Link Post
Robby Burns
David MacDonald unboxes the Odla music notation ...
David MacDonald unboxes the Odla music notation controller

intonation

, ,

Teaching Intonation with Tonal Energy (Session Notes, Podcast Episode, and Blog Post)

, ,

CleanShot 2022-02-03 at 17.59.12@2x.png

Teaching Intonation with Tonal Energy - OMEA 2022 (5:15 pm, Room 21)

This blog post, podcast episode, and presentation were prepared for the Ohio Music Educators Association Professional Development Conference 2022.

This blog post exists to serve as both session notes for conference attendees, show notes for listeners of the podcast episode, and any teacher who wishes to develop intonation in their performing ensemble.

Complimentary Podcast Episode:

Where to Find Me

Subscribe to the Blog...RSS** | Email Newsletter

Subscribe to the Podcast in...Apple Podcasts** | Overcast | Castro | Spotify | RSS

Support My Work

Become a Patron!

Teaching Intonation

Philosophy

  • Prioritize these...
    • Tone
    • Intonation
    • Balance/Blend
    • Melodic Accuracy
    • Rhythmic Accuracy
    • Expression/Phrasing
    • Technique/Articulation
  • Sound Over Sight
    • If we are asking students to use their ears, then why are we having them use their eyes?
    • Natural Learning - think about how children learn to speak. Through modeling from parental figures, constant repetition, and encountering these repetitions in various contexts.
    • Electronic tuners can only tune intervals of unisons and octaves accurately.
    • We are used to hearing the piano in its slightly “out-of-tune” tempered state.
  • Interval Adjustment
    • Pure intervals have varying degrees of adjustment from tempered intonation to make them in tune.
    • Scale Degree | Adjustment
      • 1 | 0
      • 2 | +3.9
      • 3 | -13.7
      • 4 | -2.0
      • 5 | +2.0
      • 6 | -15.6
      • 7 | -11.7
      • 8 | 0
  • We must teach our students to HEAR when something is out of tune by listening for beats. But how?
    • Resonant intonation is the result of two other important features: superior tone and balance.
    • Good tone comes first.
    • Learning balance is difficult in a room by yourself.
    • Use of an electric drone helps.
    • Turn the drone up to a level that equals the student.
    • Song based learning that utilizes lots of simple melodies in standard keys teaches students to understand basic consonance and dissonance.
    • Lots of repetition!!!
    • Patients!
    • Reinforce that one success does not mean that everything will be in tune from here on out.
    • Don’t strive for a perfect intonation system. Resist teaching students the theory of intervals and focus on them hearing consonance and dissonance through listening to the relationships of intervals.
    • Once you know what a 5th sounds like, you can tune it anywhere.
    • Avoid technical talk unless something is absolutely in a students way.
  • Daniel Kohut - Musical Performance: Learning Theory and Pedagogy
    • Superior Concept
    • Relaxed Concentration
    • Focused Awareness
  • Reasons teachers give up on teaching intonation this way...
    • Fear of other areas of musical performance failing - wrong notes, rhythm, poor technique, inability to execute musically. The solution to this - pick easier music!!!
    • Abstract nature of these skills make them less concrete to student minds and harder to teach.
    • This is a long road. It takes time. But! - the end reward is ultimately better because students own their critical listening skills and now make musical adjustments themselves, even to features in the music that are not tone and intonation related. Each year will have an upswing towards the end. Independent musicianship is the result.

Features of Tonal Energy

  • Overview of each feature and setting - Live Demo
    • Strategies
  • Everything with drone
    • All music taught around tonal centers
    • Students tune down to the tonic most immediately beneath where the majority of their part sits
    • Students write tonal centers in their method books and concert music
  • Analyze mode - Students practice scale patterns and songs in this sequence...
    1. Visual and aural feedback
    2. Aural feedback only
    3. No drone at all
  • Practice Guide

CleanShot 2022-01-09 at 12.45.41.png

  • You can balance to the drone

    Tell students to match the volume of the drone at various levels.

  • Play along melodies with students on a keyboard or on the display

CleanShot 2022-02-03 at 18.21.25@2x.png

A midi keyboard like the Xkey can play certain key areas in tune perfectly and can automatically tune chords to just intonation. Combined with an iPad, this is like owning a Yamaha Harmony Director.

