davidbrubeck.com

Tommy Dorsey, James Pankow, Trombone Shorty, J. J. Johnson, Arthur Pryor and Clay Smith?

I cannot recall the author of the study, but seem to recall the conclusion well. After examining master musicians who had achieved success in their field (if not outright virtuosity), the question arose: HOW did they do it?

Specifically. did they master tone first, to the exclusion of all else? Focus only on time and intonation at the root, only to grow into excellent tone, expression and listening later?

HOW, exactly?

What did they focus on? Or, more precisely stated: What did they leave out, if only for a time?

The answers were everything and nothing. Their teachers did not leave ANYTHING out. They focused on EVERYTHING! Perhaps not all at once, but yes, everything.

This could explain a great deal.

One of two components I typically find underdeveloped in students is MUSICALITY. (The other? Time, time, time, time, time, time & time!). Echoing the great Arnold Jacobs’ summation of the musicians of my generation-“They lack artistry”, I have to concede that musicality, or its absence, is often the elephant in the room regarding the development of younger musicians.

Emotion or expression IS music, in the sense it attracts many of the most musical people to music. Expression and the communication of emotion is amostng what music does best. This is akin to the fruited plant of the garden or the flowered tree of the forrest-with the enticing scent that draws in the expressive soul. How often we are drawn to the subtle, snared by the communicative and enchanted by the expressive? The most musical are lured to and nourished by these arches of phrase and crests of dynamics that illuminate and inspire the otherwise pitilessly mathematical notes. Musicality then, increases the appetite for more music.

As a result of this line of thinking, one may arrive at this question: Why am I studying articulation in an exercise, when I could be doing so in a more musical duet? One will satisfy the yearnings of my musical soul; the other may not! And so, dear reader, you have found me out: I prefer the etude to the exercise; the solo to the scale, and the melody to the pattern.

Not only does the duet offer great melodies when alone, but the applied interaction of playing with someone else to whom you are accountable for pitch and time etc, is enthralling! And how many things are better than playing music with a friend? Like duets, solos capture this collaborative spirit, and were originally conceived and written with the intention of performance with the integrated accompaniment!

Both solos with piano and duos should often be read from the score, to more fully understand the entire scope of music-making, and as a gateway to score-reading. Yes, duets and solos. How many an operatic accompanist has parlayed their piano-playing into becoming a world class maestro like George Solti? Legion!

This leads me to Clay Smith- a man who made his living playing trombone solos, and wrote more than a few. I have particularly enjoyed many Barnhouse publications in the past. They have produced high quality editions and were quite pleasant in their communications. Long ago, Barnhouse graciously gave me permission to publish one solo by Clay Smith on my Website. As we finally do so, we thank them, once again!

Like many, I believe these to be an essential collection of solos that help bridge the gap between etudes or exercises and more elaborate and traditional solo repertoire. Best wishes with these highly imaginative solos or, some might say, duos with piano! Play as many as you can, as expressively as you are able, and frequently with piano alongside.

This is my first selection for “Trombone Books I Recommend!” Enjoy…

Notorious! Pan is the goat-legged demigod of ancient Greco-Roman lore. Amorous? He is seemingly often in pursuit of a fair maiden or nymph. Disastrous. As he chased an unwilling nymph-Syrinx; she changed her self into river-reeds, lest he catch her. Sonorous: despondent at the escape pf his newfound “love”, Pan severs the selfsame river-reeds to fashion his iconic flute. Ruinous: poor Syrinx is now his mournful pipe and always at his lips.

(Odorous-Goat breath!)

Claude Debussy and Andreas Blau pause to reflect on the tragedy in terms most rhapsodious.

The mournful tones of this masterpiece by Debussy seem to cry out in sympathy for the losses of Syrinx.

Syrinx may yet serve as a metaphor for each individual instrumentalist who sacrifices their lives to embody music. If spending six hours or more per day alone in a practice room is an approximation of turning one-self into reeds or, our very instrument, then many of us have paid the price of Syrinx.

As we aspire to become “Storytellers of sound”, ad proscribed by Arnold Jacobs, do we not become the living embodiment or the voice of our instruments as we spin our scales of ro?

c. 2024 David William Brubeck. All Rights Reserved

.

Pan image courtesy of Merriam-Webster.com

…(tone-RO)

We had one rehearsal, and I went out for lunch with my string player friends before the concert. From their perspective, this was the most amazingly precise big band they had ever heard, much less performed alongside! They were quite amazed and rather impressed that we sounded like a seasoned road band after one rehearsal..

