Articles about Music

Guitar lesson: The E F G of Learning To Play Guitar Sheet Music

2009-09-14T03:34:00.000-07:00

Is it really possible to conquer the guitar fretboard? Do you find the notes you want to find? Is tabulature cheating? Let me invite you to the guitar fretboard!

I suggest that you right now start to take command over your guitar. Usually when you are playing your first guitar sheet music melodies you will have to learn the notes in the first position on the guitar. To have a good grasp of these notes on the guitar I suggest that you learn them slowly and with concentration.

I usually begin by teaching the notes on the first string like E on open string, F on fret 1 and G on fret 3. On string two you?ll find B on open string, C on fret 1 and D on fret 3. With these notes you can play the song Mary Had A Little Lamb.

Using the previous notes the melody can be played as follows:

E D C D E E E D D D E G G E D C D E E E E D D E D C

I hope you recognized the melody. This kind of music notation doesn?t give any hints as to how the rhythm is to be played but you already know the melody, right!

Is using tablature cheating? My father taught me some interesting things about learning to read guitar sheet music.

My dad was the only guitar tutor in the town where I lived and he taught mostly classical guitar pieces. His young students, I was one of them, learned those first guitar pieces very rapidly because he used a system similar to tablature showing the frets and strings to play, along with the sheet music. Tablature wasn?t common back then. I remember somebody remarking that his system prevented the children from learning to sight read sheet music.

His reply was that if somebody really wants to learn the notes they will anyway!

I agree with that and I have found that if a pupil is not motivated learning guitar sheet music they will not advance in this area whether they play with or without tablature.

Do you think your fingers has anything to do with guitar playing? I guess you'll answer yes!

A more important question is if the fingers you choose to use can have a bearing upon your guitar playing. Left hand fingering means which finger you use when playing a specific note.

Usually when playing the first pieces on the guitar on the first frets one plays the notes on the first fret with the index finger, notes on the second fret with the middle finger, notes on the third fret with the ring finger and notes on the fourth fret with your little finger.

Why mess up everything with this fingering stuff? Isn't it possible to play every melody with your left index finger and forget about fingerings?

Well, of course you can play melodies with your index finger but your progress will be very limited beyond just playing easy melodies.

Besides you?ll have to move your hand all the time as you change frets and, most importantly when reading sheet music, you?ll have to look at the guitar fretboard all the time instead of looking at the sheet music.

The important thing when learning to play the notes on the guitar is to make a conscious effort to learn the notes and not to work on too many notes at the same time.

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your free sheet music and learn to play resources at http://www.capotastomusic.com.

The Art of Playing Jazz Guitar - A True Preparation Primer Part 2

2009-09-13T06:02:00.000-07:00

In part 1; we discussed various metronome techniques to advance our awareness, concentration, feeling, and broaden our minds while practicing. This article will go into what we should be practicing and, more importantly, thinking when using those techniques.

Music is made up of three basic elements, Melody, Harmony and Rhythm. All are interrelated and we should not try to isolate them because this will not take us where we want to be. We instead want to understand each of them in a unique way so when eventually combined they make a more poignant whole. Melody was first on my list so let's start there.

Our melodies will make or break our playing - Period!

When we practice melodies we must remember that for each tune we work on there are probably lyrics for it. If you do not know the lyrics, stop and get a copy. Read them, speak them out loud, sing them and learn them until they become part of you.

Next, listen to the greatest vocalists sing these tunes. Listen to their phrasing, their articulation, how they use their mouths, tongues, teeth, lips, lungs, body posture or whatever they do to produce the sounds. Think about the ways we can incorporate all of those things into our guitar playing.

Unfortunately, the guitar is an instrument that has no air blowing through it so we have to improvise. Also the patterns of scales and chord fingerings we were taught when we started don't help our creativity. I'm not saying that we shouldn't learn them but many times practicing only these will leave us stale and stiff.

Case in point, did you ever transcribe a great jazz guitar solo only to realize that the fingerings needed to play it are no were near what we were taught about standard fingerings for guitar scales?

So what do we do?

Start off basic and I mean so basic that we're probably way ahead of ourselves already. Be aware of the endless possibilities of making each note and then break it down to the point where we are left with only the rudimentary elements of producing a single tone on the guitar. The atomic tone so to speak.

For instance, if we play with only the thumb of our picking hand as opposed to a plectrum we get one type of sound. If we play only down strokes with our thumb we get a different sound again.