CleanShot 2022-02-03 at 18.21.47@2x.png

Lightly Row with Tuning Drones

Recording Tonal Energy into GarageBand with Inter-App Audio

Embellishing the Drone Track with Drums

Embellishing Lightly Row

Scale Exercise Play-Along Tracks with Trap Beats - Promotional Video

Image.png

Image.png

CleanShot 2022-02-03 at 18.23.30@2x.png

  • More Resources

Extra Show Notes from the Podcast Episode:

App of the Week

Album of the Week

Tech Tip of the Week

Always Start from the Beginning: Developing Tone Quality, Intonation, Concert Repertoire, and Classroom Management through Unison Playing in Performing Ensembles

This post first appeared on the NAfME Blog on December 7, 2021. You can read it there by clicking here.

Always Start from the Beginning

Every year I teach band, I start from the beginning. I find that if I rebuild the ensemble, focusing on fundamentals, it is impossible to fail.

This is especially true after many programs have lost over a year of in-person instruction. Even if students' skills have been sustained or improved, they are likely returning to the classroom with less handle on things that they can only learn in a group: intonation, balance, blend, and even basic rehearsal expectations.

They will have to relearn how to listen outside their comfortable bubble of one.

Image.jpeg

Caption: A mixer at the front of the room allows me to pump my voice, computer, and phone through a stereo and mix them to taste.

I want to describe some of the teaching strategies that have been most helpful this fall (and long since before COVID) while also sharing some technological tips I have taken from virtual learning into this year. I will explain how I am implementing them in my beginning band class to ensure that they develop great ears, strong ensemble sound, musicianship, and all while preparing concert music.

Developing the Ear

All excellent music-making starts with the ear. In Musical Performance: Learning Theory and Pedagogy, Daniel Kohut claims that students need a “superior concept” of the sound they wish to make. I believe this is much easier to achieve while playing in unison. Young musicians often learn this way by nature of beginning method books focusing on familiar, unison melodies, which elementary school teachers teach in instrument-specific sectionals. But when students first join a large ensemble, they can lose their independent sense of tone, intonation, and balance if too many separate voices start happening in their concert literature too soon.

IMG_9265.png

Caption: The Tonal Energy Tuner app is only a few dollars, and it play justly in-tune polyphonic drones and a metronome simultaneously.

My Concert Band class has 50 6th and 7th-grade students. Many of these students are first-year players. This year, most of them had only experienced a half year of in-person band before walking into my classroom.

I decided to keep them playing in unison for as long as I could keep them interested. I wanted to emphasize tone quality, intonation, balance, and bend, while somehow managing the classroom and preparing them for a December concert. And I wanted to keep things fun. Was it possible to do all of this? Yes!

CleanShot 2021-10-30 at 09.50.14.png

Caption: Dorico’s popovers, like this one for dynamics, allow you to enter notation naturally and quickly. Adding solfege with the Lyrics popover was equally easy.

Transforming Concert Literature into Unison Melodies

I started by ensuring that I centered instruction around accessible melodic material from the method book rather than technical exercises and drills. Additionally, I took the pieces I was planning for our winter concert and wrote out every person's part for every instrument using Dorico. Dorico’s keyboard shortcuts and flow-based composing make it easy to design supplemental resources as quickly as you can think.

Image.jpeg

Caption: Last school year, my team purchased some equipment to support hybrid teaching. This year, we have repurposed that gear to integrate audio technology into traditional rehearsals seamlessly.

The guides are organized by rehearsal marking. For example, Part 1 has everyone in the band playing the bass line of measures 1-8. By playing each part of the music sequentially, students get more practice sight-reading while learning who in the band plays which notes. By playing in unison, they leverage their strength in numbers to develop firmer and more stable tone quality while learning to hear what an ensemble blend should sound like for the first time.

CleanShot 2021-10-30 at 09.49.23.png

Caption: This is what an individual part looks like in Dorico once completed. Instead of isolating sections of the band during rehearsal, I can have everyone playing at all times. For example, if I want to work with the tuba part in measure one, I can tell the entire band to play “Part 1. Lower Voice” and keep everyone engaged.

I write solfege into these practice guides and alternate between the students singing and playing. In a year without any COVID concerns, I would also encourage the brass to buzz these melodies on mouthpieces to develop their inner ear and flexibility.