From the perspective of someone familiar with the Miami music scene, the Big Band roster read like an All-Star, Fantasy Line-up from across the many amazing decades of the University of Miami Concert Jazz Band-(The CJB)!

An American orchestra is a big band, often comprised of 3 to 5 each of trumpets, trombones and saxophones plus a rhythm section of piano, bass, drums and often guitar. In a Pops Orchestra, European strings such as Violins, Violas, ‘Celli and Basses are added to sweeten the sound, broaden the emotional palette and increase the potential listenership and sales. In a European-style orchestras, the strings often do the heavy-lifting and play most of the notes, in a Pops Orchestra it is the Big Band that drives the sound which is deepened and colored by the strings.

Barry Gibb is one of the greatest songwriters of all time. Implicit in his tribute to Sinatra was not only Sinatra’s great singing, but his great songs, great arrangements and great side musicians as well. Few other living musicians could pull off all four of these with confidence like Barry Gibb. Fewer singers still still could add to this the great sense of extended phrasing for which Frank Sinatra was so famous along with his uplifting swing and amazing rhythmic feel! At the passing of this most legendary Jazz Baritone of the 20th Century, Frank Sinatra, DOZENS of famous singers recognized their debt to him and sought to honor him in song. One after another, there seemed to be more failures than successes, underscoring the greatness of what Sinatra had spent a lifetime to achieve, perfect and popularize.

23 January 1999 at The Fontainebleu Hotel, Miami Beach, Florida

Barry Gibb Sings Sinatra, Part I

Barry Gibb produced this incredible, live, one-take concert and sought to sound like himself singing Sinatra songs, rather than to sound like Sinatra. A true original, Gibb incorporated great charts and sidemen, but seemed to perceive that the true essence of Sinatra was not only his voice, but what he did with it! By imitating the phrasing Sinatra derived from Tommy Dorsey as well as Sinatra’s unique rhythmic style, Barry Gibb made the most credible and original contemporaneous Sinatra tribute I have heard. And without previous forays into Jazz, despite his great crossover successes in Pop, Rock, Folk and Country Music.

Sinatra chose great songs and had the BEST arrangers. Barry Gibb’s tribute to him achieved nothing less! By starting out with masterpieces from the American Song Book and using superb arrangements and excellent treatments of them, the evening was a memorable delight! “Welcome to my dream come true”, commented Gibb, “I’ve wanted to do this my whole life!”

1) “I Get A Kick Out of You”, I-0:04 to 2:08

2)”Come fly With Me”, I-2:16 to 5:00

3) “Without A Song” I-6:05 to 8:14

4) “I’ve Got You Under My Skin” I-8:24 to 11:23

5) “It Was A Very Good Year” /”Young At Heart” I-11:53 to 18:42

1:226) “I’ve Got You Under My Skin” I-19:00 to 21:22

7) “Nancy With the Laughing Face” I-23:04 to 25:26

8) “That’s Life” I-25:32 to 28:40

9) “Don’t You Worry About Me” I-30:26 to 32:27

10) “That’s Why the Lady Is A Tramp” I- 32:32 to END, PARTIAL

Barry Gibb Sings Sinatra, Part II

11) “Witchcraft”. II-0:00 to 2:22

12) “I Did It My Way”. II-2:32 to 7:20

My Way, Playoff 7:24 to 8:44

13) “New York, New York!” II-8:59 to 12:10

NY NY, Playoff 12:13 to 12:56

14) “Mack The Knife”. II-14:07 to 18:32

Mack, Playoff 18:34 to END 19:26

One can feel the importance of family and friendship in the rich tapestry of Gibb’s life which is evident for this fundraiser performance for the Kidney Foundation. Countless acts of kindness and generosity throughout South Florida and beyond are hallmarks of these adopted Miamians. Humbly presented with true love and appreciation, this concert seems to genuinely reflect Barry Gibb’s life-long love for Francis Albert Sinatra and his music.

Personnel, best available estimations-SUBJECT TO CHANGE! In Progress…

Trumpets: 1st (Jeff Kievit); 2nd Chris LaBarbera; 3rd (Billy Spencer) 4th (Steve Smith).

