journey to your heart piano

Journey to Your Heart

Journey to Your Heart is the opening theme song for the English dub of the twenty-fourth season , Pokémon Master Journeys: The Series . It was used from To Train, or Not to Train! to Showdown at the Gates of Warp! . The opening animation is composed of clips from the third version of the Pokémon Journeys: The Series Japanese opening, One, Two, Three , and various Pokémon Journeys: The Series episodes, while the ending animation is composed of clips from the third version of the Pokémon Journeys: The Series Japanese opening, One, Two, Three and the second version of the first Pokémon Journeys: The Series Japanese ending, Pokémon Shiritori .

The song was released digitally on iTunes , Google Play , Amazon , Spotify , Apple Music , Amazon Music , YouTube , YouTube Music , Google Play Music , Pandora , Napster , Deezer , and Tidal on September 7, 2021.

• 2.2 Pokémon
• 3 Opening animation spoilers
• 5 In other languages
• 6 External links

Take me on a journey Please choose me (Yeah!) We could be the best team of all time We will do everything together Learning, training never stopping Go, go, go!! Anywhere you're goin' so am I Take me on a journey to your heart The journey to your heart Pokémon!

• Pikachu ( Ash's )
• Meowth ( Team Rocket )
• Wobbuffet ( Jessie's )
• Cinderace ( Goh's )
• Dragonite ( Ash's )
• Lucario ( Ash's )
• Farfetch'd ( Ash's ; Galarian Form )
• Dracovish ( Ash's ; image)
• Greedent ( Goh's )
• Binacle ( Goh's )
• Sobble ( Goh's )
• Flygon ( Goh's )
• Aerodactyl ( Goh's )
• Arctozolt ( Goh's ; image)
• Eevee ( Chloe's )
• Rotom ( Professor Cerise 's; Rotom Phone ; ×2)
• Charizard ( Leon's )
• Vaporeon ( Eevee Evolution Lab 's)
• Jolteon ( Eevee Evolution Lab 's)
• Flareon ( Eevee Evolution Lab 's)
• Espeon ( Eevee Evolution Lab 's)
• Umbreon ( Eevee Evolution Lab 's)
• Leafeon ( Eevee Evolution Lab 's)
• Glaceon ( Eevee Evolution Lab 's)
• Sylveon ( Eevee Evolution Lab 's)
• Butterfree (×2)
• Bounsweet (×2)
• Krabby (×3)
• Shellos ( East Sea )
• Gastrodon ( East Sea )
• Ponyta ( Galarian Form )
• Hoopa ( Confined Forme )

Opening animation spoilers

• Ash catches a Dracovish and Goh catches an Arctozolt .
• Iris and Gary make reappearances.
• This is the first English theme since Unbeatable to have scenes from the Japanese opening counterpart appear during the credits, as well as the first time the closing credits had animation from both the Japanese opening and ending.
• This is the only English Pokémon Journeys: The Series opening theme to not receive a full version.
• The opening credits erroneously credit Shuhei Yasuda as "Series Construction" instead of "Character Design".
• The closed captions originally had the line "Learning, training never stopping" as "Learning, training never stop me". This was fixed beginning in Trials of a Budding Master! .

In other languages

External links.

• On digital platforms
• English opening themes

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Journey to Your Heart

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• 2.2 Pokémon

♪ Take me on a journey

Please choose me We could be the best team of all time We'll do everything together Learning, training, never stopping

(GO, GO, GO!)

Anywhere you're going, so am I Take me on a journey to your heart

The journey to your heart

Po-ké-mon! ♪

Appearances [ ]

• Ash Ketchum

Pokémon [ ]

• Ash's Pikachu
• Ash's Dragonite
• Ash's Lucario
• Ash's Farfetch'd
• Goh's Cinderace
• Goh's Greedent
• Goh's Binacle
• Goh's Sobble
• Goh's Flygon
• Goh's Aerodactyl
• Chloe's Eevee
• Leon's Charizard
• Lugia (Journeys)
• Jessie's Wobbuffet
• Team Rocket's Meowth
• Various Pokémon on the Artwork
• It contains scenes from One, Two, Three (third variant), To Train, or Not to Train! , A Pinch of This, a Pinch of That! , A Rollicking Roll… / Eyes on the Goal! , and When a House is Not a Home! .
• However, it is cut between " Thrash of the Titans! " and " Sleuths for Truth! ".
• Leon is heavily featured in the opening, yet he isn't a major physical presence in the season.
• 2 Legendary Pokémon
• 3 Ash Ketchum

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Journey To Your Heart (Guided Piano Meditation)

by Robin Tucker

It began with the piano. I played music that seemed to rush forth from my heart like water to the ocean shore. I them decided that words would increase the healing quality of this meditation, so I translated the piano into english. Enjoy!

Meet your Teacher

Robin Tucker

Boston, MA, USA

Robin Tucker is an aspiring pop star with a love of meditation. His music has appeared on five Amazon bestseller charts and garnered over 100,000 streams on Spotify.

Recent Reviews

March 25, 2022

Just a lovely as the other voice led guidance but also the piano is too loud again. You have a beautiful voice… Thank you for sharing! 😊🙏🏻

February 21, 2021

Thank you that was lovely

February 14, 2021

Very beautiful and calming. Thank you Robin. Helped my grandson to relax. I needed it! ❤️🙏❤️

December 7, 2020

Lovely, soothing voice, sweet! Very nice. ✨🙏🏽🌸💜☯️✨

November 9, 2020

Amazing, Robin. Now u know that made a cry. Book marked.