Play-Along Resources Help Model Tone, Intonation, and Tempo

There is always a drone prominently playing through our sound system using the Tonal Energy Tuner app. The polyphonic drones can model justly in-tune intervals. Students can subtly adjust their pitch by making the “beats” that result between two out-of-tune pitches slow down and eventually dissolve.

CleanShot 2021-10-30 at 09.39.39.png

Caption: One of the easiest and most engaging ways to encourage metronome practice is to play along to the Drummer Tracks in GarageBand. There are numerous styles, beats, and editing tools at your disposal. Beats are way more fun to play with and provide more musical feeling than a metronome.

I have created play-along tracks that combine trap beats with tuning drones. I like to pump them through the speakers during warm-ups and throughout rehearsal. You can make these too using the free GarageBand app on iOS.

Sometimes, I will have Tonal Energy coming through my phone and the beats coming through my Mac. This allows me to mix the drone and the metronome independently, as they are plugged into two separate channels of my mixer.

Speaking Calmly, Being Everywhere

A Shure wireless microphone goes into a third channel of the mixer, allowing me to speak in a comfortable room voice and be heard over the sound of loud drones, beats, and a full band of 50-65 students playing.

73b42005bdaf925216f74de6ebf33333.png

Caption: This Shure wireless headset microphone has been a game-changer this year. I don’t ever have to raise my voice to be understood. I can speak comfortably and be heard over the sound of a pumping drone and 60 students playing.

This technique works wonders for classroom management. Flowing from one part of our daily agenda to the next is nearly seamless because of how easy it is to keep everyone playing most of the rehearsal. With these persistent play-alongs underlying most of the rehearsal, my role could be described less like a traditional director and more like a spin instructor.

This might sound ridiculous at first, but it is true. A spin instructor curates music, keeps the beat moving you forward and paces instruction, all while making you sweat. This is precisely how I want my role to feel in the band room. I like to think of myself as a “coach” who directs students towards the goal while they work for it, rather than a “director” who beats the music into them.

Image.jpeg

Caption: My colleague, Ben Denne, teaches from our “command station” at the front of the room.

The wireless mic allows me to step off the podium and be heard from anywhere in the room. While the band is playing, I can be high-fiving students, sizing a student for concert attire, helping percussionists find their place, encouraging good trombone posture, or any other need. I can be everywhere and still keep the flow of rehearsal moving even when I’m off the podium.

CleanShot 2021-10-30 at 12.32.29.png

Caption: Farrago is a useful app for queuing play-along material in a soundboard-style audio launcher. I keep my scale tracks organized and color-coded by key and rhythmic patterns to find them more easily.

Taking the Slow Road Gets Maximum Results

Once it is time to hand out concert music, I'm delighted to hear students say things like, "wait, we know this!." By this point, they can sing every part, play every part, and can now split into three or four unique voices because they are more confident in their melody from having practiced it with the strength of 60 musicians in unison.

Image.png

Caption: AnyTune is another excellent app that can change the speed and pitch of a play-along track independently.

The results are clear. I have never had a more engaging, fun, and tightly managed beginning band experience. Students are developing fundamentals at a pace consistent, if not better, than a typical year, and we are stronger for it.

Making Tunable, with Seth Sandler (Music Ed Tech Talk Ep. 40)

Seth Sandler, maker of the poplar mobile tuner app Tunable, joins the show to talk about the process of making a tuning app, developing for iOS/Mac, and more!

Subscribe to Music Ed Tech Talk:

Subscribe to the Blog

Subscribe to the Podcast in... Apple Podcasts | Overcast | Castro | Spotify | RSS

Show Notes:

App of the Week: BusyCal

Album of the Week: Chris Thile - Laysongs Acapella Musicals on Spotify

Where to Find Us: Robby - Twitter | Blog | Book
Seth - Twitter

Please don't forget to rate the show and share it with others!

Making Just Intonation Play-alongs with Trap Beats for Band Rehearsal (Using the Yamaha Harmony Director and Logic Pro)

My band classes meet online using Google Meet once a day for 45 minutes. I am trying to keep them playing as much of this time as possible while slowly introducing the tech tools we will be using to submit work this semester.

Using the Yamaha Harmony Director, plugged in through Logic (along with some trap beats and 808 bass lines I recorded in with software instruments), I have started to make some play-along tracks to route through the Google Meet via Loopback.