Trombones: 1st-Dana Teboe; 2nd-Dante Luciani; 3rd (Tom Norwood); Bass-David Brubeck

Saxophones/Woodwinds 1st Alto/Oboe (Neal Bonsanti); 2nd Alto/Clarinet Gary Lindsay; 1st Tenor Eddie Calle; 2nd Tenor-(Gary Keller) ; Bari-Mike Brignola

Rhythm Section: Piano-Ben Sillvers ; Bass-Matt Bonelli; Drums-Steve Rucker; Guitar-Alan Kendall

Violins

Violas Dana Patterson, Debbie Spring, Larisse Buckton

‘Celli: Cornelia Bode,

Basses:

Harp:

c. 2024 David William Brubeck All Rights reserved

I wonder if AI could go in and grab each missing part from this video recording, they could be enhanced, and this album could finally live. If anyone can get it done, it is Mr. Gibb. I’d purchase one!

Imagine being handed a folder with more than 20 pages of duo music for trumpet and trombone; like an incomplete map to a treasure! The only date? 1595. The only instrumentation? Trumpet in treble clef ‘C’ and trombone in bass clef.

The probable location is Venice, and possibly St. Mark’s, but truly yet to be fully determined.

What could have been the purpose of this music? Were they training duets to prepare the players for the more typical quartets of the Gabrielis and Schutz? Could St. Mark’s, or another Basilica possibly have used just two brass to accompany religious services? This seems likely in the Orthodox Christian Basilica of St. Mark’s in Venice, but less likely in the rest of Italy which was dominated by Rome instead of Venice’s patron-Constantinople.

The keys seem to focus around ‘C’ Major or ‘F’ Major, but the presence of accidentals and available notes in the upper part would certainly seem to indicate the use of cornetto-more typical for St. Mark’s and Venice.

The presence of rests throughout at first seemed to suggest a missing part. Could it have been a vocal part or perhaps organ? One can almost hear the missing parts reverberate n the typical Venetian-Brass style.

The range of the trombone would certainly have to be restricted, due to elemental technique and trombone workmanship, at least one would think. No jumping around like, well, the arrangements by Brubeck-Neal or Stereograms. Right?

Recording 270, “Charlie’s Venetian Duets”

With a bit of an air of the musical equivalent of an expedition by Howard Carter or at least Indiana Jones, we set out to sight-read and record (in one or two takes each), these magnificent duos! Duo Brass, featuring Morgen Low and David Brubeck, met for a two-hour stint. Recordings were made direct to iPhone. (Recommended listening on over-the ear headphones!)

We probably made it through about 85% of the impressive stack of mixed brass duo music from the Renaissance. One composition was complicated, another missing a page, yet another a bit unwieldy with multiple pages-an entire MASS for brass duo for goodness sake!

This would be possible at St. Mark’s, where Catholic Monteverdi and Protestant Heinrich Schutz served side-by-side as Co-Music Directors for a time. Although the Catholic Church had a seat placed right in front of the pulpit, this Basilica was traditionally led by someone from the founding 80 families of Venice-Orthodox Christians. (At least until Napoleon, when it became Catholic at his demand in 1807-1809.)

St Mark’s itself, is clearly in the Constantinople (also called Eastern Roman Empire, New Roman or Byzantine), style replete with architectural layout and mosaics. The Basilica San Marco is mentioned as a construction specifically of the Orthodox Christian Church in 1025 AD.

While a Catholic Antonio Vivaldi got his start at St. Mark’s alongside his father-a violinist, other accounts of the time note a Jesuit priest was thrown out of the church for advocating more control from Rome during his guest sermon! (Venice may have the distinction of being the only city to have been excommunicated three times!)

This places the ORTHODOX CHRISTIAN Basilica at the CENTER of instrumental ensemble music history.

The accomplishments were numerous:

The first notated use of specified dynamics

The first notated use of specific instrumentation or orchestration-THIS ARGUES THAT THE ORCHESTRA WAS INVENTED AT St. Mark’s Basilica-certainly the symphony orchestra. (The orchestra has been called by some the greatest invention of mankind.)

The first recorded use of “Surround-Sound” or Antiphony.

Among the first recorded use of homophonic and homo-rhythmic elements.

Among the first regular use of mixed meters and their mastery.

MORE VENICE-THE CENTER INSTRUMENTAL OF MUSIC & MORE!

Monteverdi, Albinoni, Marcello… Many of the most notable opera composers were trained in or came from Venice, not Florence. The original treatise “Opera” was published in Venice.

