A mysterious parcel. An unsolved crime. A spell from beyond the grave. After returning from her last strange quest, Selkie Moon is more than ready to settle down. So when she receives a parcel from her great grandmother 35 years after her death, opening it seems like such a bad idea. But curiosity wins and the objects it contains plunge Selkie into long-buried family secrets. Suddenly an old mystery begins to echo with the present and she's wrapped in a spell that won't let go: frightening visions, deadly encounters and a pull from the past that she can't ignore. What happened down by the old stone well in 1896 – and why does it matter to Selkie after more than a hundred years? Armed with only her wits and psychic twinges that are hardly reliable, Selkie is drawn into a web of cryptic clues that delve deep into the folklore of Ireland where superstition still weaves a powerful – and fatal – spell. If you love mysteries with lightning pace, twists and turns you never see coming, quirky clues and a sprinkling of the supernatural, then you'll love The Third Note. Join Selkie Moon on a quest that will threaten not only her sanity, but her life. Get it now.

A funny, colorful, fascinating tour through the work and life of one of today’s most influential graphic designers. Esquire. Ford Motors. Burton Snowboards. The Obama Administration. While all of these brands are vastly different, they share at least one thing in com­mon: a teeny little bit of Aaron James Draplin. Draplin is one of the new school of influential graphic designers who combine the power of design, social media, entrepreneurship, and DIY aesthetic to create a successful business and way of life. Pretty Much Everything is a mid-career survey of work, case studies, inspiration, road stories, lists, maps, how-tos, and advice. It includes examples of his work—posters, record covers, logos—and presents the process behind his design with projects like Field Notes and the “Things We Love” State Posters. Draplin also offers valuable advice and hilarious commentary that illustrates how much more goes into design than just what appears on the page. With Draplin’s humor and pointed observations on the contemporary design scene, Pretty Much Everything is the complete package.

Any musician who composes or transcribes music or who plays accompaniment to a soloist will have a need to know what the chords are for the accompaniment. There are also occasions when the published chords to a piece are in error, and there is a need to know how to recognize and correct them. Simply put, the process of harmonizing chords to melody is all about identifying chord tones and intervals in a melody and determining the chords they imply. The decision to survey the literature on harmonizing chords was made because no single textbook on harmony could be found that extensively treated the subject. Of the scores of textbooks referenced herein, each one would touch upon or tell only part of the story. What was obviously needed was a book that gathered all the relevant materials in one place and outlined a practical procedure for harmonizing a melody. This document attempts to do this. The word harmonization as used here refers to the process of finding appropriate chords to accompany a melody. Hence, when we harmonize a melody, we create a chord accompaniment for it. The most beautiful melody may be ruined by a poor and inappropriate chord accompaniment, or a poor melody can be made interesting by an apt chord accompaniment. The intended purpose of this work is to provide suitable accompaniment chords only to a given melody in lead sheet format. The piece could then be performed by musicians playing the melody and chords together. This could be done either by two musicians, a soloist, and an accompanist or by a keyboard player who would play both melody and chords. It is not intended that a harmonizing bass line or other harmonizing voices be added to the given melody. It is also a primary purpose of this work to enable the transformation of raw melody into diatonic music by harmonizing only diatonic chords to it.