This is kind of like a hardwired version of my Tonal Energy/Garageband workflow I have written about here before, only the keyboard hardware and pro editing software allow for much more precision.

They sound like this:


See below for the Logic Pro setup. I am using a drummer track for the trap beat, an 808 bass instrument as a software instrument to record the bass line, and the Harmony Director is being recorded live as an audio track. The HD is plugged directly into my audio interface to do this.

CleanShot 2020-09-15 at 10.18.00@2x.png

I decided to keep the bass part droning in the key area of the scale because that software instrument plays in equal temperament by default. It also sounds more like an authentic trap beat this way, where the bass line functions similar to a bass drum.

I already used this method in my first period class this morning and the band loved it. This is just the beginning. I whipped this together in a hot minute and anticipate making a variety of scale patterns in different musical styles.

Automating Band Warmups, Teaching Auditory Skill, and Managing My Classroom… with Solfege Bingo

“Intuition, I realized, was the certainty with which a skill instantly worked on the basis of rational experience. Without training, intuition does not develop. People only think that intuition is inborn. If intuition unexpectedly reveals itself, however, it is because unconscious training has been amassed somewhere along the way.
”
— Shinichi Suzuki , Nutured by Love

What is Solfege Bingo

Solfege Bingo is a game for young music students. You can play in class to help develop audiation, pitch recognition, and solfege.

CleanShot 2020-08-30 at 08.52.57@2x.png

The book comes with a series of bingo cards, each of which with three-note Solfege patterns in each square. “Do re mi, fa sol do, etc...” With the book comes a CD that has many different recorded examples of a singer singing these patterns, with space in between each pattern. Students match the three-note patterns they hear with the ones on their card until they get bingo.

The CD features a second set of recorded examples in which a clarinet plays the patterns so that the students must recognize the patterns by ear, not by syllable.

I first learned about this series as a student teacher, where the choir teacher would use them as warm-ups. She would use them as ear training examples to familiarize her ensembles with solfege. On the recorded examples, the space between each pattern is equal to the length of the patterns themselves, so you can use them as a call and response. The recording models the pattern, the choir sings it back.

Transposing the Tracks for Bands and Adding a Drone

A few years ago, I got the idea to transpose these recordings into band keys using GarageBand. I added a clarinet drone on the key center (using one of the software MIDI instruments) to help students hear the relationships of the pitches not only to each other but also to the tonic. 

In band, I start the year by implementing these play-along tracks during warm-ups, starting in concert Bb. I first use the vocalist track and have students sing back. Then they play it back, with brass buzzing on mouthpieces. Then with brass on instruments. (The repetition of this has the side effect of reinforcing fingerings.) Eventually, once I feel like they have begun to internalize the pitches, I play them the clarinet version of the recording. The clarinet drone rings through my entire track, which takes the place of my usual Tonal Energy Tuner drone.

It sounds like this when it’s done…

In GarageBand, I dragged in the audio file I wanted to edit, creating an audio track. Then, I created a second software instrument track, selected clarinet as the instrument, and held out the note Bb on my MIDI keyboard for the drone. Double-clickin…

In GarageBand, I dragged in the audio file I wanted to edit, creating an audio track. Then, I created a second software instrument track, selected clarinet as the instrument, and held out the note Bb on my MIDI keyboard for the drone. Double-clicking an audio region reveals a transpose option on the left. Dragging the slider moves the pitch up of the selected region up or down by a semitone.

Classroom Management (Making Two of Me)

I recall a year where I was struggling with engaging one of my band classes during the warm-ups. I needed a way to create some structure and reinforce expectations for the first 10 minutes of class, while making sure that the winds got the tone and ear development I wanted them to have. It is always easy to assume that students are against you when they are talking amongst themselves, wandering the back of the room, and slouching in their seats. I have come to find that, more often than not, my students aren’t against me, they just flat out didn’t understand my expectations for participation, posture, and technique and that they needed my support (even when it seems my expectations should be obvious). 

My solution was to duplicate myself. I needed there to be one of me on the podium guiding the rehearsal sequence, and another of me walking the room to adjust students’ expectations of themselves.