Venice was the home of Catholic priest Antonio Vivaldi for all of his life except the final year spent in Vienna. He composed more than 400 concertos, was a violin virtuoso and a champion for the orchestra-training generations of girls and young women to play professionally through the very important orphanage system of Venice. Not to mention Dragonetti!

Recording 265 Charlie’s Venetian Duets

At first, our tempos might have been a bit slow. We determined that the pieces were clearly for performance and not study. One could easily imagine these for a shorter service in a city like Venice- especially in a Basilica like St. Marks’s constantly beset by tourists attracted to Venice for its unique beauty, the incredible music and the nearly constant carnivals.

There were accents and slurs present in the duos, and they included a wide variety of interesting rhythms and irregular shaped phrases that seemed to meander from time to time. The use of mixed meters was not uncommon, and the prevalent use of syncopation was noted.

Upon performance, the rests were a welcome relief and seemed quite musical! Nothing was deemed missing. Finally, the range of the trombone part reflected that both the Renaissance technique of the players as well as the craftsmanship of the slide must have been superior.

Recording 255, “Charlie’s Venetian Duets”

With the recent advent of mixed brass duo books by Alessi/Sachs and Brubeck/Neal, the mixed brass duo has seen a resurgence, but historically seemed to have been of scant significance and without any significant literature. NOT ANYMORE!

Please let us know if you think we are wrong….

Otherwise, every indication points to the conclusion that this collection, of which these are but a few, will rewrite the history of the brass duo, and provide a solid historic basis for the derivation of literature.

Thank you, Dr. Campbell, for this valuable treasure, and thank you, Morgen Low, for your superb sight-reading, “chops-of-steel” and delightful attitude. One could not hope for a better colleague!

FUN FACT! The Pipe organ WITH AIR was from ORTHODOX CHRISTIAN Constantinople, NOT ROME-Roman organs used water. The pipe organ was introduced to the rest of Europe around 750 AD!

Constantinople also invented the fork, the flame-thrower, the steam engine, and so much more. It was a 1,100 year Orthodox Christian Empire from 330 AD until 1453 AD.

c. 2024 David William Brubeck All Rights Reserved.

ONE “Air on a ‘G’ String”, Excerpt, performed and arranged by the Brubeck-Neal Duo

---

TWO “Two Part Invention No. 4” by J. S. Bach

THREE “Goldberg Variations” by J. S. Bach arranged by Brubeck-Neal Duo

TWO: “Goldberg Variations”, Marc Reese and David Brubeck-Audio file Only:

FOUR “Lucy” by John Lennon & Paul McCartney. performed by the Brubeck-Neal Duo, arranged by Brubeck

FIVE “Flow My Tears” by John Dowland performed by the Shefcik-Brubeck Duo, and arranged by Brubeck-Neal.

SIX “Fur Elise” by Ludvig von Beethoven, performed by Shefcik-Brubeck and arranged by Brubeck-Neal

SEVEN “Sea Journey” by Chick Core, performed by the Brubeck-Neal Duo, arranged by Brubeck

ALTERNATE TAKES

EIGHT “Air on a ‘G’ String” Complete, J. S. Bach, arranged and performed by the Brubeck-Neal Duo

NINE: “Two Part Invention No. 4” Faster Tempo, by J. S. Bach

At first, it seemed to be brass quartets, from Speer and later Venice. Then valves and Ewald and quintets. But what about a duo? Yes, just TWO brass! This is what I would have been looking to listen to when I was a boy…Album II Brass Duos!

LOVE BASS TROMBONE IN A DUO FORMAT?

Check out Legendary Jazz Group, Miami’s Own Duo Brubeck:

Featuring Lindsay Blair in Miami’s Own, DUO BRUBECK

Miami’s Own, Duo Brubeck, began in about 1991, with Tom Lippincott on guitar and David Brubeck on bass trombone. As the group became more successful, Tom was not always available, and a second set of repertoire and line up of Duo Brubeck emerged with Mitch Farber on guitar and David Brubeck on Bass Trombone.

A breakthrough came when a concert was scheduled downtown Miami, alternating both versions of the duo was scheduled. By listening to each other play the complicated arrangements without having to focus on playing them, both guitarists were able to more fully grasp the concept of the group beyond the virtuosity of the parts.

The success of the group reached an important crest when Duo Brubeck was invited to perform at the 2017 International Trombone Festival near Los Angeles, California. One catch; both Tom and Mitch were busy the week of the festival.