Let's delve into this further as it is important.

If we play with our index finger, middle finger, a plectrum on the pointy end, on the fat corner, on the fat end, upstrokes, down strokes, whatever, we can make all kinds of sounds. In fact, there are so many possibilities we may never get to them all in our lifetime.

Hopefully you see where I am getting at and we haven't even discussed the fingering hand yet nor have we discussed any particular notes, pitches, dynamics etc...

Don't let that stop you. Start learning this now and you will be happy you did.

Ok what's next?

Select 3 notes and work with only them while thinking about the spoken voice and how you would convey three words in a sentence. Think about how by changing the phrasing and articulation of our three words, or notes, we can change the meaning of them entirely. In fact pick an actual 3 word sentence and speak it with your guitar rather than using your voice. This is where we truly start learning melody.

If we were to find someone we don't know and say to them; "What is your name?" We would get a response. Don't forget that a non response is also a response. We must realize the actual response we get is dependent on how we phrase and/or articulate our words and realize that we can control this response only if we understand its relationship to our actual question.

I'll explain. If we were to say those exact words in a teasing, tormenting and antagonistic manner we would get one response. If on the other hand we were to use an openly friendly demeanor we get an entirely different response all together.

By doing this simple thought exercise we realize that using the exact same words spoken in different ways produces vastly different responses.

By observing, understanding, and practicing this behavior we can learn to exploit and utilize this technique to our advantage to allow the full potential in our guitar playing that invokes the response were seeking, whatever that may happen to be.

The human voice is of particular concern to us because our ultimate goal is to emulate what it does with our instrument. We want to be able to communicate with our guitars the way people communicate when they speak to each other - which is not unlike melodies.

As babies, we were only able to make rudimentary noises to communicate. Years later, hopefully, we are able to form intelligent rational thoughts and convey them with our words using articulation and phrasing and word combinations to mean many things. We want to apply this to our guitar playing.

Remember, it took us years to be able speak in this manner and we should approach practicing melody with the same realization and not try to run before we can walk.

We should also remember that even babies can communicate in a very compelling manner without using words at all! So don't be afraid if this practice routine seems too simple. It's not the notes you use, it's what they are actually communicating that is important.

What can we deduce from all of this?

When you start finding yourself practicing or playing those blazing fast cool scalar riffs, stop and think about how many times you hear actual people speak like that.

Now - ask yourself how long you would stay and listen to them if they did.

That's it for now but look for new articles in the future and remember; have fun, practice hard and always play your heart out!

John Belthoff is an avid web developer who plays and teaches Jazz Guitar in his spare time. He owns an Asp.Net Web Hosting Company where you can contact him about hosting your guitar website/blog or just to learn more.

Fender Strat - A Piece of Magic

2009-09-13T05:32:00.000-07:00

One of the most popular guitars today and one of the best is the Fender Stratocaster. It has been around for years and has established a well known reputation for having an original sound and been great to play. Many top guitarists of the past and present played Strats - Eric Clapton, Jimi Hendrix, Stevie Ray Vaughn, John Mayer, Buddy Guy, the list goes on and on. All of these artists have that beautiful tonal sound of a Strat but when you hear each one, you can tell the difference between them, and that's the beautiful thing. The Fender Strat gives you such originality while having that beautiful tonal sound no other guitar has.

The secret to that great sound that the Strats have is in the single coil pickups, the wood of the guitar and the way the body of the guitar is put together (2 sections). The combination of these 3 things put together is one of a kind, that guitarist have come to love right from the beginning of the Strats birth.

Although Strats are centered around a standard setup. There are lots of additional models that slightly differ and in-turn slightly change the sound of the guitar. This is great because it offers guitarists the chance to find that desirable sound that they have always wanted. To go one step further a lot of big name guitarist that play Strats get fender to make them a custom model just for them on specifications that they want so they can come up with the ultimate and perfect sound for them. These guitars are also available to the public to buy and are deemed signature models. If you desire a sound from one of these top quality guitarist than you can have it by buying a signature model which emulates the exact sound that artist has.

If you are thinking of buying a Strat I highly recommend to you that you go and try out as many different models that you can. Most people buy the standard USA Strat but this may not be for you, you may want something slightly different with a few different changes to the standard. Another thing I wish to point out is that when you try out a Strat, it is important play it through a quality amp, i.e. a fender twin amp. This is because if you try out guitars (great ones and poor ones) though a cheap and poor amp than the guitar will sound bad and disgusting. The rule when buying a guitar or any musical instrument is to try out many different types of that instrument as possible, this is the only way to properly find out what guitar suits you best.

