#roger heaton

[oldschoolfrp]

Ahoy, mateys

Don't Give up the Ship by Dave Arneson, Gary Gygax, and Mike Carr, TSR, 2nd ed 1975; Don Lowry cover art; based on rules originally developed in Arneson's Minneapolis-St Paul area gaming group (1e was published by Guidon Games, 1972)

Action Under Sail 1756-1815 by Steve Birnie, Tabletop Games, 3rd ed 1984; Roger Heaton cover art; developed in the Halifax Wargames Society (1e was dated 1977)

Age of Sail, Mod Games, Sheffield, 1984; no individual author credits; includes 4 short rulesets: Ancient, Renaissance (also titled "Galleass"), Napoleonic, and Ironclads

Tradition of Victory, consisting of the Heart of Oak naval wargaming rules and the Promotions and Prizes RPG of rising in the ranks of the Royal Navy, Walter Williams, Erisian Games, 1978

[cosechadehuellas]

- Gavin Bryars Ensemble, Bill Hawkes, Roger Heaton

The North Shore

[musicwithoutborders]

Gavin Bryars · Roger Heaton · Dave Smith, Salle d'armes I A Listening Room, 2016

[amusiclibrary]

Just a short video of the highlights of the fundraising concert I did, featuring renowned clarinetist Roger Heaton, mezzo-soprano Judy Davis, incredible pianist Charles Wiffen, and ME! 

[amusiclibrary]

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Rational Melodies: XXI - Tom Johnson

Clarinet: Roger Heaton

[amusiclibrary]

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Rational Melodies: I - Tom Johnson

Bass Clarinet: Roger Heaton

Tom Johnson (1939) belongs to a generation of American composers who founded musical minimalism. However, it wasn’t the repetition in itself that interested him, but rather the idea of music as a process. Steve Reich applied this idea brilliantly in his phase pieces. But after 1975, while the same Reich distanced himself from the radicalism of his first works, and younger American composers came out with music that was lusher, more expressive, even sentimental, Johnson insisted on the unrelenting rigor of formalised processes. The Rational Melodies, composed in 1982, may be regarded as the outcome of this research, first of all by their sheer quantity, but also by the fact that they summarize brilliantly and clearly procedures from the past, present, and future, which together characterize his work: combinations of cycles of different lengths (I, IV, XI, XVII, XVIII), permutations (VII, X), the paper-folding or “dragon” formula (II, XIX), other automata (XVI, XX), or self-similar structures (XIV, XV). 

[amusiclibrary]

In the wrong hands a performance of the first movement of the Trio [Brahms], for example, is aurally analogous to wading through dark, viscous chocolate cake, and I can almost hear the sighs of clarinet teachers worldwide as yet again one of those Sonata movements [Brahms], always set for music examinations, is murdered at the hands of studious young pupils and their struggling accompanists

Roger Heaton, Clarinettist and Conductor - also my lecturer. He is amazing.

[amusiclibrary]

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New York Counterpoint: III. - Steve Reich

Clarinets: Roger Heaton

Click here to listen to Movement I Click here to listen to Movement II