I added the Solfege Bingo play-along tracks to slides in my daily agenda presentation, which is always on display at the front of the room through a projector. I make all of my slides in Apple’s Keynote. I found that I could embed an mp3 of one of my tracks into a slide and set the presentation to automatically skip to the next slide after a certain length of time had passed. So I created a sequence of these Solfege Bingo tracks, and a couple of other typical warm-ups I do, and embedded them all in Keynote slides so that the warm-up would happen automatically. 

In the upper right corner, click the Transitions button to reveal transitions. From the Start Transition dropdown menu, you can choose to have a slide start automatically after a certain amount of time, using the Delay timer. You might have to tweak…

In the upper right corner, click the Transitions button to reveal transitions. From the Start Transition dropdown menu, you can choose to have a slide start automatically after a certain amount of time, using the Delay timer. You might have to tweak this a little bit to get it right, but the result is that these couple of Keynote slides play in a row, automatically, while I walk around the band room and give feedback to students.

This allows me to work the room. While warm-ups were taking place, I can walk in the percussion section and remind them what instrument they play for warm-ups that day (it's on the chart in the back of the room 🤷‍♂️). I can give postural feedback to my trombones. I can high five the tuba player. I can fit someone for a concert shirt. I can do nearly anything. And this is all while reinforcing audiation, tone development, and proper intonation.

I recommend the Solfege Bingo book. It’s effortless to modulate tracks with software. You can use the pitch-flex feature in GarageBand, as I mentioned above. But you can also use apps like Transcribe!, The Amazing Slow Downer, or Anytune. 

Adding a clarinet drone is easy. I added a software instrument track in GarageBand, set it to a clarinet, and played the tonic along to the recording. But you could also use Tonal Energy as a GarageBand instrument.

Conclusion

Given the time I am posting this, it is worth mentioning that I totally intend to use these warmup play-along tracks in my online band classes this fall, which will be taking place in Google Meet. I am using the Loopback app to route the audio of Keynote through to the call, and a soundboard app called Farrago to trigger them. I can run the tracks through Google Meet and everyone plays along while on mute. I am hoping to blog about Farrago soon.

I am also planning to blog about another version of this workflow I have tried in especially needy classrooms, where I go as far as to record myself giving instructions to the band in between transitions, and even program the tracks to rehearse concert music for me while the real ‘me’ works the room. I have run up to 40 minutes of a band rehearsal through pre-recorded instructions and play along tracks before!

Get a copy of Solfege Bingo here.

Making Just Intonation Play Along Tracks for Your Performing Ensemble (Using Tonal Energy and GarageBand)

There are a few things that would be helpful to know about my music teaching philosophy before reading this post.

1. I believe that tone production, intonation, balance and blend are central to teaching performing musicians. I prioritize them much higher than fingering technique, rhythmic precision, and even reading comprehension.

2. The way I structure my band classes starts with, is focused on, and always revisits those core ideas.

3. I have accumulated a vast variety of tools and teaching strategies to meet my goals of having superior tone quality, intonation, balance and blend. One of the most essential tools I use is the Tonal Energy Tuning app.

Tonal Energy Tuner

What is Tonal Energy? A hyper charged, power-user app for musicians that has many advanced features, including...

- Tuning drones that can be triggered polyphonically

- Feedback as to how in tune a performer is, which includes a delightful happy face to depict good or questionable intonation

- Drones and feedback can be adjusted to different temperaments

- A metronome (with more features than nearly any alternative on the App Store) that can be used separately or at the same time as the tuning drones

- Analysis tools that depict amplitude and intonation on an easy to read visual graph 

- Recording and play back practice tools for musicians to listen back to their performance

- Automated metronome pre-sets that can be sequenced 

See the video below. I will first depict the tuner playing a Bb drone, then I will show how it can model a Bb major triad all at once. Then I will turn the tuner to just intonation mode, and you will hear that the third and fifth of the chord are appropriately adjusted so that they are in tune with the Bb root. Next, the video will demonstrate how the metronome can be used in combination with these drones.

Imagine now that a student is playing a scale along with Tonal Energy. By leaving the tuner in just intonation, and centering around the key area of Bb major, every note of the scale that I touch will resonate accurately with the Bb, giving the student an accurate reference to blend into.

Developing An Inner Ear for Diatonic Intervals

Much of music is made up of scales. For a student to learn how to most accurately tune different intervals and chords, I have the drone running in the background during most of my teaching in whatever key area we are working in. I then move my finger to the correct notes of the melody to model and reinforce what good intonation would sound like. See below for an excerpt of a song my beginning students might play.