November 7, 2020

Simply serenity, thank you

November 5, 2020

Perfect ... So Beautiful ❤ Thank you

November 4, 2020

Loved this Robin, thank you and good night🌙⭐️

September 17, 2020

Beautiful Robin. You are so talented. Some more like this please. I joined your live event last night Robin for the first time and it was moving. Stay safe🙏🙏

September 9, 2020

Your music is beautiful. So glad you went Live today so that I found you! You are going to go far, young man. 💖

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Journey to Your Heart (Theme from "Pokémon Master Journeys")

Description:

Journey to your Heart

07/28/2021 My Piano Music

A beautiful song, a journey to your heart.

A song with a very simple theme that turns into a moving improvisation.

The piece challenges the player, but it should also encourage you to take a few paths of your own.

The key of C major or A minor creates the conditions for this, you still know the chords:

1st C major 2nd D minor 3rd E minor 4th F major 5th G major 6th A minor 7th B minor 7-5

NOTES* / MIDI / MP3 - FOR MEMBERS ONLY

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Arranged and performed by Dietmar Steinhauer - Published by Inner Light Music ©2021

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Play Heart and Soul on Piano—Beginner to Pro

Intermediate

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If there were a top ten list of piano songs that everyone seems to know how to play, the #1 song would almost certainly be Hoagy Carmichael’s “Heart and Soul.” For some, however, that might only involve plunking out the melody with a single finger. But what would it look like to play “Heart and Soul” for real? Well, in today’s Quick Tip, Play Heart and Soul on Piano—Beginner to Pro , Jonny May shows you how to play this beloved jazz standard for all playing levels. You’ll learn:

Heart and Soul: Classic Recordings

Heart and soul: tv and film appearances, heart and soul: recordings by legendary jazz pianists.

• #1 Beginner
• #2 Late Beginner
• #3 Early Intermediate
• #4 Late Intermediate
• #5 Advanced

Whether you’re interested in learning “Heart and Soul” for the first time or wanting to perform it professionally, you’ll find everything you need in this piano tutorial.

Heart and Soul: Song Facts

“Heart and Soul” is most widely known as a piano duet that many learned during childhood. Despite its popular and contagious melody, some folks don’t know “Heart and Soul” by its proper name. Moreover, they may know even less about its composer. In this section, we’ll cover interesting facts and historical background about this popular tune. [Skip to piano lesson]

“Heart and Soul” was written in 1938 by composer Hoagy Carmichael with lyrics by Frank Loesser. Other popular jazz standards by Carmichael include “Stardust,” “Georgia On My Mind,” “The Nearness of You” and “Skylark.” Loesser, also a composer, is best known for his musical Guys and Dolls  and his Academy Award winning song, “Baby, It’s Cold Outside.”

“Heart and Soul” was written for Paramount Pictures and was first recorded by bandleader Larry Clinton with vocalist Bea Wain. The tune appeared in the short film A Song Is Born  and became a #1 hit in 1939. “Heart and Soul” has remained a popular song in American music and culture, with over 100 subsequent recordings and multiple appearances in television and film.

Heart and Soul Chords

The chord progression for the first section of “Heart and Soul” features a I–vi–IV–V chord progression that is sometimes referred to as “Heart and Soul chords.” For example, in C major, this progression is played C→Am→F→G. Other names for this common progression include “ice cream changes,” “the 50s progression” and “the doo wop progression.” The progression appears in countless tunes from the 50s and 60s, including:

• “Earth Angel” – The Penguins (1954)
• “Unchained Melody” – The Righteous Brothers 1955
• “Why Do Fools Fall In Love” – Frankie Lymon & The Teenagers (1956)
• “The Magic Moment” – The Drifters (1960)
• “Stand By Me” – Ben E. King (1961)
• “Twistin’ the Night Away” – Sam Cooke (1962)

“Heart and Soul chords” have remained a popular songwriting device in subsequent decades too, forming the basis for hit songs from virtually every era, including:

• “Crocodile Rock” – Elton John (1972)
• “We Go Together” – John Travolta and Olivia Newton-John (1972)
• “Every Breath You Take” – The Police (1983)
• “Nothing’s Gonna Stop Us Now” – Starship (1987)
• “I Will Always Love You” – Whitney Houston (1992)
• “I’ll Make Love to You” – Boyz II Men (1994)
• “Hero” – Enrique Iglesias (2001)
• “Baby” – Justin Bieber (2010)
• “Girl On Fire” – Alicia Keys (2011)
• “Me!”   – Taylor Swift (2019)

In this section, we’ll check out popular recordings of “Heart and Soul,” including Bea Wain’s the 1938 original version with the Larry Clinton Orchestra. In 1952, a version of “Heart and Soul” by The Four Aces peaked at #11. The following decade, The Cleftones’ version of “Heart and Soul” became their biggest hit, peaking at #18 in 1961.

Bea Wain & Larry Clinton

“Heart and Soul” (1938)

The four aces.

“Heart and Soul” (1952)

The cleftones.

“Heart and Soul” (1961)

The popularity of “Heart and Soul” has almost certainly been fueled by its frequently appearances in television and film. The Cleftones hit version was featured in the 1973 classic film American Graffiti. A decade later, the Cleftones version appeared again in the 1985 comedy Mischief.

Beyond its appearance on movie soundtracks, “Heart and Soul” has also often been included in TV and film as part of the on-camera story performed by the actual characters. Most memorably, the 1998 film Big features Tom Hanks and Robert Loggia performing “Heart and Soul” with their feet on a giant floor piano in a toy store. More recently, the Netflix series Lucifer features episodes in the first season (2106) and final season (2021) in which Lauren German and Tom Ellis play “Heart and Soul” as a piano duet. In fact, similar scenes have appeared in The Competition (1980) and Midnight Madness (1980). Additionally, Frasier fans will recall when characters Niles and Daphne sang “Heart and Soul” while chopping vegetables in season 5 (1998).

Season 1, Episode 9 (2016)

Season 5, Episode 20 (1998)

As we have seen, “Heart and Soul” has many frequent associations with comedy and childhood. Therefore, you might be surprised to learn that legendary jazz pianists have also recorded the tune. Here are three versions we think you should check out. First, a solo recording by Hank Jones. Next, a duo recording by Cedar Walton and Ron Carter. Finally, a trio recording by Bud Powell. Other notable trio recordings are those by Dave Brubeck and Beegie Adair .

“Heart and Soul” (1956)

Ron carter & cedar walton.

“Heart and Soul” (1982)

Heart and Soul on Piano in 5 Levels

Now that you have learned about the origins and pervasiveness of “Heart and Soul” in popular culture, it’s time to play it yourself! In this section, we’ll cover important piano arranging techniques for all playing levels so that you can play a version of “Heart and Soul” that’s perfect for you. Due to publishers’ restrictions, the examples in this blog contain an altered melody that differs from Hoagy Carmichael’s original melody . However, Jonny’s complete lesson sheet PDF as featured in today’s Quick Tip video is available from our partners at musicnotes.com .

#1 Beginner Piano

The widespread appeal for “Heart and Soul” by piano enthusiasts everywhere is largely due to its simplicity. In fact, it can be played with just 4 chords. In addition, the melody draws on a single major scale. Furthermore, the melody makes almost exclusive use of stepwise motion , which is the simplest type of melodic movement for beginners to learn. That means that successive melody notes are almost always just one key to the left or right.

Keys to Playing At This Level

• Know the Major Scale
• Know Major and Minor Chords
• Know How to Play Swung 8th Notes

Since today’s lesson is in the key of C major, you can play the melody using all white keys. The notes for a C major scale are C–D–E–F–G–A–B–C. (Note: Jonny’s arrangement contains an F♯ in measure 8. This exception is an example of a chromatic passing tone .)

Next, let’s look at the four chords you’ll need to know to play “Heart and Soul” as a beginner. The most basic type of chords in music are 3-note chords called triads . Triads are formed by skipping one scale tone between each chord tone. For example: C … skip D … E … skip F … G. Therefore, the C chord that we play in C major contains the notes C–E–G. In this chord, the note C is considered the root of the chord. We’ll follow the same process build triads with roots on the notes A, F and G.

Using the process above, the four chords you’ll construct are C major (C–E–G), A minor (A–C–E), F major (F–A–C) and G major (G–B–D). The following diagram allows you to visualize these triads, which you’ll use in your left hand.

Beginner Accompaniment Pattern

If you are an absolute beginner, you can simply block these triads in half notes while playing the melody in your right hand. However, the most common accompaniment pattern is based on a swung 8th-note groove. To apply this accompaniment, play the root of each chord twice as 8th notes. Then, play the upper two notes of the chord twice also, on the subsequent beat. The entire accompaniment pattern fills two measures in 4/4 time. Once you’re comfortable with the left-hand groove, try adding the melody. It will sound something like this:

Beginner Piano Skills for Heart and Soul

If you’re a beginner and you want to be able to play triads in all 12 keys, check out our Quick Tip on Diatonic Chords—The Complete Guide .

#2 Late Beginner Piano

Perhaps you want to play “Heart and Soul,” but differently than the way everybody else does. In this section, you’ll learn how to use play the tune with a modern, relaxing vibe using contemporary chords and a syncopated “straight 8th” groove.

• Know “Add 2” and “Add 4” Chords
• Play Straight 8th Notes
• Know Syncopation

One of the easiest ways to get a beautiful contemporary pop piano sound is to simply add one additional note to ordinary major and minor triads. In some cases, we’ll add the scale tone that occurs between the root and the 3rd of the chord—we call these add 2 chords . Otherwise, we can add the scale tone that occurs between the 3rd and the 5th of the chord—we call these add 4 chords . These 4-note sonorities, which are different from seventh chords , are sometimes described as “triad plus one” chords or shapes.

Let’s examine how we can use add 2 and add 4 chords on “Heart and Soul.” For the 1-chord and the 4-chord, we’ll use the add 2  shape. Then, on the 5-chord and the 6-chord, we’ll use the add 4 shape. The following diagram illustrates how to form each “triad plus one” shape in closed position.

Late Beginner Accompaniment Pattern

To get the contemporary pop feel, we’ll use straight 8th notes instead of swung 8th notes. In addition, we’ll add syncopated rhythms that are characteristic of pop music. This includes shifting some of the melody notes to “off beats.” To do this, we’ll frame the melody and accompaniment around the following standard pop rhythm:

You may notice that the example above is written in cut time . Cut times is actually equivalent to a time signature of 2/2. When notated in this manner, the half note gets the count . This means we feel the groove in two beats per measure, rather than in four. If you were to count it in four, then you’d have to double the tempo to 148 BPM. However, trying to play this rhythm with to a metronome at 148 will feel more frantic that relaxed.

If you are unfamiliar with cut time, you might be wondering, “What’s the point of cut time notation?” The main point of cut time is that it uses less subdivisions in the notation, which is supposed to make it easier to read and count. However, for some students, this is not necessarily true. If that includes you, then you may want to think of this rhythm in 2/4 time, expressed with 16th notes:

Both examples actually sound the same. It’s just a matter of how the rhythms appear on paper. Check out how it sounds when we apply this rhythm to a melody similar to “Heart and Soul” with the triad plus one chords.

Late Beginner Piano Skills for Heart and Soul

If you like the sound of the arrangement above, then you’ll love our course on Pop Piano Accompaniment: The One Chord Wonder .

#3 Early Intermediate Piano

If you are an intermediate piano student, then you may want to play a jazzier version of “Heart and Soul.” In this section, you’ll learn how to apply jazz harmony to this popular tune.

• Know 7th Chords
• Know Chord Extensions
• Know Chord Alterations

Jazz harmony is based on seventh chords rather than triads. Therefore, we’ll be using 4-note dominant 7th chords in this section. In addition, we’ll use a slightly different chord progression that the typical “ice cream changes” that are usually played on “Heart and Soul.” Instead, we’ll be using The Turnaround Progression . The only difference, however, is that turnaround progression uses a 2-chord where we were previously playing the 4-chord. This is an example of chord substitution .

Here’s an illustration of the turnaround progression with dominant 7th chords:

You can learn how to construct and apply the five most common seventh chords in the following courses:

• Major 7th Chord Theory and Application
• Minor 7th Chord Theory and Application
• Dominant 7th Chord Theory and Application
• Diminished & Half Dim 7th Chord Exercises

Early Intermediate Accompaniment Pattern

At the early intermediate level, we’ll play quarter notes and half notes in our left hand accompaniment using chord shells in the style of Bud Powell. These are 2-note voicings that are either Root+3rd or Root+7th . The following example demonstrates how a tune like “Heart and Soul” sounds in this style.

Early Intermediate Piano Skills for Heart and Soul

Did you notice that the chord symbols in the example above are not all dominant 7th chords? For example, you may be wondering about the C13 and A9. These chords are based on dominant 7th chords; however, they include additional notes that give them a bright, jazzy color. We called these additional notes chord extensions . There are three potential chord extensions that we can add to seventh chords—the 9th, 11th and 13th. These numbers represent compound intervals larger than one octave. However, you can also simply think of them as the 2nd, 4th and 6th above the root. For example, the chord symbol C13 represents a C7 chord (C–E–G–B♭) with the additional note A. Depending on how you think of it, the note A is either the 6th or the 13th above C. To learn more about jazz piano chords with extensions, visit our course on Piano Chord Extensions .

There is one other chord symbol in the example above that might have caught you by surprise. Did you notice the A7(♯9) in measure one? This is an example of a chord alteration . The easiest way to understand chord alterations is that they are essentially a chord extension with and accidental. For example, the 9th of A7 is the note B. However, the chord symbol calls for the ♯9, which is technically B♯. However, enharmonically speaking, B♯ is the same note as C♮, which happens to be the melody note in the A7 chord. In total, there are four possible chord extensions—♭9, ♯9, ♯11 and ♭13. To learn how to play rich, complex jazz chords with alterations, check out our course on Piano Chord Alterations .

#4 Late Intermediate Piano

If you are a more experienced intermediate player, then you’ll want to add some additional jazz piano techniques to the jazzy chords from the previous section. We’ve got you covered in this section.

• Know Passing Chords
• Know Walking Bass Lines
• Know Ornamentation

One of the most exciting topics in jazz harmony is that of reharmonization . Reharmonization includes both chord substitutions and passing chords . This means that we will either change some of the chords in a tune, or insert additional chords. Let’s check out how this applies to a tune like “Heart and Soul.”

Late Intermediate Piano Skills for Heart and Soul

Wow, that sounds pretty sweet! Let’s look closely at the first measure. Here, we see that two chords have been added—B♭9 and E♭7. These are actually both passing chords and chord substitutions . Passing chords create more frequent chord changes in a tune. Moreover, however, they add exciting momentum toward a target chord. For example, the tension created by B♭9 resolves to the A7(♯9).

But where does the B♭9 come from? This is actually a chord substitution for E7, the V7 chord in the key of A. In fact, we can target just about any chord by preceding it with its V7 chord. However, in this example, the E7 passing chord doesn’t appear because we have used a technique called tritone substitution to replace E7 with the dominant 7th chord that is a tritone away—B♭7. This works because dominant 7th chords that are a tritone apart contain the same guide tones (the 3rd and 7th). For example, the 3rd and 7th of E7 are the notes G♯ and D. Similarly, the 3rd and 7th of B♭7 are the notes D and A♭…. the exact same pitches!  This means that B♭7 can resolve to A major or A minor (or A7 in this case) with the exact same voice leading that E7 would use.

For a deep dive on passing chords and chord substitutions, check out our courses on Passing Chords & Reharmonization (Int , Adv)

Late Intermediate Accompaniment Pattern

The jazz swing accompaniment pattern of choice for late intermediate players is the walking bass line . This technique outlines the harmony with continuous quarter-note movement and occasional 8th-notes to heighten the swing feel. We call these 8th notes  ghost notes  because they are played more softly.

There are multiple ways to construct a walking bass line, and approaches vary depending on how frequently the chords change. However, let’s briefly examine how the walking bass line is constructed in the example above. To begin with, you’ll need to disregard the passing chords for now. Remember,  the essential chord movement is the turnaround progression: C7→A7→D7→G7. If we were to play a quarter note bass line with only the roots of the chords, we would have:

||:  C    C    A    A   |  D    D    G    G   :||

This isn’t quite a typical walking bass line just yet, but it is an important step because it serves as an outline for any number of possible bass line variations. Next, we’ll add movement by using alternative notes on beats two and four. The most common techniques are to use the 5th of the chord or to target the following root from a ½ step below or above. In our example, we are targeting the root of each chord from a ½ above:

||:  C    B♭    A    E♭   |  D    A♭    G    D♭   :||

The last step is to add the ghost notes to make the bass line swing. If you look closely at the notation for this playing level, you’ll see that each ghost note is simply a quick return to the root of the previous chord before landing on the next chord.

For a deep dive on jazz swing bass lines, check out our full-length courses on Jazz Walking Bass Lines (Int , Adv) .

Late Intermediate Ornamentation

Another musical device that is included in our late intermediate example is ornamentation . Ornamentation includes a number of jazz piano techniques such the turns in measures two and four, and the slide in measure four. Check out our courses on Breaking Down a Jazz Solo (Int , Adv) for a deep dive on jazz piano embellishments including turns, rolls, slides, tremolos, anticipations, neighbor notes, passing tones, enclosures and more!

#5 Advanced Piano

If you are an advanced pianist, then this section is for you. This section covers essential jazz piano techniques for performing “Heart and Soul” with a classic jazz stride feel.

• Know Chord Clusters
• Know the Stride Left Hand

The stride piano style has an “old time” sound that draws on more frequent use of diatonic harmony . For example, instead of the turnaround progression with all dominant 7th chords like the previous two sections, we actually have less chords with accidentals in this style. For example, instead of C7, we’ll use C6/9. Similarly, instead of A7, we’ll use Am11. In addition, we’ll bring back the 4-chord and play it as F6. However, you’ll notice that each chord is played with chord clusters —chord tones that are a step apart. The following example demonstrates these advanced piano techniques performed slowly.

Advanced Piano Skills for Heart and Soul

Notice that the runs are inserted where there are gaps in the melody. This virtuosic sound was popularized by Art Tatum . Jonny covers several approaches to piano runs in our course on Summertime Slow Blues 2, Lesson 6 .

Advanced Accompaniment Pattern

The stride piano technique used in the example above is often described as “root-to-chord” because it primarily uses roots on the strong beats (one and three) and then jumps to a chord voicing on the weak beats (two and four). A more advanced stride technique is to play “lazy 10ths” in which the root is paired with the 10th (the same note as the 3rd, but an octave higher). However, instead of playing the root and 10th together, “lazy 10ths” roll the interval by placing the root on the “and of 4” in the preceding measure. For example, the excerpt above opens with a lazy 10th (the notes C to E) in which the root is place before beat 1. This technique is also applied to the G7 in measure two, the C6 chord in measure three and the D7 chord in measure four.

To learn more stride piano techniques, check out our full-length courses on the tune After You’ve Gone (Int , Adv) .

Congratulations, you’ve completed today’s lesson on  Play Heart and Soul on Piano—Beginner to Pro. As a result, you’ve likely got a few new tricks up your sleeve.

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Michael LaDisa

Michael LaDisa graduated from the University of North Texas with a major in Music Theory & Composition. He lives in Chicago where he operates a private teaching studio and performs regularly as a solo pianist. His educational work with students has been featured on WGN-TV Evening News, Fox 32 Good Day,...

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UFCW gives strike notice to Providence Sacred Heart Medical Center

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A message to our patients and visitors

Dear patients and visitors,  

The United Food and Commercial Workers 3000 union, which represents 500 of our caregivers, will hold a strike at Providence Sacred Heart Medical Center from April 22 – 30. 

We respect our caregivers’ right to strike. You can still expect the same high-quality care we have always provided. We have hired qualified, experienced professionals to help us maintain daily operations, which is standard practice for hospitals during a strike.  

Providence did bargain in good faith toward a mutually acceptable contract agreement, and we look forward to returning to the bargaining table at the conclusion of the strike.  

If there is anything we can do to make you more comfortable, or if you have questions or concerns, please let us know.  

If you would like additional information about the strike, please see our website using the QR code. 

Thank you for your understanding, and for trusting us with your care.  

Sincerely, 

Susan Stacey  Chief Executive   Providence Sacred Heart Medical Center 

SPOKANE, Wash. — On April 12, United Food and Commercial Workers 3000, the union representing about 500 of Providence Sacred Heart Medical Center’s caregivers, issued a strike notice for April 22 – 30. We respect our caregivers’ right to take this action.   

This strike notice comes after months of negotiations between PSHMC and UFCW3000, where the hospital bargaining team proposed significant wage increases and contract enhancements – including substantial wage increases for caregivers in the first three months of the contract. Unfortunately, the union has not accepted our offer and has chosen to strike instead of continuing contract negotiations.     

The hospital is well prepared for the strike and assures patients and the community that we will remain open with all services continuing. Our community can expect to receive the safe, high-quality care they’ve come to know Providence Sacred Heart Medical Center for. The hospital will maintain its daily operations and has contracted replacement workers for members of the bargaining unit who choose to strike.     

We will post additional updates next week as the strike gets closer.    

About the Author The Providence News Team brings you the updates to keep you informed about what's happening across the organizational ecosystem. From partnerships to new doctor announcements, we are committed to keeping you informed. More Content by Providence News Team

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Golden Slumber: 4 Hour Sleep Music with Gentle Piano �‪�‬ Fast Wave Sleep

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Listen on Apple Podcasts Requires subscription and macOS 11.4 or higher

Why do we love the sound of rain tapping on the window or the soft hum of the ocean waves at night? Imagine a podcast that brings the magic of these sounds right into your bedroom, making every night a journey into deep, peaceful sleep. Isn't it wonderful how music can calm our minds and whisk us away to a land of dreams? This podcast, beloved by millions, is like a soft blanket woven from melodies that comfort and soothe. Have you ever listened to the gentle playing of piano keys and felt your worries melt away? Each episode of this podcast is a special blend of music and nature sounds, designed to guide you gently into slumber. What if you could travel to a peaceful forest or a quiet beach without leaving your bed? This podcast makes it possible. Have you ever wondered what it feels like to drift into a dreamland where every stress just melts away? Imagine a podcast so magical that it transports you to a world of peace and stillness the moment you press play. This isn't just any playlist; it's a carefully woven tapestry of sounds that millions have come to adore, seeking the ultimate escape into deep, restorative sleep. Why do so many people find solace in these harmonies? Because each track is a key to a realm of tranquility, where the only thing that matters is your comfort and relaxation. From the soft melodies of a piano that whisper lullabies to the rhythmic waves of gentle ocean sounds, this collection is a sanctuary for the weary, a haven where one can rejuvenate the mind, body, and soul. How does it manage to capture the essence of serenity so perfectly? By blending a variety of soothing sounds, from nature's own symphony to the calming hum of meditation music, each piece is a step on a path leading you further away from the day's turmoil and closer to a night of peaceful slumber. What makes this journey through sound so special? It's the thoughtfulness in the selection of each note, the care in ensuring that every melody resonates with the heart of the listener, offering not just sleep, but a deeper connection to the rhythms of calmness and peace. Can you imagine a better way to end your day? With this podcast, you don't have to dream of a perfect night's sleep; it's here, waiting at the touch of a button, ready to guide you into the arms of Morpheus without a care in the world. It's not just music; it's a bridge to the tranquil sleep every soul craves, making every night a journey to rejuvenation and every morning a beautiful new beginning. Zen meditation yoga sleep music wind chimes white noise tranquil ocean waves thunderstorm subliminal stress relief free spa soothing lullabies bedtime routine therapy stories podcast healing with nature sounds piano for kids insomnia dogs babies anxiety depression adults delta waves deep calm 8 hours 3 hours inducing hypnosis apnea ambient aid serene ambiance restful REM relaxing rainstorm techniques rain quiet nightmares night time native American naptime mindfulness mental calmness melodic melatonin boosters live listen isochronic tones relief methods hz hypnotic guided good going to gentle whispers guidance easy listening dreamy landscapes dream-inducing dog delta sounds songs fall asleep fast 429 deep meditation relaxation comforting classical cat calming anxiety remedies binaural beats best bedtime ASMR baby lullaby ambient sounds noise tai chi dream music singing bowls pink noise sea sounds forest ambiance lightning storm whispered tension release wellness harmonious fairy tales evening ritual rejuvenation audio therapeutic recovery acoustic for teenagers sleeplessness cats infants worry sorrow elders theta rhythms restorative 6 hours 2 hours sedative trance snoring support refreshing deep REM unwinding drizzle hush beach bad dreams dusk siesta rhythmic frequency mesmerizing narrative soft mellow vistas fantasy alpha melodies tunes drift off 528Hz serenity orchestral kitten peace stress slumber whispers infant lull bedtime rhymes solace nature melodies quietude

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THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY

In the 18 months after Taylor Swift released Midnights, it often felt as though the universe had fully opened up to her. The Eras Tour was breaking records and blowing past the billion-dollar mark; its attendant concert film became the highest-grossing of all time. She generated interest and commerce and headlines everywhere she stepped foot, from tour stops to the tunnels of NFL stadiums. In 2023, she was named both TIME magazine’s Person of the Year and—just as iconic, tbh—Apple Music’s Artist of the Year. But do songs about that level of success speak to you? As the news broke that her highly private six-year relationship to Joe Alwyn had ended, Swifties started Swiftie-ing, quickly recirculating a clip on social media of Swift a few weeks earlier, onstage during an early Eras show, in tears as she sang “champagne problems”—a song she and Alwyn had written together. It was a reminder that, despite the superhero-like aura she now radiates, Swift, at her peak, still hurts like the rest of us. What sets her apart is her ability to sublimate that pain into pop. When she announced her 11th studio album in early 2024—while accepting another Grammy, as one does—we probably shouldn’t have been surprised. “I needed to make it,” she’d say of THE TORTURED POETS DEPARTMENT a few weeks later, to a crowd of—[rubs eyes]—96,000 in Melbourne, Australia. “I’ve never had an album where I’ve needed songwriting more than I needed it on TORTURED POETS.” Working again with trusted collaborators Jack Antonoff and Aaron Dessner, she returns to the soft, comfortable, bed-like sonics of Midnights. But the stakes feel noticeably higher here: This isn’t so much a breakup album as it is a deep-sea exploration of everything Swift has been feeling, a plunge through emotional debris. On “But Daddy I Love Him”—over strings and guitar that faintly recall her country roots—she lashes out at the crush of scrutiny and expectation she’s been subject to from the start. Naturally, catharsis comes after the chorus: “I’ll tell you something right now,” she sings. “I’d rather burn my whole life down than listen to one more second of all this bitching and moaning.” On “Florida!!!” she and Florence + the Machine team up for a pulpy escape fantasy wherein they Thelma and Louise their way down to the Sunshine State in hopes of starting over with new lives and identities: “Love left me like this,” they sing. “And I don’t want to exist.” At turns hilarious and heartbreaking, TTPD is a study in extremes, Swift leaning into heightened emotions with heightened, hyperbolic, ALL-CAPS language and imagery—how we think when we’re drunk on love or flattened by its sudden disappearance. Note the dark humor she weaves through the Post Malone-enriched opener “Fortnight” (“Your wife waters flowers/I wanna kill her”). Or the thrilling self-deprecation of “Down Bad,” a foray into science fiction wherein Swift likens the warmth of a relationship to being abducted by love-bombing extraterrestrials—only to be left “naked and alone, in a field in my same old town.” But this remains her most candid and unsparing work to date: As a listener, you frequently get the feeling that you’ve stumbled across emails she’d written but never sent, or into conversations you were never meant to hear. There’s a density and a specificity and a ferocity to her lyrical work here that makes 2012’s “All Too Well” feel sorta light by comparison. If you’re the kind of Swiftie who likes to live in the details, well, this one might be your Super Bowl. “You swore that you loved me, but where were the clues?” she asks on the devastating “So Long, London,” a high point. “I died on the altar waiting for the proof.” Alone at a piano on the haunting “loml,” she flips the script on someone who’d told her she was the love of their life, by telling them that they were the loss of hers: “I’ll still see it until I die.” The story, as you likely know, doesn’t end there. We get a glimpse of new beginnings in “The Alchemy” (“This happens once every few lifetimes/These chemicals hit me like white wine”) and something like triumph in the montage-ready synths of “I Can Do It With a Broken Heart,” when Swift, shattered on the floor, “as the crowd was chanting, ‘More!’,” still finds the strength to deliver: “’Cause I’m a real tough kid and I can handle my shit.” But we also get a sense of acceptance, of newfound perspective. On “Clara Bow”—named after a 1920s movie star who was able to survive the jump from silent film to sound—Swift reflects on the journey of a small-town girl made good, sung from the vantage of an industry obsessed with the next big thing. She zooms out and out and out until, in the album’s closing seconds, she’s singing about herself in the third person, in past tense, acknowledging that nothing is forever. “You look like Taylor Swift in this light, we’re loving it,” she sings. “You’ve got edge she never did/The future’s bright, dazzling.”

April 19, 2024 31 Songs, 2 hours, 2 minutes ℗ 2024 Taylor Swift

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Mansfield's Sarah Adkins' heart transplant journey leads to Cleveland Clinic wait list

A 2007 graduate of Mansfield Senior High School has been waiting about six months for a new heart since she joined the waiting list at Cleveland Clinic.

The woman and her family recently spoke about her life since having a left ventricular assist device surgically placed in her to help her heart pump faster, which the News Journal profiled in 2017 .

Meet your neighbor Sarah Adkins, a devout Christian who testifies to God’s power.

The 34-year-old mother turns 35 in June, but “once it’s past 25, you just stop counting,” she said with a laugh.

Family support means everything

Adkins' fiancé, Eric Vrabel, has stayed by her side the entire time.

“He’s my support animal, my security blanket,” Adkins said. “If it wasn’t for him, I would’ve quit. He’s my strength, along with my children.”

Her children — Zoey, Zane, Brently and Kimber — range in age from 9 to 12.

Vrabel had come back into Adkins' life shortly before her diagnosis of heart failure at age 27. “We dated briefly in high school, I came back in the picture in 2013,” Vrabel said.

He noted when Adkins got sick, she was laid up in bed. "I thought she had pneumonia or something. She couldn’t breathe."

Adkins' mother sees God in all of this.

“God brought Eric back into Sarah’s life because He knew he was going to be the perfect person that she could go through with this,” said Loretta Adkins. “It gives me chills just thinking about it, I feel like I’m going to cry. We are the sidekick to Eric.”

Her husband, Bernie Adkins, shared how they helped their daughter during the initial surgery in Columbus.

“When she was in the hospital the first time, we had to keep the kids. We wouldn’t have it any other way because that’s our daughter,” Bernie shared.

The wait for a new heart

Doctors need to ensure Adkins is the best candidate when a heart becomes available.

“I am going through doctor's appointments after doctor appointments, getting tested in every single possible way from the head to the toe to make sure everything else is healthy,” she said.

Her antibodies remain stubbornly high, though, which may delay her transplant.

“I’ve had pregnancies before, and a couple miscarriages, which causes your antibodies to go up really high. Placing a heart with me will be a lot more difficult. It could take a while,” Adkins said.

There is no average amount of time LVAD patients might learn that a heart is waiting for them. One friend was listed on the transplant list six months after receiving her LVAD.

“They listed her and 12 hours later she got the call that a heart was there. It’s really just by chance,” Adkins said.

A message of faith and awareness

Although she questioned God’s decision to permit her heart failure, Adkins has leaned deeper into her faith. She doesn’t ask "why" anymore; instead she asks “‘Why not me?"

"When I come out of this, my testimony is going to be, ‘look what God did.’ A walking miracle. I already am," Adkins said.

The effect of heart failure on her life has manifested in different ways. Her children have had genetic testing so Adkins knows what to look for if they start to show symptoms.

Already an organ donor before her diagnosis, Adkins continues to raise awareness and urges everyone to do their own research.

"The gift of life is just the best gift you can give anybody,” she said. "There’s so many people out there — not just me — there’s children dealing with this.”

Adkins wants every organ of hers to be used — eventually.

“If there's anything left that can be used, take it; I’m not taking it to heaven with me, so anybody can have it."

Correspondent Joe Di Lullo can be reached at muckrack.com/dilulloj or [email protected] .

New Minnesota music round-up: Abstract tango from the Charles Gorczynski Tango Quartet

Plus: The punchy Americana of Humbird and wild improvisation from three local music vets

New Minnesota music round-up is a bimonthly collection of new releases by Minnesota musicians or musicians with strong Minnesota connections. We focus on music that might otherwise fly beneath the radar, including — but not limited to — folk, blues, country, experimental and jazz.

Know any new Minnesota music that you want to share? Let us know here.

‘The Conservatory,’ Charles Gorczynski Tango Quartet

Released Oct. 29, 2023

Bandoneonist and composer Charles Gorczynski, along with his quartet, work in contemporary forms of tango — neuvo tango, like the exquisite and sometimes oblique music of Astor Piazzolla, but also avant-garde styles of composition that recall abstract European chamber music from the early part of the last century.

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Thanks to Gorczynski’s fluid concertina, his compositions here are always recognizable as tango, and he has an appropriately sensuous and sinuous taste for memorable melodic lines. The rest of his quartet sometimes sounds like they are succumbing to an absinthe-induced mania, with the piano pounding dense, nervous chords and the strings sailing around the melody, sometimes wailing, sometimes plunking and sometimes literally just scratching the strings.

The Addams Family television show and films had them dancing tangos; this is the music they would have selected.

‘Right On,’ Humbird

Released April 12, 2024

Singer and composer Siri Undlin, as Humbird , is a prolific creator of off-center folk songs, which in the past have included such surprising elements as Meredith Monk-style chanting, tuneless whistling and manipulated industrial noises, all in service of a rich, willowy voice and solid, confessional songwriting.

She also has a taste for the sorts of rattling drum kit and chunky Les Paul guitar sounds of Americana, and these come to the forefront on “Right On.” The results highlight her considerable strengths as a songwriter, pairing memorable lyrics (“I’m not crying but I wish I could / Heart snapped off like plywood” she sings on the title song) with lovely, arching melodies.

Undlin accompanies herself on guitar, which often brings a hint of menace to her songs: “Cornfields and Roadkill” recalls the relentless riff of The Status Quo’s “Pictures of Matchstick Men,” but threatening. Likewise, her songs sometimes spontaneously detonate into yawping clangorousness that adds a keen edge to the frequent prettiness of the songs. This is music intended to startle, not please or mollify.

‘Experimental Music at RESOURCE,’ George Cartwright, JT Bates and Noah Ophoven-Baldwin

Released April 9, 2024

“Experimental Music at RESOURCE” is how this collection of music is named on its cover, but on its Bandcamp page , the album is titled “George Cartwright, JT Bates, Noah OB live at Resource (2​.​23​.​23),” which I like even more. Once in a while, dedicated thrift shoppers would find old cassette tapes with titles like this on the cover. Bringing the cassettes home, they would be delighted or aghast to hear something really out there: children pretending to be radio announcers, an old recording of family members recalling their childhood home, or music so unexpected and atonal as to be astonishing.

This is the latter. The musicians, George Cartwright, JT Bates and Noah Ophoven-Baldwin are well-established and well-regarded (Bates even played on a Taylor Swift album). This collection is an improvised set organized by Ophoven-Baldwin and composer Luke Martin at RESOURCE , a little space next to the Open Eye theater in Minneapolis. The album comprises three improvisations, ranging from about seven to 29 minutes, and these are recordings that are largely free of such niceties as melody, rhythm, structure or, for that matter, anything recognizable in traditional composition.

Instead, there is a clattering of percussion, a very deep thrum and horn blasts. Sometimes these seem dimly aware of each other, sometimes they seem to have a conversation, like three alien animals screaming at each other in a stony field on some wasted planet. Once in a while, there will be the barest hint of a song, as though one of the beasts started humming and then thought better of it.

These are rough noises, and, because they are made by skilled musicians, there is great inventiveness and variety in them. It’s loud, chaotic and discordant, but, for the adventurous, a genuine journey.

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