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Presidents’ Message 2
February Workshop Review 6
October Workshop Review 8
Care and Feeding of Teachers 12
Upcoming Events 14
Newsletter of the Ontario Orff Chapter • Music For Children - Musique Pour Enfants • Volume 21 Issue 1
Winter 2015
How The Orff Instruments Came into Being by Carl Orff
Translated and Condensed by Margaret Murray
In the autumn of 1926 Orff was in-
troduced to two Swedish sisters who
worked with puppets and who had
heard, through a mutual friend, of
his experiments with percussion
improvisation with students at the
Guntherschule in Munich. They
visited the school and in turn invited
him to visit them in the Wagnerstras-
se in the Schwabing district of
Munich. There, in a large, tumble-
down studio they had built a theatre,
and everything - from the hand-
carved puppets, to the way the
scenery was arranged was absolutely
novel, full of imagination, and in its
way convincing. The only essential
thing lacking was suitable music, and
this they had not yet found. A
friend’s attempts at an improvised
accompaniment on a violin were
touching but somewhat helpless.
Now that the sisters had heard and
seen the percussion ensemble at the
Guntherschule they were filled with
new plans, and Orff felt that some
work wih them would produce
interesting results.
After an improvised performance of
a legend and a fairy tale, a long
discussion ensued in which Orff dis-
covered that the sisters had travelled
far. They had witnessed Chinese as
well as Japanese shadow plays, with
their unusual small orchestra, and
had several photographs to show.
They were also able to talk about
Gamelan orchestras, and felt that the
xylophone was particularly appropri-
ate for the puppet theatre. This re-
minded Orff of his earlier childhood
experiments when he enacted Mae-
terlinck’s “Death of Tintagiles”, and
of how a small Chinese drum was the
source of inspiration for the whole
scene. Orff finally left the studios
promising to come again, perhaps
next time with a small percussion
group from the school and the sisters
in turn promised him that through
their Oriental connections they
would try to procure for him a
Gamelan xylophone.
After some weeks, Orff received a
parcel. To his amazement it con-
tained a large African xylophone, a
marimba such as those he had seen
in collections but had never had the
opportunity to play, let along pos-
sess. The only clue to the sender
was a note inside: “Greetings from
Africa. Lycka till!” (Swedish for
“Good Luck!”). Orff’s attempts to
contact the Swedish sisters and thank
them proved fruitless. He heard
from the friend that had introduced
them that because of a severe illness
that had overcome the older sister,
they had returned to Sweden and
had left no forwarding address. He
never heard from them again.
Orff was fascinated by this new
world of sound and spent long hours
experimenting and improvising on his
new African xylophone, using various
types of beaters in all possible ways:
long quiet tremolos, using two beat-
ers in each hand, single and double
glissandi. All at once he had found
the instrument he needed for further
extension of his educational ideas and
for his dance orchestra. It would
supply those resonances that had
previously been missing, and upon it
melodies and ostinato of all kinds
could be built. As he looked back at
the earlier percussion experiments
they seemed like skeleton sketches
that would only now have some
meaning.
The xylophone is one of the oldest
melody instruments and was wide-
spread throughout Asia and Africa,
from whence it travelled to South
(Continued on page 3)
Greetings from the Ontario Orff Chapter! As I sit here to write this message to you, I am in a bit of shock! I never would have thought that when I began my music teaching journey that I would become Co-President of an organization.
I have been involved with the Ontario Chapter since 2006, when my mentor and mother, Anne Tipler, encouraged me to get involved. I started as a Member at Large and then moved on to Co-Vice President. Since 2006, the group of dedi-cated Orff Teachers that sit on the board of directors has held space for me to grow as a music teacher and as a leader. As a member of this organization, I have learned the importance of the work that we do. We provide music educa-tors space for professional development, a space for collaboration and a space to nurture relationships. Each time I see the board members at a meeting or a workshop, I leave with a renewed sense of positivity for what I do with my work as an Orff Specialist.
Why do I choose to continue my work with the Ontario Chapter? It is because of YOU. The members! Being part of something bigger than just my little Orff classroom in Mississauga is what drives me forward. I encourage YOU to
become more involved! How you might ask? Here are some suggestions:
SHOW UP! Please continue to attend workshops and connect with oth-
ers. Without YOUR support, our organization would not be the same.
