties of the profession. I have no idea who that woman was, but without trying to be melodramatic, she changed my life from that moment on, and for that I am ever grateful. I was fortunate to not have the typical theater mother and father to shove me into talent agencies and headshots, and cart me around the city for auditions. They felt childhood was too important to miss out on, and told me if I really wanted to be a singer, I would have to find out how to do it on my own. Of course, if I'd had the know-how to find the talent agencies and auditions, I know my parents would have taken and supported me. But being the slightly 'concentration-challenged' and social child that I was, there were too many other things in the moment to focus on like boys, and sports, and dances. So I did all the classic school-related music activities-- I was active in school choirs, band, and musicals all through junior high and high school. I gave up dance after fourth grade to join a Minneapolis girl's choir called Bel Canto Voices. Took up the alto sax in sixth grade, after being denied the right to study drums, due to my lack of prior piano study. (Okay, I'm still a tad bitter about this, but one day I WILL conquer the drum set!) In high school I was one of three drum majors to a 330-piece show style marching band, a member of the concert chorale, and also auditioned into an extra jazz choir class that met every morning at 6:55 to rehearse for 50 minutes, before the normal school day commenced. Yup, I was a band geek AND a choir nerd. I also took music theory as a senior, by which time I was both determined and scared to death to go to college as a music major. At the urging of my high school band director, Nathan Earp, I applied to the University of North Texas Jazz Department. I had no interest in becoming an opera singer, though I did want my college degree. Jazz, I knew, would kick my booty into shape. I was ready to commit to music, and figure out what I needed to do to create a career out of it. I no longer wanted to be a pop-idol. I wanted to really learn music and acquire the knowledge to be a respected musician. Well, I definitely got the booty-kicking I'd wanted that first year of college. My parents, I later found out, were nervously waiting for the day when I would call home, proclaiming I'd given up on college and was going to try to make it 'on my own'. I can't blame them, but I'm proud to say I didn't drop out. Over the next five years I would come to learn more than I ever anticipated about music, about other instruments, about writing, about musicians and their lifestyles and quirks, but mostly, about myself. Each year felt completely different from the last, and I quickly learned what it was to be not only an adult who is responsible for her own actions, but a musician who is responsible for her own growth. I worked whenever and wherever I possibly could. The college was in Denton, on the outskirts of the Dallas / Fort Worth Metroplex, and I started singing trio gigs with a bass player in town, who hired me to do cocktail hour gigs for the University. I was then referred by a friend for a gig in a variety cover band, singing backup vocals. This lead to other cover band gigs. My own gigs. Duo gigs with a piano player, a guitar player. Eventually some studio work. Pop gigs, jazz gigs, show tunes, lead vocals, back-up vocals, studio vocals where I covered all parts, etc. I did it all and loved it all. Was fortunate enough to always have a steady gig, and then freelance as a supplement. There were quite a few styles to be covered, and I really had fun trying to manipulate my voice to imitate each of the original singers as closely as I could. This taught me as much as, if not more than, any of the classes I took in music school. I loved trying to sing like Stevie Wonder, and then Michael Jackson a few minutes later, and then Patti Labelle, and then Christina Aguilera, etc. At the end of this five-year marathon, I cultivated an even deeper love for music. I still have a deep love for performance and love to be on stage (all singers have a little diva in them - I can say that, as I AM one), but I've also really gr

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  • Price: 23.13 EUR excl. shipping
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  Chasing Light

  Mark Knippel: Marenje* The following note is provided by the composer: "Marenje is a traditional welcoming song of the Shona people of Zimbabwe. My composition is based solely on the opening material of the original song. The entrances of the first two guitars are exactly what would be played on the mbira [traditional African instrument consisting of a wooden soundboard with 22 to 28 metal keys] and marimba. One of the techniques of Shona music that I employed is having the same material played on two instruments offset by one eighth note. This idea permeates my composition, as it is one of the ideas of their music that I found especially striking." Marenje, begins as a whispering, euphoric murmur, as if you are walking into a bustling street market, taking in the sights, smells, and sounds. A minute into the piece, all four guitars crescendo into a fully-blossomed, gently-jiving, jovial sonic soundscape that grows in intensity, and culminates in a quasi-percussive, exuberant, upper register ostinato played by one guitar, fluttering over the other three like a liberated bird-of-paradise. Garry Eister: Chasing Light* Garry Eister writes the following note for Chasing Light: "Chasing Light uses a grab bag of techniques, including irregular meters, meant to evoke the rhythmic feel of Eastern European dances. The outer movements are in E minor. The middle movement is in E-flat minor, which, by it's 'sinking down' a half step below the movements that surround it, helps impart the feeling of isolation and stillness that it's title indicates. The final movement is meant to convey a sense of urgency, of running or driving as fast as possible toward the Western horizon in an attempt to delay the setting of the Sun." Throughout Chasing Light, a sense of combative harmony pervades. Each guitar is autonomous, yet interconnected with the others. Through coherent use of imitation, unison, accent, textural variation, and overlapping melodic lines, Eister creates a robust quartet in which each guitar is of equal importance, fighting and playing with one another in an ecstatic cloud of sound. Mark Knippel: Attained Elusiveness* Unlike Marenje, Attained Elusiveness possesses none of the effervescent giddiness that permeates the former. Instead, it features Steve Reich-like transient sonic fractals that flash and evaporate as snowflakes on a windowpane, elusive, yet, for a fleeting moment, attained. Darin Au: Chasing Dragons The most straightforward composition on the album, Chasing Dragons soars in a self-assured, flowing arc. There may be dragons, but they are observed in transit, as if from a hangglider. Punctuated by raspy rasgueados, spiky accents, and icy harmonics, an ominous nether world is hinted at, yet never entered. A great distance is traveled over a brief period of time. Christopher Gainey: Flowing Through: Rhapsody on a theme of Egberto Gismonti* Christopher Gainey shares the following note: "I have always loved [Brazilian composer Egberto Gismonti's] Agua e Vinho, and I was fascinated by how different performers used it as the basis for very individual embellishment/improvisation. In essence, Flowing Through is a set of variations on Agua e Vinho, with one exception, when the theme comes in at the end of the piece, it is placed together with material from the first variation that reconfigures the original theme into a ternary form (Agua e Vinho forming the 'A' section, while it's variation forms a 'B' theme). The notation fluctuates between precisely notated music and much more flexible, somewhat indeterminate, methods of notation that allow the ensemble some interpretive freedom." Karol Szymanowski: Mazurkas, Op. 50, Nos. 1 and 3 Arranging solo piano works for guitar quartet is, at first glance, counterintuitive. The luminescent sonority of the piano is markedly different than the brighter sound of the classical guitar. However, the two mazurkas that guitarist Patrick O'Connell selected and arranged transfer strikingly well to four guitars. The hushed dynamics (rarely exceeding mezzo-piano), combined with rich, colorful modal layering, allow opportunity for the guitars to explore hues and colors beyond the scope of the original piano. Through the use of idiomatic guitar techniques, such as artificial harmonics, and through exploitation of the guitar's broad timbral palette, new insight into Szymanowski's music is gained. Andrew York: Pacific Coast Highway Like Lotus Eaters, Andrew York's Pacific Coast Highway is melody-centered and harmonically stable. A self-confident first guitar both plays with and battles against the remaining guitar "trio." The first half of the piece is placid, daydreamy, the second half intense, excited. Evocative of the seemingly infinite Californian Pacific Coast Highway, the musical terrain is ever-changing, winding, rocking, and rolling. Andrew York: Lotus Eaters Andrew York's Lotus Eaters was written for the Los Angeles Guitar Quartet (LAGQ), and possesses the carefree charm of a late summer backyard barbecue. Through harmonic, melodic, and rhythmic constriction, it gains a spatial freedom, with evocations of Wes Montgomery, Ali Farka Touré, and Al Di Meola flickering like fireflies throughout the piece. As an added bonus, SFGQ has added two minutes of infectious improvisation to the original. Clarice Assad: Bluezilian Clarice Assad describes Bluezilian as follows: "I wrote Bluezilian for LAGQ, in 2005, as an encore piece. At the time, I had just broken a foot and was unable to walk or get out much. Feeling a bit down and constrained, I decided to work on a piece that would be light and fun, almost cartoonish-something that, in certain spots, would make me want to giggle. I purposely made the decision to use and abuse musical clichés. The piece is a musical satire that draws connections between American popular styles and Brazilian rhythmic and harmonic sensibilities. All parts, as simple as they may be, are filled with nuances to be explored, and the parts themselves communicate between one another." Bluezilian is a highly-caffeinated, animated whirlwind trip: accents kick, glissandi jolt, trills zap, and chords smack. It sounds as if a cartoon volcano was erupting in a harmonic kaleidoscope of plucks and strums. But it also sings and dances, swells and spins. Rarely has a such a short piece contained so much exuberant energy. Liner notes by Patrick Durek * Premiere recording and dedication to the San Francisco Guitar Quartet.

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