There were doubts that any guitarist could reach the level of Lippincott or Farber in an idiom that they helped to create-jazz guitar and bass trombone duos! Even another guitarist they could, the time frame was impossible! The jazz duo had grown and accumulated techniques and literature for years if not decades: to plug someone in now for a feature length concert seemed unlikely if not impossible given such short notice.

Except for Lindsey Blair.

Lindsay accpeted the challenge, and was even willing and available to fly out to Los Angeles. Some arrangements needed to be written down for the first time and new pieces were adapted. In record time, DUO BRUBECK 3.0, featuring Lindsay Blair, became a thing of beauty and originality on its own.

“Strawberry Fields, Forever”

“Old Devil Moon”

“Use Me Up”

“Yes, jesus Loves Me”

“Go Tell Aunt Rhody”

“Blue Bossa”

ALTERNATE TAKES

“Strawberry Fields”

c. 2024 David William Brubeck. All Rights Reserved.

Dear Friends, I have been creating Ad hoc “albums” of collected videos and recordings in which my bass trombone and I have taken part. Jazz duos with Mitch, Jazz Duos with Lindsey, Brass Duos, Concertos, a Christmas Trombone Sextet Album with Dr. Campbell’s Trombones, a Ray Charles DVD, and now this-Brass for four and eight! As a young bass trombonists, this is the type of music I would have been searching for…

GRATITUDES! As a freshman at Illinois State University I was blessed to have Rick Lehman as my brass quintet coach and to be allowed to play in the brass quintet where other members were graduate students or seniors! (He even let me play my bass trombone!). Rick was one of the best friends I ever had, and when one of the trumpet graduate students graduated-he joined the group even though he was a faculty member!

“Adagio” by Benedetto Marcello, Brass Miami Octet Live! (Also recorded in rehearsal with Gittelson/Brubeck and trOmBOnE tm Duo Winds)

I was fortunate indeed to know ISU Trombone Professor John Rehm and Charlie Stokes, who formed a student/faculty trombone quartet. Fellow trombone student Bill Aurand and I were blessed to play alongside them and share in their incredible musical knowledge and musicianship. The provided an intimate education in the music of Heinrich Schutz and other Renaissance and period brass music in particular. My favorite recollection was a performance they scheduled for us at the church in Springfield, Illinois where Abraham Lincoln had attended.

“La Morisque” from Five Renaissance Dances by Tylman Susato, Brass Miami Octet-Live

In the summer, I was privileged to play in a brass quintet, bass trombone on tuba part, at Birch Creek Academy. Our coaches were the incredible Chicago Chamber Brass with Steve Gamble on trombone. I have yet to hear a better brass quintet live and am so grateful that my high school trombone teacher and mentor, Dr. Thomas Streeter provided this to me. I have so many blessings to be thankful for!.

It was at Birch Creek that I decided chamber music was my favorite medium of expression for classical music (Duo Brubeck later made it my favorite for jazz). At Northwestern….sadly, no chamber music! Except possibly for the orchestral excerpt class- to which Frank Crisafulli from the Chicago Symphony Orchestra, made the most profoundly musical and humorous contributions. (We were all in shock and awe! (TRULY Unexpectedly HILARIOUS and PROFOUND!). Rex Martin, Vincent Chicowicz, and others were unbelievable.

“Dance” from Three Dansyere by Tylman Susato, Brass Miami Octet-Live

At UM, I remember starting the UM Trombone Choir with my students and Dr. Campbell coming in and making it official by adding his. Apart from a great brass choir with trumpet master Gil Johnson, and a the wonderful UM Tuba Ensemble, where I played euphonium, WE MADE OUR OWN chamber music! I could not have been more fortunate to have attended at the same time as two other fine trombonists and we played trombone trios for about two hours literally every day, M-F, for two years (!): Domingo Pagliuca, Steve Saunders..

The climax of my college chamber music experience had to be playing the world premieres of two pieces written for me by Dr. Campbell, one solo with String Quartet and another within the context of a trombone quartet-but that sounds like another album! It is still an incredible honor when a composer dedicates a piece to me, and none mores than those by my teacher, Dr. Campbell, and friend and colleague, Thom Sleeper.

As a professional I have been most blessed by performing brass at Coral Ridge, and with the brass quartet/octet of John Georgini, The Coronation Brass in addition to my collaborations with Brian Neal and my own groups.

Fun fact-I was THIS stupid: Rolf Smedvig called and asked me to play a concert with the Empire Brass in Naples as a jazz soloist and I said no…… (WHAT was I thinking??)