SHARE! Share your success on the Facebook Page (Ontario Orff Chap-
ter) or Twitter @ontarioorff
SHINE! You are ready NOW to take on a leadership role in this organi-
zation. Contact me at trichick2@hotmail.com to find out how.
We are welcoming a lot of new faces to the board of directors this year and I hope that one day you will consider joining us. I am excited to work alongside Co-President Batya Levy, and we both extend our thanks to Marion Roy who is stepping into the role of Past President.
I am excited to share with you what lights ME up in my teaching at “An Orff Duet”. This is a workshop I am giving in conjunction with Julie Grierson on Sun-
day Feburary 8, 2014. Hope to see you then!
Allison Tipler
Page 2 Message from
the Co-presidents:
Allison Tipler and Batya Levy
Ontario Orff Executive
2014-2015
Co - President:
Batya Levy
Allison Tipler
Past - President:
Marion Roy
1st Vice President—Children’s Festival, Scholarships:
Suzanne Waller
2nd Vice President—Clinicians:
Kristina Barratt
3rd Vice President—Workshop Venue:
Andrea McNeil
Secretary:
Catherine Irving
Treasurer:
Batya Levy
Membership:
Caren Ludwig-Shoychet
Mass Communication & Membership:
Louise Lui
Newsletter Editor:
Jennifer Stacey
Website:
Lori Moccio
Publicity:
Dubravka Vasic
National Archivist:
AnneTipler
Advocacy & Outreach:
Elizabeth Seo
Industrial Rep:
Bruce Grant—St. John’s Music
Mosaic Mosaïque is published three times a year by the Ontario Chapter of Music for Children, Carl Orff Canada, Musique pour enfants. Articles in the newsletter express the viewpoints of their
authors and do not imply endorsement by the Chapter.
Mosaic Mosaïque welcomes contributions of articles, ideas for
columns, news and questions.
Submissions are requested by November 25 for the January Issue,
February 25 for the April Issue and July 25 for the September Issue.
Submissions are subject to approval and editing. Please send
submissions to:
Jennifer Stacey
j.staceyorff@gmail.com
Page 3 America, primitive forms giving way
to those with box-resonators.
Some of the primitive forms proba-
bly found their way to Europe in
the 16th century, through wander-
ing musicians. In contrast to the
non-European xylophones, its
development in Europe was limited,
and not until the 19th century, in a
version called a four-row xylo-
phones (1) did it make a temporary
appearance as an orchestral instru-
ment. In more recent times, the
American model has appeared, with
its piano keyboard arrangement and
amplification by means of resona-
tors, and with it the development
of the western form of the xylo-
phone has reached a conclusive
stage for the time being.
In 1889, Debussy came into contact
with the music of the far east
through the World Exhibition in
Paris. To this exhibition came thea-
tres and exotic orchestras from
China, India and Java. Debussy is
known to have been fascinated by
the sounds, and particularly by the
Gamelan orchestra. According to
Heinrich Strobel, Debussy consid-
ered that in comparison with the
refined and blended sound of this
orchestra the percussion instru-
ments of the cultured European
orchestra only produced the bar-
baric noise of a circus.
The Gamelan music of Indonesia,
with its polyrhythms and polyphony
can be considered as the peak of
achievement for non-European
music culture, and is from a certain
viewpoint an equal counterpart to
western art music, looking back as
it does over hundreds of years’
history. Even when only consid-
ered visually, this orchestra from
the east, with its instruments that
have culture and magical meaning,
leaves behind an overwhelming
impression.
(Continued from page 1) In spite of the profound and direc-
tional influence of the sound of the
Gamelan orchestra upon Debussy,
he never used such an instrument
in any of his works. For Orff, an
experience no less weighty for him
was intended. It was the sound of
one single instrument, the marimba.
This African xylophone not only
initiated a new stage in his educa-
tional work but also provided an
important point of departure for all
his subsequent compositions.
He asked Gunild Keetman to famil-
iarise herself with the technique of
the marimba, whose tuning con-
tained intervals that were smaller
than a semitone and that would be
difficult to combine with our west-
ern tuning. Then he and Keetman
would play together on it after
school hours until late at night.
They preferred playing on it “four-
handed”, not knowing that this was
quite usual in its home country.
More and more students came to
listen and brought with them a vari-
ety of small percussion instruments,
- maracas, jingles, and drums. Out
of the first tentative improvisation
experiments they soon achieved a
real ensemble.
Magda Lex was also drawn into
these evening music sessions, and
her delight in the new sounds
inspired her to compose a dance
study “Stabetanz”. (2)
Attractive as all these experiments
were, it was clear that an instru-
ment that fitted into our western
tuning would have to be made.
When Orff turned to Curt Sachs
for counsel he was advised against
trying to build a series of instru-
ments based on the African model.
Sachs argued that the construction
was of purely African origin, the
materials (the right kind of wood
for the bars and the calabash reso-
nators) were not to hand, and even
if one had success with making one
of the instruments, the making of a
series was unthinkable. Sachs sug-
gested instead that he should make
use of recorders. Orff knew these
instruments from amateur circles
that gave themselves to the playing
of baroque music and he had heard
of Arnold Dolmetsch in Haslemere,
England, who was making new
copies of old instruments for the
performance of baroque music . In
spite of a high esteem for the out-
standing musicological research that
established a style of playing, Orff
was following other paths. He also
did not wish to appear to have any
parallel relationship to Fritz Jode’s
efforts at introducing the recorder
to the youth movement in the
Germany of the early twenties.
Sachs understood Orff’s objections,
but was able to refute them histori-
cally by suggesting that the baroque
way of playing had no means
exhausted all possibilities and that
other sound qualities could be
produced with a different blowing
technique. When, finally, Sachs told
him that some old forms of record-
ers (bone flutes) that could be dated
as having belonged to the Stone Age
had been found in North Europe,
Orff felt freed of all misgivings at the
idea of including an avowed baroque
art instrument in his elemental mu-
sic ensemble.
Sachs advised Orff to approach
Peter Harlan, who had a workshop
in Markneukirchen where he made
his lutes, viols, and most of all,
recorders. Orff was fascinated with
the idea of including a quartet of
recorders - descant (soprano), tre-
ble (alto), tenor and bass - in his
instrumental ensemble, and the fact
that they were not too
difficult
(Continued on page 4)
Page 4
(Continued from page 3)
to play was certainly an advantage.
The excitement over the prospect
of the inclusion of recorders and
the opportunity to learn to play
them helped to veil the disappoint-
ment that everyone felt at Sachs’
negative response to the feasibility
of building further marimbas, espe-
cially since the final result of Magda
Lex’s “Stabetanz” could not have
shown more convincingly how
movement evokes music, and
music, movement; and the marim-
ba played four-handed had created
a minor sensation with the way it
fitted in with the small ensemble of
glockenspiel, tom-tom, tambourine
and jingles, in spite of its different
tuning.
While Orff was waiting for the
recorders, a crate arrived at the
school from Hamburg. It had been
sent by a student from the school
and contained a “Kaffir piano” that
had been sold privately by a sailor
who had just come back from the
Cameroons. The resonance box of
this “Kaffir piano”, a crude name
for a simple African xylophone,
consisted of an ordinary wooden
box, that had once contained
10,000 builders’ nails and still bore
the burnt-on German lettering
“10,000 Bretterstifte”. The only
African things about this xylophone
were the wooden bars, strung by
means of laces across the open
side of the box, and this provided
an example of a primitive form of
box or trough xylophone without
any kind of resonator. When
struck with suitable beaters this
xylophone produced a beautiful,
full tone similar to the marimba,
and its tuning was nearer to the
European pitch and could there-
fore be used immedi-
ately. Keetman had
soon written a book
with some pieces for
this xylophone in combination with
other percussion instruments. Parts
were copied out and passed from
hand to hand. Hourly, daily and for
half the night the instrument was
used for practice, rehearsal and
play, both two-handed and four-
handed.
Curt Sachs’ misgivings about the
reproduction of xylophones in large
numbers could not apply to
this African model of unsurpassed
simplicity, and it should be possible
to produce such a simple box xylo-
phone without resonators.
For this purpose, Orff turned to
Maendler, a then well-known
restorer and maker of harpsi-
chords. Maendler had felt hardly
able to tackle the African marimba,
but when he heard Keetman play
solos and pieces with other percus-
sion on the “Kaffir piano” he did
feel that he could build such an
instrument provided that it was
given another name. He called the
first one he made an “alto xylo-
phone”, and it was such a success
that he promised to build another,
a “soprano xylophone” that would
give a higher pitch range. Later the
notes on the alto and soprano xylo-
phones were secured by means of
nails so that notes could be inter-
changed and other keys formed,
increasing the range of usefulness
of the instrument.
The building of a chromatic xylo-
phone with 25 notes further
enriched the possibilities of tone
quality. This time there was a no-
ticeable relationship with eastern
forms. Maendler made two models,
one where the notes were suspend-
ed by means of laces over a cradle-
shaped box and the other where
the notes were held in place by
nails on a more rectangular box,
and he called this new instrument a
“tenor xylophone”. Only on this
instrument, with its adjacent semi-
tones, was it possible to play glissan-
di that had a magical effect. Hard
and soft beaters or even bamboo
sticks were used.
Meanwhile, the recorders had
arrived but without any kind of
fingering chart, and at that time
Hotteterre’s famous “Traite de la
Flute a bec” had not yet been
reprinted. Through a friend who
knew of a group of four eccentric,
elderly men who played old music
with enthusiasm on old inherited
instruments, and would teach Orff,
and through Keetman, who said
“Give me a recorder and I will find
out how it works”, lessons began.
“Medias in res” once more. They
happily had their recorders and had
taken the trouble to master the
early stages of playing them. At the
same time they used their meagre
beginners’ resources to improvise
for movement, and for dance. Two
recorders started with drone and
melody, and an accompaniment on
a double-skinned drum joined them:
this inspired the dance, which fur-
ther stimulated the musicians.
(1) Four-row xylophone: James
Blades describes this instrument
on pgs. 307-308 of his Percus-
sion Instruments and Their His-
tory: “To effect an economy of
space the bars are arranged
ladder-wise in four rows indent-
ed into each other, with the dia-
tonic scale of C lying midway in
the ladders. The notes C natural,
F natural and C sharp are dupli-
cated to the right and left, ren-
dering the instrument, because
of the consequent choice of
’fingering’, extremely agile. (This
style of instrument is occasionally
seen today in the Continental
orchestra.)”
(2) Stabentanz: literally ’bar dance’
but here it is the bars or notes
(Continued on page 5)
Page 5 on the marimba that are being
referred to.
This is a reprint of an article
written by Margaret Murray print-
ed in the Ontario Orff Bulletin
(#9) August 1978. The article
was a condensation of an article
by Carl Orff that appeared in Ger-
man in the Orff Institute publica-
tion : Orff-SchulwerkI Informatio-
nen 18.
In an email dated December
2014, Ms Murray gave us permis-
sion to add it to the
Mosaic newsletter. The Ontario
Chapter of Orff Canada is greatly
honoured to have received
Ms Murray’s permission.
(Continued from page 4)
Please let us know if you are moving.
Send your change of address to:
Caren Ludwig-Shoychet
Rcshoychet @rogers.com
The Ontario Chapter of Carl Orff Canada extends our deepest
sympathies to the friends and family of Margaret Murray.
Margaret was the translator of the Orff Schulwerk volumes into Eng-
lish and was the founder of the Orff Society UK. She passed away Janu-
ary 31, 2015. The volumes are the foundation of all of the Orff courses
offered in Ontario.
She died peacefully in her sleep, in hospital, where she had been for
two days. Carl Orff Canada is planning to set up an online
tribute/memorial page on their website.
For further information, please visit Orff UK's website:
Page 6 Workshop Review by Lorie Wolf:
Allison Tipler and Julie Grierson—“An Orff Duet.”
On a snowy February 4th, 2015, Orff enthusiasts gathered in the prep school at Upper Canada College to learn from experi-enced Orff teachers. All of the presentations were engaging and were designed for easy implementation. For example, our first activity was lead by Music/Yoga teacher Allison Tippler who started us off with a series of yoga poses to remind us that in order for us to be the best teachers we can be, we need to take care of our-selves. Then she showed us her routine aimed at primary school chil-dren that cleverly combined various yoga poses, music and a narrative. Most of us didn't need any convincing to grab a yoga mat and take part in much appreciated (and needed!) stretch! Her clear handout in-cluded graphics of all the poses used and clear instructions so we could start using them right away.
Another highlight from Alli-son's presentations was her (or her mom's!) version of the syn-copated “Sorida”, and African singing game. We went
through the Orff procedure of learning the song by rote with gestures, doing a movement ac-tivity to demonstrate pitch awareness and rhythm, and then we moved to the Orff instru-ments to try to figure the piece out on our own. Together, we mapped out the high, medium and low pitches in “G” pentaton-ic over the rhythm we had learned, and finally, used the same rhythms and melody map to improvise and create a new song of our own.
Julie Grierson brought some wonderful books to our attention such as classroom favorite “Scaredy Squirrel” and showed us how to orchestrate the con-tents into a wonderful perfor-mance piece.
The same treatment was given to another book “The Little Old La-dy Who Was Not Afraid of Any-thing”, and “I Spy”. The ideas behind the orchestration were clever, fun, and not at all difficult to implement. I am looking for-ward to trying them out with my K-6 bunch. Meeting so many different teach-ers in different stages of their career and hanging out with new people and hearing all their ideas was very heartening. I enjoyed the day very much and am look-ing forward to this summer's workshop by Doug Goodkin. Till then, Lorie Wolf, OCT K-6 Music Teacher Clinton St. Public School Toronto
Orff Teacher Training / Additonal Qualifications
at the Royal Conservatory of Music (Toronto)
For more information visit:
www.rcmusic.ca
Page 7
The ECMA of Ontario has performed 20 years of advocacy
and leadership in the field of music education for young
children.
Since it was founded in 1990 by Donna Wood with the dedi-
cated help of our first president, Mary Stouffer, the ECMA has remained
committed to fostering communication among those who value the im-
portance of developmentally appropriate, high quality musical experiences in
the lives of all children.
For more information visit:: http://ecmaontario.ca/
Page 8
On a cool October morning in
2014, eager music teachers
gather in the gym of Claude
Watson School For The Arts
in Toronto. Some were veteran
Orff teachers, others were
attending their first Orff work-
shop. Some were new music
teachers in the process of tak-
ing their Music AQ Part I with
the Toronto District School
Board. It was a truly diverse
group of teachers ranging wide-
ly in their experience and train-
ing.
As friendly chatter gained deci-
bels in the gym, Brian Hiller and
Don Dupont – two passionate
Orff educators from New
York, stood up in their match-
ing outfits and introduced
themselves. Before long, they
had everyone joining in singing
Viva la Musica – an original
composition by Brain and Don.
True to form as expert Orff
teachers, they soon had us in
three layers of speech ostinato,
added percussion accompani-
ment, created a recorder inter-
lude, all the while explaining to
Workshop Review: Brian Hiller and Don Dupont -
It’s Elemental: Lessons that Engage!
by Louise Lui
us the chord progression involving
the tonic, subdominant and domi-
nant - the fundamental concept this
piece aimed to teach.
Next Don presented Simple Simon,
a speech piece that proved to be
rousing and fun as we moved from
speaking the rhythms to playing
them with body percussion. The
rhythmic tension and the contrast
in timbre between the parts made a
simple piece of music satisfying for
all involved. Everyone was laughing
and sweating by the end of it.
Then we learned a dance that was
taught without any verbal instruc-
tion but only with simple visuals. It
was only after we learned it that
Don and Brian revealed it true pur-
pose – to teach basic mallet tech-
nique. When they finally taught us
the lyrics,
“Arms extended elbows
bent, fingers wrapped
around. Bouncing gently off
the keys, we’ll make a
pleasant sound.”
All of us exclaimed, “That was so
brilliant!” The deliberate upending
of a usual teaching sequence cre-
ated mystery and it heightened
the groups’ attention. Not to
mention that it completely liven
up a topic of mallet technique that
would have been dry for most.
The day ended with all of us
standing in a gigantic circle singing
a Ghanaian folk song, Sansa Kro-
ma. The bongo and congo joined
in with the shakers and agogo
bells. The voices were singing in
three part harmony. Brian and
Don decided that since we were
all music teachers, adding a stick
passing game while doing all of the
above should not present a prob-
lem! I was glad to say that teach-
ers from the GTA did not disap-
point. We managed to pull it off!
On behalf of the Ontario Orff
Chapter, we would like to extend
a big thank you to Don and Brian
for presenting such a wonderful
workshop. We hope you return
to Canada really soon!
Page 9
The Keith Bissell Scholarship
This scholarship is given for the study of an approved Orff Level’s course or
Master Class at a Canadian Institution, with preference given to candidates ap-
plying to courses offered in Ontario. This scholarship is usually in the
amount of $400.
Scholarship winners are asked to write a short article describing their experi-
ences in taking the course, which is then published in the Ontario Orff
Chapter newsletter.
The Last workshop of
the Waterloo-Wellington Chapter
of Carl Orff Canada.
Royal Conservatory of Music
273 Bloor Street West, Toronto
Page 11
Thursday, May 7, 2015
10: 00 a.m – 12:00 noon
Send your application by Thursday
April 9, 2015 to:
Suzanne Waller to musical-
tigger7@gmail.com
Page 12
Why do so many music teachers
“lose” their voices in December?
A long time ago (in a land far
away) during my first December of
teaching, I lost my voice and then
spent my Christmas holidays
recovering. Then the next year, I
didn’t have any voice trouble.
What was different? In the sum-
mer between those two Decem-
bers I had the good fortune to
take a Voice Care course through
the Voice Care Network, http://
www.voicecarenetwork.org/.
Here are the things I learned to
help prevent losing my voice at
that critical time of the year:
1. Hydration. Water is the lubri-
cant for your vocal folds. Imagine
running your car’s engine without
sufficient oil. It over-heats, the
bearings wear, it starts making un-
usual noises. Do it long enough
and the engine will seize and you
have to replace it. Ouch! If you
are dehydrated your vocal ability
may be reduced and over the long
term the vocal folds may be dam-
aged. To prevent this drink 7 – 9
glasses of water a day. Oh, sorry,
coffee and other caffeinated drinks
don’t qualify. They act as diuretics
and actually take more water out
of your system than they put in.
2. Warm up before singing and
teaching. Warming up will help
prepare your voice for the strenu-
ous work that teaching and singing
are. I am not a voice teacher so I
cannot recommend warm-ups. If
you need warm-ups I suggest find-
ing a good voice teacher who can
give you some warm-ups for your
voice.
3. Rest your voice. Stop talking
so much! When teaching look for
ways to communicate with your
students without using your voice.
Challenge yourself to not to sing
with your students. When you
sing over top of your students you
are unnecessarily stressing your
voice. Sing to them to demonstrate
and let them sing back to you. This
may also allow you to better hear
them.
4. Pay attention to where you
pitch your voice when speaking.
Listen to the people around you
speaking. You may hear “vocal
fry”. Vocal fry is that gravelly
sound that many media personali-
ties cultivate. Unfortunately in our
culture that vocal sound is equated
with authority when it should be
equated with vocal abuse. Speaking
with that “deep, resonate, authori-
tative voice” places excess stress
on the voice. When you speak
your voice should feel free and
easy. Just like the three bears “not
too high, not too low, just right”.
As a professional voice user you,
take extra care of your voice.
Treat it lovingly and it will serve
you well.
Check out the “BodyMind and
Voice Course” at http://
www.voicecarenetwork.org/
courses.cfm?ID=123 for more
voice care information.
Bruce Grant, a.k.a The Orff Doctor
is the Manager of Elementary Sales
for St. John’s Music. He has been
involved in the music industry for
over 20 years. Prior to that, he
taught elementary music grades K –
6 in Alberta. He has his Orff Levels
1, 2 and 3 certification from the
University of Alberta. He has
worked with numerous Orff chap-
ters including being the President
of the Alberta Chapter, the Nation-
al Membership Secretary and is
currently the Industry Advisor for
Carl Orff Canada.
Care and feeding of Music Teachers
By Bruce Grant
Page 13
Dalcroze Society of Canada
Summer 2015 Course
August 10-18, 2015
9:00 am - 5:30 pm daily
Location: National Ballet School — 400 Jarvis Street, Toronto, ON
Please visit the our website for updates.
http://www.dalcrozecanada.com/
For information
about the Kodaly Society of Ontario
please visit
http://www.kodalysocietyofontario.com/
Page 14
Up and Coming
Press the control key and click on the Ontario Musical Note below to go to the
Website and download a PDF form to register for the workshop.
If you have any questions,
Contact: Batya Levy
Home Phone: 647-348-3396 (evenings & weekends ) / Email: batyalevy@rogers.com
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