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At 5:55pm on March 23, 2013, Kenneth C Evans said…
I will check that cd out. Yeah this is my first year. I am about an hour from Tampa and an hour from Orlando. The kids are shaping up very well too.
At 3:46pm on March 23, 2013, Jeff Gordon said…


I think the site looks good. I have passed it on to a few close friends.

I am sure that was a good move getting her help with your web site!!

See you soon,



At 2:49pm on March 23, 2013, Kenneth C Evans said…
Hey Mr. Gordon, how's it going. Where can I order a copy of your CD? I have not performed since I moved to Florida but I am still practicing a LOT. Its paying off slowly. Teaching at this high school is my priority now. How's everything up there?
At 2:19pm on March 23, 2013, Darryl Johnson said…

Thanks for having me, Tim!! I So hope the airplay we are getting gets us working together again, as well. I miss not only your playing, but your friendship. Love ya buddy, and I am so very proud of your cd. 

At 10:18am on March 23, 2013, Alan Holley said…

Hi Tim.  I didn't buy the soprano piece from Mike.   He offered it at the same price he advertised it for initially, but I had already found a mouthpiece in the meantime, and I really felt he should get a proper price for it (4x what he thought it was worth), so I passed.  If you like the Selmer Soloist pieces otherwise, I'd encourage you to try one of the Super Session soprano pieces.  They *only* have large tip openings and, to me, feel/sound very much like the Soloist pieces for a lot less $$$.

At 9:26am on March 22, 2013, Carry Buttle said…

Thanks for having me Tim, I think you guys are doing a great job with this site and can't wait for it to really start to snowball.  I'm still getting used to navigating around it at the moment and want to apologize in advance if I put things in the wrong place, but I'll get there. 



Industry Veteran Ricky Schultz says...

"The measure of a musician is their body of work.  It's what seperates the men from the boys.​

Credentials --- the company you keep. It takes time, opportunity, and in the end-real talent do such a thing. You have to put in many thousands of hours--you can't fake the funk.

What makes a body of work? Twenty years with both The Temptations and The Four Tops. Like a rock.

Having worked with a list of artists so deep, (Google it) from so many genres, that suddenly it hits you--TIM GORDON is one of those players--one of the clutch, go to saxophonists in contemporary music.

Dedicated to his art, Tim is a connoisseur-level musician. His dedication is apparent when you hear his sound. And suddenly it hits you again--you've probably heard him before, maybe even seen him along your musical journey.

SOULFUL, hip-smart, and technically brilliant. What else could you ask of a saxophone player?

Encyclopedic range, comfort with any kind of music, and besides all that? He's a real nice guy.

You're in for a real treat here. Tim Gordon has finally made a record of his own.

Ricky Schultz


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A New Definition of Music Literacy: What, Why, and How?

Music Educators Journal, Volume 107, Issue 3, Page 15-21, March 2021. <br/>The purpose of this article is to articulate clear definitions of music literacy and text, explain what impact they may have on music education generally, and describe their application to day-to-day teaching. The broadened definitions are intended to unite music professionals’ understanding of music literacy and help them more clearly approach music literacy instruction while simultaneously fulfilling curricular expectations of administrators and other stakeholders. Specific benefits of the new definitions include (1) aiding conversations between music teachers and literacy administrators, (2) providing clarity in the examination of broad issues and general approaches in music education, and (3) enhancing clarity and effectiveness in day-to-day instructional planning and delivery.

Creating Virtual Ensembles: Common Approaches from Research and Practice

Music Educators Journal, Volume 107, Issue 3, Page 38-46, March 2021. <br/>A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

Believe: Music—the Sound of My Heart

Music Educators Journal, Volume 107, Issue 3, Page 10-10, March 2021. <br/>

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