“Pavane: La Bataille” by Tylman Susato, Brass Miami Octet-Live

Quartet Selections:

“Roman Carnival Quartet”, by Hector Berlioz, arranger unknown, Brass Miami Quartet

La chio panga quartet. in progress…….coming soon

“I. Alegro” from Quartet for Brass No. 5 by Wilhelm Ramsoe, Brass Miami Quartet

Thanks for listening! AND helping me to COUNT MY BLESSINGS!

c. 2024 David William Brubeck. All Rights Reserved.

Album IV Brass Quartets and Octets for brass.

As a classical chamber musician, I was largely unprepared to enter the world of concertos-rare enough for a bass trombonists in the first place! I was blessed to have exceptionally sensitive conductors who were open to suggestions and communicated well with me. I was also blessed to perform with fellow musicians, many former or current students, who might accept a turn of phrase or concept from me.

Six Arias for Bass Trombone and Orchestra, by Thomas Sleeper, as performed by soloist David Brubeck and the FAUSO under the direction of Dr.Laura Joella. AUDIO:

I was the lucky one!

Others have reported experiences of just showing up and reading through the concerto in rehearsal with few opportunities for the types of interactions that chamber music often affords. With 50-100 people waiting, there is simply very little time to invite discussion on nuance or phrasing.

Bass Trombone Concerto No. 2, by Thomas Sleeper, world premiere by soloist David Brubeck and the FAUSO under the direction of Dr. Laura Joella. AUDIO:

My suggestion? Rehearse with a fine pianist and a piano reduction. Get all the exploration worked through on your own and later with the pianist, finding the give and take of phrases, crests of dynamics, welling of emotions and strata of musical importance. Then pray for a sensitive conductor!

Bass Trombone Concerto, by Elizabeth Raum, as performed by soloist David Brubeck and the Miami Symphonic Band under the direction of Robert Longfield. USA premiere & world premiere of concerto with wind ensemble accompaniment. AUDIO:

Elizabeth Raum Concerto Trimmed (1)

As you can hear, my prayers were answered. WHAT A TREMENDOUS privilege to be the soloist to whom a concerto was dedicated by my beautiful friend and long time colleague, Tom Sleeper, alongside the FAUSO and conductor Dr. Laura Joella. We love you, Thomas, and think of you often. Thanks for all of your beautiful humanity-and some of it was audible!

“Canticles” by Johann de Meij for Bass Trombone and wind Ensemble as performed by soloist David Brubeck with the MDC Wind Ensemble under the direction of Brian Neal. VIDEO:

Bass voices are fragile, and problematic for the concerto, but skilled composers allow the mellow sounds to soar and find niches of resonance for the bass voice to inhabit with alacrities both great and small.

Soloist plus orchestra! The concerto was the FIRST significant form of ensemble instrumental concert music, and strikes a perfect blend between recognizing of the outstanding contributions of the individual AND the society.

It is still somewhat difficult to find bass trombone concertos, especially live! This is what I would have been looking to listen to when I was a boy…Album III Concertos!

__________________________________BONUS_________________BELOW_______________!!______

FROM VIDEO:

1. Ipuwer Papyrus , IP-“There is blood everywhere…Lo the river is blood.”/mirrored in Exodus 7:20-21
2. IP-“One thirsts for water.”/also recorded in Exodus 7:24
3. IP-“Lo, trees are felled, branches stripped.”/reflects Exodus 9:24
4. IP-“Lo, grain is lacking on all sides.”/ like Exodus 9:31
5. IP-“Birds find neither fruits nor herbs.”/similar to Exodus 10:15
6. IP-“Groaning is throughout the land, mingled with laments.”/ sounds like Exodus 12:30
7. IP-“Lo, many dead are buried in the river, the stream is the grave, the tomb became a stream, and he who puts his brother in the ground is everywhere.”/ is reflected in Numbers 33:4
8. IP-“All is ruin!”/ seems related to Exodus 10:7
9. IP-“The land is without light.”/ Could this be Exodus 10:22-23.
10. IP-“Gold and Lapis lazuli, silver and malachite, carnelian and bronze…are fastened on the neck of female slaves.”/seem to correlate with Exodus 12:35-36

PFIZER ADMITS MRNA JABS CONTAIN ‘NANOBOTS’ THAT PERMANENTLY ALTERS DNA

GERMAN GOV’T ADMITS THERE WAS NO PANDEMIC – IT WAS A LIE TO BEGIN THE DEATH JAB