Note that they may be stuck together. Pour a little of the kombucha on them and cover the bowl to keep them protected. Optionally, fill it all the way to the top. If you do not, then it will take forever to get fizzy. If there isn't enough, you can either get smaller containers. Or, if there's just a slight gap,  fill the rest with juice or more tea. Use only a small amount, or else you risk watering down the tea. Leave about 10% of old tea in the glass jar as starter tea to start a new batch of kombucha. Begin the cycle again: Pour in freshly brewed tea, put the culture back in, cover, etc.  You may use each layer of culture to make a new batch of tea; some recommend using the new layer of culture and discarding the old one. It is not necessary to put both layers of culture back into a single new batch; one will suffice. Every fermentation cycle creates a new child from the mother. So once you have fermented your first batch you will now have two mothers, one from the original mother, and one from the new child. This multiplication will occur for every subsequent fermentation. Cap them loosely for safety, tightly for carbonation and let sit for about 2 - 5 days at room temperature. Kombucha is best enjoyed cold.
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One-sentence summary -- Gently remove mother and baby cultures with clean hands (and non-latex gloves if you have them) and set them in a clean bowl. Using a funnel, pour most of your finished tea into storage container(s). Cap your jug or bottles of finished kombucha. Refrigerate.


This method of study will require you to select a word, say it out loud, and then write it down.  Say each letter out loud as you write the word to help build familiarity with its spelling.  Make sure the word is spelled correctly before moving on. Move down a few lines on your paper and write the word again.  Make sure you say the entire word out loud before writing it, speaking out each letter as well.  However, you will not write the last letter of the word down for this step.  Even though you are not writing the last letter down, you should still say it out loud. Keep moving down to the next line and writing one less letter every time you spell the word. You should still be saying the entire word and each letter aloud, even though you aren't spelling the entire thing.  Continue removing letters until you only have the first letter of the word remaining. Fold your paper in half, hiding the original spelling of the word.  Start rebuilding the word by saying the whole word and every letter aloud.  Write only the first and last letters of the word.  Move to a new section on the paper.  Say the word and spell it out, adding in the 2 final letters of it.  Continue in this way until you have completely spelled the word out again.  For example, you would start by writing the word “tower” as 't___r”.  You would then write “t__er”.  Add another letter to get “t_wer”.  Finish the word by writing “tower”. Double check that you've spelled the word correctly. Avoid looking at the original spelling of the word while you are rebuilding it. You can also try removing syllables instead of letters.
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One-sentence summary -- Find a word you want to study. Write the word again, minus 1 letter. Continue eliminating letters. Rebuild the word.


Scatting is the act of turning your voice into improvisation instrument, removing real words and just focusing on noise, melody, sound, and tone. As such, everyone can scat immediately, even if it feels weird or uncomfortable. Just start making noises that sound great over the song your hearing.  Listen to some classic scat singers for early inspiration. "Perdido" by Sarah Vaughan, "Them There Eyes" by Ella Fitzgerald, and Louis Armstrong's "Heebie Jeebies" are all incredible early examples. Scatting is generally a jazz skill, but artists like Scatman and Bobby McFerrin have expanded it to other genres in modern times. You need to get used to your voice not as a speaking mechanism but as an instrument. As you first start, limit yourself to copying your favorite singers. Play a couple bars of scat singing, then try to repeat it back verbatim to start learning sounds, tricks, and melody construction.  The blues, with simple chords and built-in call and response, is a great place for beginners to begin. Try out "Centerpiece" by Lambert, Hendricks & Ross.  Try mimicking actual sung lyrics, but don't use the words. Practice capturing the singer's melody with random syllables instead of words to get used to scat. As you improve, start copying guitar, horn, and other lines with your mouth, using whatever syllables come to mind to replicate the sound. There is no noise, when scatting, that is off limits! As you begin improvising your own scatted lines, start with a couple of "accepted" scat words and syllables. Simple, percussive noises are the easiest way to start, using sounds like "bob," "beep," "ski," "do," etc. Remember that you're not trying to say anything. You're playing with musical notes, not words. The musical scale made famous in "The Sound of Music" is a great place to start: do, rey, mi, fah, soh, la, ti, do! Scatting is about using your whole body to make noises and sounds, improvising more than just syllables. As you improve and get more and more used to scatting, start playing with the following variables to expand your musical vocabulary as you sing.   Volume-- draw the audience in by going quieter, then build back up to a louder crescendo with bigger, louder syllables.  Tone-- how do you sound with you chin tucked in? You chest puffed out? How does the shape of your mouth change the sound of your singing?  Pitch-- perhaps the most important, pitch is how high or low your notes go. As you get used to making up syllables on the spot, start working on varying pitch with each word. Songs get boring when they stay in the same pitch for too long -- give some melodic variety. Scatting is an intensely rhythmic art form -- you voice is both percussive (like a drum) and melodic (like a trumpet, piano, etc.). As such, you must be able to stay in time while you improvise, holding to the beat like any other instrument. While good singers should already feel comfortable with this, newbies must practice with a metronome or backing track to get used to staying on time at all times.  Always start at a speed you can keep up with comfortably. While you can set any rhythm you want, most scat is over a 3/4 "swing feel" of jazz. That said, practicing improvising syllables on the spot without music or metronome is still a valuable skill. You just need to train your ear so that you can snap to a backing band when the chance arises.
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One-sentence summary --
Use improvised syllables and sounds to scat over instrumental tracks. Practice "call and responses" with scat singers and instrumental lines. Start with simple, rhythmic syllables, focusing on melody instead of new sounds. Accent, modulate, and have fun with your syllables. Practice with a metronome or an instrumental track to ensure you stay on time.