Jakob Culver is a professional working musician and founder of the website http://www.musiciansequipment.com.

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Focus - The Power Of All Powers!

2009-09-13T01:02:00.000-07:00

Self 1 gives to us the constant chatter in our minds ? the person within us that tells us that we?re going to fail; we shouldn?t play because we?re just not good enough. Have you experienced that before? Read more about Self 1 and Self 2.

Well, I?m sorry to say that without these distractions, life would just be plain boring and we can?t get rid of them BUT there is a solution, a technique we can use to minimise their impact on us, and this technique is used by the best musicians around. Here?s the strategy? by accepting distractions and then consciously choosing to focus our awareness elsewhere, we can increase our awareness of the music and lessen the amount of frustration we feel at the distractions. We should choose a focus for our awareness in the present moment and not wander off into the past or future. When we are aware of what?s happening in the present moment, our concentration develops and things seem to improve almost effortlessly. As a musician, the best way to focus on the present moment is to place our concentration and focus on our sight, hearing and feelings.

By having this focus, you will ease any fears as your mind remains in one place, even if you do look around and have the fun of your life whilst performing. Your Self 1 chatter will slowly disappear the longer you focus and practice this for. It?s a phenomenal technique!

In this article, let?s look at how you can bring your awareness directly on the sight...

If you are not familiar with the notes on the score, then simply watch them. When I learn new things on the Tabla, I find it easier to look at each note and speak it out whilst I play. This keeps my focus as well as helps me remember it off by heart! If you are familiar with your notes, then simply ?paint it out.? When you are playing the particular notes, either leave your eyes open or close them and picture the notes on the paper as you are playing. Alternatively, you can picture yourself painting it out whilst you are playing. If you don?t want to picture the notes, perhaps try looking at yourself playing it (in your mind) whilst you are actually playing it.

Go through the following steps, keep on practicing and see the heightened difference in your playing?

(1) Play a piece of music

(2) Play the piece of music again, this time focusing on a particular sight

(3) This time get play it again, focusing and visualising another musician playing it while the music you are making evokes images in your mind.

(4) Note down what you felt, saw, and heard and any difference in your music.

I suggest you create a plan to try this strategy everyday and for slightly longer periods of time. Remember, the more you practice this, the more it will get embedded within you and your concentration in the music will increase. That means, your Self 1 begins to disappear! Other techniques for focusing and using sound and feelings are explored further in the ?Express Yourself? for Musicians workbook!

? Kavit Haria, The Musicians? Coach

Kavit Haria is The Musicians' Coach. Kavit is the director of InnerRhythm, a company that prides on providing success solutions for musicians worldwide. Kavit sends out a musician development newsletter to over 2000 musicians in 16 countries every fortnight to help them achieve their desired results. Sign up now and experience the huge benefits from www.innerrhythm.org

Piano Composition Secret of George Winston Reveals Easy Way to Play Piano!

2009-07-26T09:42:00.000-07:00

Love him or hate him, George Winston single handedly invented a whole new genre of music - New Age piano. His light ambient sound has reached millions of listeners around the world.

Now, a lot, and I mean a lot of pianists would like to be able to play like George but don't think they can. That is, they don't know how he does what he does. They think he just sits down and music comes up or, they believe that he spent years studying composition and theory in order to create these sometimes elaborate compositions.

But, and here's the interesting thing, when you really listen and break down what he's doing (and most other composers for that matter) it's all about how phrases of music are repeated and then contrasted with new material. That's it! That's all composition is. It's the art of repetition and contrast!

Just saying this won't help you understand how it's done though. For example, in the author's lesson "Winter Scene," we have a repeating ostinato pattern using 2 chords. The pattern is played over and over again while the right hand improvises a melody. And guess what? That's a piece of music! That's right! Now, if I wanted to show this piece as a composition, I would have to chart it out using a chord chart. This too is a lot easier than it sounds.

For instance, "Winter Scene" is just a 4-bar phrase in 4/4 time. Each chord gets 2 bars and that's it! Sometimes called a "loop" these phrases can be repeated as long as the composer/improviser wishes. Then, if more music is required, we just add in new phrases and keep building up our piece of music.

So what is George Winston's secret? Learn how to use musical phrases to create your own easy compositions!

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!

Article Source: http://EzineArticles.com/?expert=Edward_Weiss

How to Use the Entire Piano Keyboard

2009-07-17T20:46:00.000-07:00

There are 88 keys on the piano keyboard. Most pianists use about 1/3 of this number most of the time. Why?

Well, if you're playing sheet music, the answer lies in how the composer used the piano. If you're creating your own music, the answer lies in experimenting with the possibilities.

Now, most of my own music is played near the middle of the keyboard. It's not planned that way but this is the area of the piano I naturally gravitate towards when sitting down to play. Of course, I do and have used most notes available on the piano and it would be a shame not to. But I allow the music to tell me where it wants to go. If I sit down with a predetermined agenda to play high notes, then I am not listening to my intuition.

Although I have to admit that in Lesson 5: "Winter Scene" I wanted to create a crisp wintry sound so I started further up the keyboard with the left hand and played higher register notes in my right. But most times, I will let my intuition guide me and 9 times out of 10 begin at the middle of the keyboard.

There is nothing wrong or uncreative about this at all. In fact, it doesn't really matter where you begin because once started, the heart and mind work together as one bringing you the ideal music. It is the only true music that could come out of you because you listen to what your heart wants to play. If you play a few bass notes to begin with fine. Want to start at the high end of the piano, OK.

The key here is authenticity. Some compositions and improvisations sound contrived because they were - that is they were thought up. There really is nothing wrong per se with this approach - as long as you let the music guide you. For example, you may decide you want to do as I did and create a certain mood piece. However, once you get the general idea for the music, let it guide you to where it wants to go - that is, listen, listen, listen for what is coming next. This approach never fails and will most always yield good results.

Linking Music To The Heart Of A Child

2009-07-07T04:51:00.000-07:00

Music is powerful and persuasive. It touches one?s emotion, motivation, creativity and relaxation. It has the soothing effect that can calm our mental nerves. It inspires you to do something new and productive. It gives you ideas. It lulls you to sleep. The list is definitely endless.

Music is many things. It makes us happy, annoyed, melancholic, afraid and mad. Music is also for every one. It invades almost anything and everything. Different milieus have their own music to recollect. Various races and continents also enjoy distinctive music. Young and old alike take pleasure in it.

In every stages of life there will always be music for it is perpetual. In fact, there are unique types of music that caters to specific group of individuals. Rock and metal music cater to hyperactive music enthusiasts. Love, acoustic and pop songs blend well with lovers and emotional persons. For kids there is the children?s music.

Children?s music can give kids a magical experience. They can play roles with it. For a moment, they can be a pretty princess with a castle or a dashing knight in shining armor. They can simultaneously play musical instruments. They can dance and sing.

Music is entertaining most especially to children. Thus, even at the very young age they must be exposed to music. By doing so, kids develop their sense of adventure and discovery.

Aside from that, they can be knowledgeable about children?s music lyrics. They can also develop the basic languages.

Children?s music can also be treated as therapy. Application of children?s music can treat some physiological and psychosocial elements of illness. Treatment is aimed for the acquisition of non-musical behavior by virtue of systematic musical methods.

Studies have proven that children with developmental delays and learning disabilities like Down?s syndrome respond to music. Thus, exposure to music can boost response and expression. As a result, individual expressions and talents like singing and dancing can be discovered.

Children?s music treats developmental delays and learning disabilities by drawing out movements. The latter develops self-awareness which can easily be manifested. Examples of these movements are gripping the beater, tapping a triangle, playing cymbals and drums and the likes.

The relationship between children?s music and movement cannot be overemphasized. The rhythm of music creates the ideal stimulus that results to coordinated movements. These movements lead to repetition which is a mode of child learning.

Aside from entertainment and therapy, children?s music is also a special kind of education. It develops the cognitive skills of children. Exposure to music stimulates learning about colors, numbers, shapes and parts of the body. As a consequence, though may not be the primary goal, it increases the child?s intelligence.

Stimulation of cognitive abilities leads to multi-sensory development. The latter contributes to the ability of a child to retail information and be attentive to detail. As a result, the child becomes confident and clever.

Children?s music can also develop the child?s social skills. Usually, musical experiences are done in groups. Participants can sing in unison or one after the other. With this process, every one is encouraged to participate thus participants eventually become closer.

Children?s music can be so powerful that it can develop both the intrapersonal and interpersonal aspects of a child. It simultaneously augments functional abilities at the same time the expressive and creative capacities of a child.

Robert Thatcher is a freelance publisher based in Cupertino, California. He publishes articles and reports in various ezines and provides children music resources on http://www.about-children-music.info

How The IPOD Changed The Industry

2009-02-07T07:07:00.001-08:00

Music fans have celebrated ever since IPOD was released. It does not just give them music on the go but plenty of flexibility.

Owning an IPOD means unlimited digital music to fill your soul. You can fill it with songs from CDs you own, from online music sites that offer free downloads or exchanges, and from Apples own innovation iTunes for as little as 99cents. A music lover can pay for just one song that he likes and does not have to purchase a whole CD.

And since IPOD supports MP3 a person can purchase songs from a consumer friendly store like MP3tunes.com. But the battle that rages in the music industry is about copyright protection and loss of revenue. The question is whether the music industry should move forward and allow consumers to transfer music to portable devices without restrictions.

The design of the IPOD is such that it promotes legal purchase and downloading of music around the globe. In three years IPOD owners have purchased 1 billion songs from iTunes stores world over.

It is not just consumers who benefit. Artists can choose to distribute their music world wide through iTunes. Any artist who has not signed a contract with a major or independent record label can present their music to the world by approaching Apple affiliates like iFanz.com or CCBABY.com. The artist stands to gain as he or she will get 91% of the income.

The IPOD can be used for more than music. IPODs can contain orientation material for freshmen entering college; students can use IPODs to download academic course material, notes, as well as audio books.

IPODs are for people on the move; you can store music as well as videos and take off. If you own CDs you can load them onto the IPOD or use music from iTunes or other internet sites. The music is pure, does not skip, and it is yours.

IPODs have changed the rules of the music industry. Digital technology has taken music forward but has also created problems with enforcement of copyright and generation of revenues. There are problems of music swapping, free downloads, piracy, and CDs being borrowed from libraries and burned or copied for use on IPODS and computers.

The future seems unrestricted and gurus predict that giants like Amazon.com will launch by end 2006 digital distribution of music and movies. With the boom of the World Wide Web, experts expect the online music industry to show unprecedented growth in the next 4-5 years. The internet is a key distribution point for music and music downloads and subscription services are expected to exceed sales of CDs. PricewaterhouseCoopers estimate that digital music will account for over 40% of US music sales in five years.

So, while IPODs and the new avatar that music has taken will be sweet to music lovers and buyers it is definitely sour or a threat to many giants of the music world. Sadly big players in the music business viewed the World Wide Web as an arch enemy. And now thanks to the success of IPOD and iTunes, the industry is acknowledging that music buffs will pay for legal music online.

IPODs have revolutionized music and literally the industry has changed �tracks.�

Article Source: http://www.articledashboard.com

Chris Young is a freelance writer for www.1866Shopping.com , the premier website to find online shopping directory, online shopping and outlet shopping, retail shopping stores, discount shopping, shopping offers and more. He also freelances for the premier Search site www.Bavoo.com

How to Create a Multi-artistic Piece - Part II

2009-01-10T18:25:00.001-08:00

In the last article, the creation of a theme, its development, and the use of a libretto were discussed. As one may recall, the theme is the kernel of a production, which dictates the nature of the piece. And in relation to the theme, is the thematic structure that serves as a guide as to how the production will manifest. Ultimately this information is transferred to a libretto. In contrast to the previous article, the strengths and weaknesses of the arts will be addressed. Before one can choose the various media for their multi-artistic production, one must understand the arts in part and as a whole. There are three general categories that the arts can be classified, which include the auditory, visual, and linguistic. Although some art forms can be placed in two or more categories, such as poetry, fundamentally it is made of words, but can be executed vocally.

The labels applied to the categories are general. But each category consists of several genres. The auditory arts consists of music, vocals, speech for the sake of speech, samples, loops, and all other similar art forms. Just as diverse as the auditory arts, the visual arts consists of videos, paintings, movies, movement, dance, the commercial arts, and all similar art forms. Not as diverse as the auditory and visual arts, the linguistic arts consists of poetry, prose, and literature. From these descriptions, the question of how do these arts connects remains. And the answer is simple. If one were to arrange the arts into a linear spectrum, one will see that the arts go from the abstract to the tangible. