Clarinet, Saxophone, and Flute Practice Journal

Make Your Performance 'You', In The 'Edition' of 'You'!

2013-10-23T05:32:00.003-07:00

Make Your Performance 'You',

In The 'Edition' of 'You'!

You have left the quiet place within, where you work at your pace and your personal expression. The tense, compact concern with ornaments, exact cadenzas, and exact phrasing of your particular solo’s published edition reveals a concentration on what your critics are going to think----what your former teachers would mark wrong. Throw away all those 'tapes' of your old teachers and critics!

Remember this:

Mozart wrote almost no ornaments, phrasing, or cadenzas into his original parts, --- scores.

In his era, those were improvised by the soloists, changing sometimes with every performance, slightly or radically. Ornaments now accepted in popular editions were added by the editors; the phrasing and accepted cadenzas were also chosen by the editors; in the time of Mozart, cadenzas were the ad lib solos for the artist, changing with every performance. Many contemporary young classical artists are now adopting this practice.

I mention all this to let you adopt the attitude that all ornaments, phrasing, and cadenzas are not written in stone-are in fact arbitrary;

you can change, add, or skip a few,

as Jean-Pierre Rampal and Galway amply did in their Bach Sonata recordings.

Martin Frost is a young Classical clarinet soloist, much touted by critics, that is very subjective and liberal in his ornamental and cadenza selections. Eddie Daniels has a recent Copland Clarinet Concerto Youtube performance, where in he improvises 90% of the cadenza, completely foreign to Copland's original written material.

So don't concentrate on the ornaments, phrasing, and editorially added detail, but rather on what Mozart, or any other composer invented;---YOUR take on what they meant in their voluptuous melodic materials and structures. This is what will be heard and savored by all in your performance, friends, audience, critics, each and all. (Make coordinated phrasing of the motifs as they are repeated and developed in all parts of the piece, especially in the development sections.)

I'm just trying to relax and convince all performers, that this is your performance, not the editors 'clone version'; take the materials as you will and express your music.

Sincerely,

Errol Weiss Schlabach

Please leave feedback and comments!

The piece of God in us

2013-08-27T05:20:00.001-07:00

'When we were born'

When we were conceived,

God attached

His small piece to our being;

Lent to give us our empathy,

To serve as our surrogate sensual soul!

When we do things to be happy,

That tiny God-piece is happy,

And that's the way it should be;

As we age, the God-piece trends and wends

Back to the universal self:

We are all just 'one'!

Thanks for reading;

Please give me comments,

& feedback.

Sincerely,

Errol Weiss Schlabach

Essence of our life's pursuit! A poem by Errrol

2013-08-16T13:04:00.001-07:00

'Life's Pursuit'

Our essence,

The rock solid core of the reason

We ceaselessly pursue to reach what:

That summit of our quintessence,

(Our essential crest)

It drives us!

Eternally, it creates strive in us!

Most perhaps settle and accept

A stark, barren, shallow end!

I will not!!!

That perfect Elysium peak is possible.

Errol Weiss Weiss Schlabach

August 16, 2013

Please give me comments and feedback!

God Bless

When you've suffered a cussing from another brother!

2013-08-06T21:56:00.004-07:00

If you have suffered the infliction of cussing from a near or distant 'brother',

the impact can be grueling

A dear friend of mine suffered such an attack.

and I was moved to write this poem.

I hope the meaning will move you to reflect,

and never inflict such a barrage!

'Day Of Emotional Infringement'

I apologize

From the Higher Power,

For the pain you felt,

Rape of your inner core;

Four letter words sent,

Balistic with evil intent,

Inflicts rent on your soul,

The part of God you rent!

Sincerely from

Errol Weiss Schlabach

Please comment and remark,

and look onto my Blog frequently!!!!

2 Ways to live your life: by nature, or by grace!

2013-07-26T14:27:00.001-07:00

How will you live your life?

There are two ways of embracing life:

Approach it by nature, or by grace.

If by grace, we love by giving,

with complete acceptance of the beloved,

with no expectations or contingencies to be fulfilled;

If by nature, the love we give will be fulfilling to one's self,

controlling, with expectations and limits upon the beloved.

Those who live by grace?:

---never reap a bad end.

Sincerely,

God Bless,

Errol Weiss Schlabach

Play another Paquito piece, Cantrodanze

2013-07-25T08:33:00.000-07:00

Paquito’s composition.

A great read and lesson in control!

Sincerely,

Errol

July 25, 2013

Play 'Tico tico', Paquito DeRivera's version!

2013-07-24T08:35:00.002-07:00

I transcribed this from Paquito's 1996 recording. Enjoy!!!

Please reverse the 2nd & 3 rd pages. Thank you.

Haiku poem on Love's mystery by Errol

2013-07-24T02:24:00.003-07:00

Haiku on Love's Mystery

Soul in desert sands;

Cool breeze carries to nice niche:

Ceaseless spellbound rapture!

July 23/24, 2013

Errol Weiss Schlabach

Please give me feedback and comments!

Sincerely,

Errol

Poem!: Errol Writes of the Evolution of Man!

2013-07-23T09:04:00.001-07:00

Errol’s ‘Leaves Of Grass’

Whitman wrote ‘Leaves Of Grass’,

Alluding to the multitude of peoples;

Of the earth, ---of all Times;

Of their crafts, ---all their crimes!

I write of nighttime ‘Leaves Of Grass’:

The Billions!,

Holding thousands of Glow-Worm shimmers,

Their light-filled glimmers;

What life they accord the dusk!

Whether by the action rush of all Time’s peoples;

Whether by a billion grasses,

With Glow-Worm’s slowly climbing;

Civilization flourishes by ‘Leaves Of Grass’!

July 23, 2013

Errol Weiss Schlabach

Please leave comment and feedback!

Sincerely,

Errol Weiss Schlabach

Watch Errol Soloing on Long Island this summer with the Nassau Pops!

2013-07-19T22:57:00.004-07:00

Watch Errol Soloing on Long Island this summer with the Nassau Pops!

Just type 'Errol Weiss' into the

Youtube search bar.

Please give me comments and feedback.

Sincerely & God Bless,

Errol Weiss Schlabach

Great 'Dizzy' advice for all improvisors!!!

2013-07-19T22:36:00.002-07:00

Here’s a blog for all improvising musicians.

This is a Dizzy Gillespie quote:

“Some people have a note(s) and put a beat to it; some people have a beat and put a note(s) to it.”

Having said that, he walked away, as a true master, to leave the listener to figure it out.

Clue: He did the latter;

Who could have swung more.

Sincerely and God Bless,

Errol Weiss Schlabach

Please leave feedback and comments!

New & Giant, Important Tip To Be Treasured!

2013-06-15T18:07:00.000-07:00

Giant, Important Tip To Be Treasured!

Here’s the scenario: there’s this little phrase that you get hung up on; every time you attempt to play this ‘lick’ you tense up and fail to play it correctly.

Do you know what’s wrong? Your brain signal’s not strong enough, so when you go to play the phrase, your motor neuron system that controls your muscles, does not know what to do; the function for that particular movement has not been properly and correctly learned!

The Solution:

Look at or think of the passage and concentrate on using only the small muscles of your hands, with no help or thought from the muscles of your forearm, upper arm, or shoulders. Now, very slowly, strongly press the fingering for each note of the passage, the pressure being only from the small finger muscle. Do this 3 consecutive times. Then mentally play the passage.

Now play the passage without prior thought; only imagine playing it correctly as you would like as you actually perform it.

You'll be amazed at the difference, effortlessly playing it with control, the way you like. And that word ‘effortlessly’ is not a ‘throw away term’! You must not ‘try’ to play it; you just do it, relaxed and without anxious fore-thought.

Your motor skills have now ‘learned’ the movelent.

Sincerely,

Errol Weiss Schlabach

New, most valuable of tips: 'Slow' learns and must precede 'Fast'

2013-05-11T15:10:00.001-07:00

SLOW’S MORE DIFFICULT;

FAST’S THE LAST THING

Excitation/Inhibition;

Propioceptal & Exteroceptal Memory

I apologize for the forbidding words, terms, and elocutions, but they’re the secret key to performing successfully.

Playing the clarinet, the piano, or any other musical instrument is a function of the central nervous system; to practice a musical instrument is to train the central nervous system.

When a troubling technical passage is encountered, we must search the central nervous system for a way to conquer the difficulty.

Propioceptal (as opposed the to Exteroceptive-touch, or tactile memory) is our movement memory:

When walking up a stairs, we learn the height of the stairs for the next climb; when we use the left hand little finger to play ‘C’ before a right little finger Eb on Clarinet, our central nervous system has learned the touch sensation of the fingering sequence, but also the muscle movement of the fingering: the proprioceptal memory.

The great treasure of this discovery is the gigantic benefit in everyday practice.

Rushing headlong into playing a musical passage at full, final performing tempo is a sure journey to failure.

The small muscles must be trained first!

This is done by letting all the big muscles of the arm, the shoulders and the upper arm, completely relax, letting only the completely relaxed fingers ‘finger’ the passage pianissimo with slow, strong pressing of fingers, in this way saving that proprioceptal memory on the brain’s hard drive.

A quick drill is to play a Lick kept in your improvisatory back pocket: Listen to this memory, and then slowly press and play each note, with strong, relaxed touch, and think of each finger motion and force as you savor these notes.

Now play the ‘lick’ again at tempo, and I guarantee the improvement will be amazing!

The treasure of this discovery is that you will now be strengthening the ‘Inhibitory’ process of your motor neuron system.

The central nervous system controls our movements by ‘Excitatory and Inhibitory’ control. The Inhibitory is the most difficult to obtain and use and unfortunately, the first to lose.

Playing always fast repetitions results in the overlapping of propioceptal memory, and hence your performance sounds rhythmically uneven.

So now, we must consider the two ways our central nervous system controls our movements: by ‘Ecitatory and Inhibatory’ control.

One great way to practice ‘Inhibitory’ control, is to slow down, or stop at ANY point as you play; then play again and speed up at will; but then slow, or even stop-start-stop, and then play slow to fast to slow, completely at random.

The control you will now have over any passage thus offered will be phenomenal.

Playing slow (Inhibitatorial movements) trains the evenness and clarity of our performing: When we play fast, the ‘Excitatory’ element quickly ‘kicks in’, and the performance is beautiful.

Keep tuned in to my blog;

Updated information will be rapidly added.

Sincerely,

Errol Weiss Schlabach

Please give me comments and feedback.

April 13, 2013 post: So sorry for the recent lack of writing, hence my explanation!

2013-04-13T13:49:00.002-07:00

Dear Readers-

So sorry for the stretch between postings of woodwind nature and lore!!!

I am busy writing my own original arrangements and practicing for a concert series this summer, whereon I will be soloing on the compositions of the 5 main composers of the Great American Songbook (1926 to 1966). This will be with the Nassau Pops Orchestra, from June 18 to July 19. Please try to attend if in this area.

Newly posted articles will appear in the next several weeks, I promise!!!

One on how "Excitation and Inhibition" plays such an important part in the regulation of our central nervous system, and how this affects our motor skills--- the fingers!!!!

The 2^nd will be Etude #14: 'Contemporary Arpeggios', since current works are so much focusing on 4^th and 6/9 chords.

Traditional triads and 7^th chord practice no longer prepares for a facile technique in contemporary works. These etudes will familiarize you with these unusual structures.

Please check frequently for these exciting and informative posts.

Please, please give me comments and feedback; we all need encouragement.

Sincerely,

Errol Weiss Schlabach

Music: Temporal Art

2013-04-05T02:33:00.004-07:00

Music is a temporal art,

sculpting a block of time with a form.

Errol Weiss Schlabach

North Korea was predicted by Peter Sellers!!!

2013-04-04T23:42:00.001-07:00

North Korea Preview-Peter Sellers At His Best

As this ridiculous saber rattling goes on from North Korea, please run, procure, watch and savor the classic, “The Mouse That Roared”,

a 1959 film that seems to have been prophetic and clairvoyant in its plot.

Besides the relevancy of its content, it’s the actor, Peter Sellers at his brilliant best genius!

Please give me some feedback and comments on my metaphor mating.

Sincerely, Errol

April 5, 2013 NEW!!!!-North Korea Preview-Peter Sellers At His Best

2013-04-04T23:37:00.001-07:00

North Korea Preview-Peter Sellers At His Best

As this ridiculous saber rattling goes on from North Korea, please run, procure, watch and savor the classic, “The Mouse That Roared”,

a 1959 film that seems to have been prophetic and clairvoyant in its plot.

Besides the relevancy of its content, it’s the actor, Peter Sellers at his brilliant best genius!

Please give me some feedback and comments on my metaphor mating.

Sincerely, Errol

Chromatic Scales; The Vitamin C of Your Music Vocabulary

2013-02-20T19:23:00.003-08:00

Chromatic Scales:

Vitamin C of a Musical Vocabulary

ascorbic acid (əˈskôrbik)

noun

a vitamin found particularly in citrus fruits and green vegetables. It is essential in maintaining healthy connective tissue, and is also thought to act as an antioxidant. Severe deficiency causes scurvy. Also called vitamin C.

Vitamin ‘C’ maintains the connective tissue of human body cells. In the same way, the chromatic scale connects chordal ideas, distant keys, and atonal episodes.

Examples of all the above can be found in almost any extended piece of music, written or improvised, classical or jazz.

Sadly, the chromatic scale is treated by most as a given; once learned, seldom practiced, instead of never practiced enough.

I give you here ways and means to acquire control of this overlooked treasure in the following exercises.

An example of my thoughts on the chromatic scale:

To play a 2-octave scale from ‘x’ note to ‘y’ note, the groups of 4, or 3, or 5, or 6, etc. should be determined, counted, and marked.

This way the scale will be executed with precision, instead of beginning and hoping for the best.

I’ll offer methods to do this.

My information however, can have the effect of a prescription for Castor Oil:

I was once giving a lesson to a university student, a saxophone major, explaining my ideas on chromatic scale practice, having her play my etudes. All of a sudden she burst into tears, slammed her book closed, and rushed from my office, crying: “I’m a junior in college; I don’t have to practice the chromatic scale anymore!”.

The more fluent you become in the control of the chromatic scale, the more valuable it’ll become; you will want to use it more and more, in writing music and in improvisation, not to mention increased ability acquired in reading music more precisely.

So, whether a beginner, playing your instrument as a hobby, or earning your living as a classical, commercial, or jazz musician, you need to always explore and practice the chromatic scale, ---- even if you’re a junior in college.

Exercises:

Begin practicing the scale for only one octave, ascending and descending, dividing it into triplet groups, groups of 4, and groups of 6. Tiplets will begin each group with a note of a diminished 7^th chord, groups of 4 with notes of an augmented triad, and groups of 6 with the notes of a diminished 5^th interval. Each musician can go on from here to find organizing ideas of his own.

More Exercises to follow; please check back soon. Errol

I’m not inferring that while a jazz musician is playing his solo, he’s calculating this way, of course not;

I’m explaining how to work in the practice room, where you internalize these processes, so when performing, your intuitive subconscious will effortlessly add them from your deep creative pool.

I hope you enjoy this information and the musical examples. Please give me feedback and comments.

Sincerely, Errol Weiss Schlabach

New!!: PROCESSES On 'All The Things You Are': Ways To Use Your Musical Vocabulary

2013-01-26T18:09:00.001-08:00

PROCESSES:

process¹|ˈpräˌses; ˈpräsəs; ˈprō-|

noun

A series of actions or steps taken in order to achieve a particular end:

(American Heritage Dictionary)

This information will take some time to internalize, but I guarantee that you will be using it for the rest of your life. These techniques can be traced back to before Bach, before Giovanni Pierluigi da Palestrina, to the first thoughtful playing of tonal music.

Musical processes are the methods through which we can present our total internalized vocabulary, all the scales, chords, licks, etc. which we have at our subconscious, intuitive command.

I hope to give you some examples of processes I have developed, from which you can go on and discover your own.

The early greats of jazz let melody be their guide. Embellishing the melody is still the first level of improvising, and is called Filigree: Ornamenting the Melodic notes with upper and lower neighboring tones.

Example #1:

A further example of this first level of improvising is to choose only notes of the given chord to embellish the melody, keeping the notes added to a minimum amount and rhythmically inactive.

For all these examples, I will use the beautiful Jerome Kern tune,

‘All The Things You Are’.

Example #2

The list of processes for non-melodic improvising, using both chordal and non-chordal tones is endless. I explain a few of mine, from which you can get ideas to invent your own. The main thing is to practice these processes on all applicable parts of your internalized vocabulary until using the processes themselves is internalized. As long as the processes are at your complete and intuitive command, the number of processes need not be great. It’s better to have 15 to 20 well learned, than 50, which are only partially learned and have to be consciously worked out.

The first such process I’ll mention is to play a continuous flow of eighth notes, using only notes of the given chords, and changing the chords with the harmonic rhythm. We would describe this style as rhythmically active.

Example #3

The arpeggios can be simply played, or in any number of broken, varied forms; there are no rules.

Example #4

Next, develop the ability to identify the scale which applies to the given chord, play that scale, and change the scale with the harmonic rhythm. As long as the key remains the same and the chords used are the basics of that key, the same scale can be applied for a very long time. This is very true for modal playing.

Example #5

Now. try mixing both scales and arpeggios in one improvisation.

Example #6

Bebop scales are yet other processes to learn, practice, and internalize. This requires learning what scale from which each chord is generated from, then adding a chromatic half between either the 5^th and 6^th steps (for major and minor 6 chords and major 7^th chords) or the 7^th and 8^th steps (for dominant 7^th, minor 7^th, and half-diminished 7^th chords). Each chord has it’s own individual, unique scale; the added half step creates an 8 tone scale, making the same notes occur on the down and up beats, when the scale is played over 2 or 3 octaves --- a 7 tone scale reverses in each octave. In other words, the chord tones will always occur on the accented downbeats.

Example #7

The Bebop scales are played over the changes in the same way as normal diatonic scales.

Example #8

Using the scale of the key you’re in, you can learn processes to make the triad off of every scale step a rich source of materials for improvisation. This way of playing creates lines that play over the changes – go ‘outside’ (meaning regardless, or in spite of the chord).

Example #9

These same processes can then be used with 7^th chords off of every scale step.

Example #10
(A process favored by of J. S. Bach)

Here are processes using the Octatonic,

or diminished scales.

Example #11

Processes with the Pentatonic Scales.
Example #12

I hope these techniques are helpful; I will be adding to this ‘Processes’ list from time to time. Please check periodically.

Please comment and give me feedback.

Sincerely, Errol Weiss Schlabach

'Appomattox': Scene Of Servility

2013-01-18T23:05:00.004-08:00

'Appomattox': Scene Of Servility

I was reading an essay by William Zinsser, one of the finest American writers of the 20th century, called 'Appomattox', (from a little book he wrote in 1990, called 'American Places'). In his essay, he describes the kindness with which Grant treated Lee
in the surrender terms of the agreement, ending the American Civil War:
The soldiers were simply to give over their arms, keep their horses, and go home!

No vindictiveness! The surrender was silent, civil, peaceful, having been preceded by President Lincoln's statement to Grant on March 28-29, 1865 (before the April 12, 1865 surrender): "Let 'em down easy".

That surrender morning at the Appomattox red brick house of Wilmer Mclean's,
was quiet, reverent, and servile.

The spirit of Appomattox, that of Lincoln, Grant, Lee, and the 100,000 total soldiers,
who treated each other with reverential respect, created a stillness which was to be not the end of fighting, but the beginning of a new 'NATION', never

again to be called a ‘UNION’.

(Prior to the Civil War (1861), the ‘United States’ was a plural noun; after, ‘United States’ was always singular (1865).)

Wouldn’t it be a ‘Zen’ moment in world history, if all intercourse between peoples of a marriage, of a family, of a community, of a state, of a nation, ----of the whole earth, could look at one another and see a ‘one’, where everyone’s action would be for the good of everyone, without thought of a ‘self’: Just one organic whole!

‘With a musician's love for America and mankind.

Please give me feedback and comments!

God Bless, Errol

The Central Nervous System: It's importance in playing a musical instrument.

2012-12-28T05:11:00.002-08:00

CENTRAL NERVOUS SYSTEM

What is the best way to develop a smooth and exacting technique? Which muscles should a player concentrate on? What is the order of sensory concentration that should follow the reading of written music? How should fingers move and touch the keys of a musical instrument?

How many of these questions can you answer and where do you start?

The first, most important fact to understand and admit is you are the instrument, you are making the music; your musical instrument simply translates what you are hearing and thinking.

What is trained when you practice and acquire knowledge is the Central Nervous System; what plays when you perform is the Central Nervous System, using the tools you have stored through practice. In performance, you really have no control over what you play, except to play what you’re hearing. The performance is entirely intuitive and subconscious, controlled by intense brain signals. Your subconscious intuition operates 20,000 times faster than your conscious thought. The reason for a fine performance is the 10,000 plus hours that you have invested in training the Central Nervous System. What I would like to explain in this essay is how to go about that training task.

AMAZING FACT:

Each peripheral sense center has an assigned spot on the cerebral cortex; the cell sequence of the spot on the cortex is an exact replica of the cell order in the peripheral perceiving units: ‘Talk about a miracle!

This applies to visual, aural, and olfactory sensors, and fingers, hands, feet, toes,----every conceivable peripheral sense. Two classes of sense perception exist: Proprioceptive: sensing motion; Exteroceptive: tactile (touch) sensing.

This information is very useful when applied to practicing a musical instrument. Finger action is proprioceptive, with exteroceptive involved in the touch of fingers on keys. Movement of the fingers should concentrate on the small finger muscles; large arm and shoulder muscles should on serve as stabilizing elements.

To practice proper finger movement, the hand and fingers should be placed directly above and touching the involved keys. The first movement will be a finger pressing only the depth of the movement of the key. When the next finger presses a key, the former finger lifts up as this next finger presses down. All this should be done slowly and with precise, authoritative movements.

When learning new fingering formations and movements, the new stimuli would be termed neutral. As you repeat movement, an already established ‘definite unconditional stimulus’ already established is used to complete the reflex. As you repeat the movement numerous times, the new stimulus and the old established stimulus achieve the reflex together, and eventually, the new stimulus produces the reflex alone. This process of learning is always the same for motion related stimuli.

Results will be most successful when the movements are performed slowly, with each repetition as precise as possible.

The intensity of your concentration and your basic health and well being also have a direct effect on training your central nervous system.

The previous reflex conditioning is categorized as a ‘First Signaling System’, stimuli such as impressions and sensations from the outside world and muscular movements.

Verbal and sight stimuli belong to the category of ‘Second Signaling System’.

Written musical notation, like verbal stimuli, becomes signals, in this case for sound. The written note first excites the visual region of the cortex, and is then transferred to the auditory region, which provokes the corresponding motor response.

When playing from memory, the auditory region becomes physiologically connected directly to the motor region (through numerous times of practice), and the written notation (visual region of cortex) is no longer needed.

This will start your awareness of the importance of your central nervous system and how it is what you are training as you practice a musical instrument.

Keep checking this Essay for updates, as I will constantly be adding information as I learn more about the brain.

Please give me comments and feedback.

I hope this study helps you, for it surely excites me.

Sincerely,

Errol Weiss Schlabach

What is a sentence?: Music related or not, we all should know this!

2012-12-16T21:22:00.001-08:00

We all should be able to answer this; if you can't, here's the answer:

What Is A Sentence?

A Sentence is an organization of items in the world.

A Sentence is a structure of logical relationships

The basic components of a sentence are:

‘DOER---DOING---DONE TO’

Helping old ladies cross the street prevents accidents.

(What is the verb?)

Thanks for viewing and visiting.

Please give me comments and feedback.

Sincerely,

Errol Weiss Schlabach

Grim Haiku!: response to shootings in US schools:

2012-12-14T15:05:00.000-08:00

Grim Haiku to shootings in US schools:

Man’s History

Born, grow, shrewdly bloom,

That’s our whim, so history says;

Better luck next time!

Rossini Cadenza: Errol's transcription for you practice and perusal

2012-12-02T08:07:00.000-08:00

This is a transcription and edit I did for the Rossini Variations,

One more little widget you can pack in your ever ready tool box.

Sincerely,

Errol Weiss Schlabach

Please give comments and feedback.

Valentine to my wife and daughter, who propel me forward after a step back!

2012-11-30T23:42:00.002-08:00

I want to share a heart felt poem I wrote to my wife and daughter, June and Corrine, last Valentine's Day, 2012. In it I truly tell what is needed by musicians, and all creative creatures, in order to step ahead after the set backs we all will suffer!

A VALENTINE FOR MY ‘2’

There’s a kind of expression you find

That exists between genuine friends;

A kind of expression and design

Between persons who’ve spent time cathecting,

Making their times shared fine;

As families, we find so much on which to wine and dine:

I feel we ‘3’ are rich in our memories,

Which contain ample amounts of all the above.

But above all is the warm love we’ve shared:

We’ve cared in the tough, great, good, and bad places of --- ‘us’—

I love you both very much!:

BE MY VALENTINES

LOVE AND RESPECT AND HIGH REGARDS,

DAD AND HUBBY,

More, more---XOXOXOXOXO

Please give me comments and feedback.

Sincerely,

Errol Weiss Schlabach