In the video below, watch as I play this song by dragging my finger along to the melody. This happens with a metronome to reinforce the beat. I like that TE has the option to speak counts out loud. In my experience, this really reinforces a concept of strong beats, weak beats, where in the measure the performer is. Other tuning apps have the counting feature as an option, but the sounds in TE sound more natural and less computerized.

Making Play Along Tracks in GarageBand

As you can imagine, I am doing a lot of dragging my finger along while students play for me. This gets tedious. I also want my students to be able to hear these pitch relationships when they practice, so I have begun recording them into play along tracks. How do I do this?

Inter-App Audio Apps and Audio Extensions in GarageBand

In the iOS GarageBand app, audio input is usually performed using either software instruments or by recording audio directly into the device with the microphone. But what you might not know is that you can also create a track that is based on the audio output of a third party audio app. If you have ever used a DAW, think of Inter-App Audio Apps and Audio Extensions like plugins. Once launched, you are kicked into a third party interface (much like using a reverb plugin from Waves or a synthesizer from Native Instruments) which then adds to or alters the sound of your overall project. In a more recent GarageBand update, Apple categorizes Inter-App Audio and Audio Extensions under the External option when you create a new track. 

Audio Extensions are effects that alter your tracks like reverbs and EQs, while Inter-App Audio captures the audio of a third party app and records it into its own track in GarageBand. You can browse the App-Store for Audio Extensions that work with GarageBand. 

public.jpeg

Recording an Inter-App Audio App Directly Into A GarageBand Project

Watch in the video below as I set up an Inter-App Audio App track with Tonal Energy. What I am going to do next is press record, and record my justly in tune play along of Lightly Row into my GarageBand project. I will do this using the euphonium sound. The euphonium drone is one of the roundest, darkest, and fullest sounds, while also containing a great range, so it is effective for most instruments to play along to while also modeling a rich, full, resonant sound.

Accurate Note Input with MIDI Controllers

In this video, you can really hear how sloppy the transition from one pitch to the next is when I drag my finger. Notice also that I did not play repeat notes. It is difficult to play the same pitch twice in a row without Tonal Energy changing itself to that key area. One way around these challenges this is to set up a portable MIDI keyboard with Tonal Energy. The one I have settled in is the CME X-Key with Bluetooth.

It has a sleek look, is very small, and has low key travel. It has buttons for pitch shifting and octave jumping. And Tonal Energy adapts to it in just intonation mode! Watch in the video below. As I change which chord I am playing, TE automatically snaps the third and fifth of each triad in tune, relative to the root. For my Lightly Row performance, I can now hold a Bb drone on in one hand, while playing a melody in the other.

Embellishing The Track with Other Instruments

The resulting play along track is alone pretty useful for students. Let’s make it more fun by adding a drum track.

We can make it even more fun by embellishing with bass and other instruments. I like to change up the style of these play alongs. Sometimes I don't even pre-record them, I just improvise along with my students to keep things fresh. Be careful though. These software instruments are NOT justly in tune, so too many of them can defeat the purpose. I try to combat this by having the drone be the loudest thing in the mix. Notice in this recording I have tried not to create any motion in the accompaniment that interferes with the consonant intervals in the melody, so that the listeners ears can remain focused on the drone for their reference.

Conclusion

Well, that's it! I can trigger these in rehearsal, sectional, and even share them with my students for home practice. Regular practice with tuning drones has really turned around my band's sound, and gives students the foundations for long term ear skills that will help them to HEAR what is in tune, not just respond to the commands “you're sharp!” and “you’re flat!”

🗒 Off to the Ohio Music Educators Association Professional Development Conference

I am so excited to be returning to Cleveland for the weekend to present at the Ohio Music Educators Association Professional Development Conference.

Here are the session notes of all three presentations I am giving this weekend…

Teaching Intonation with Tonal Energy | February 1, 2019, 12:30 pm | Room 21

Become a Mac Power User | February 1, 2019, 5 pm | Room 21

Going Paperless with iPad | February 2, 2019, f11 am | Room 21

I am wishing all of my friends at Maryland attending the MMEA conference and my students who are participating in the All State Bands a great weekend.

Find Robby elsewhere on the web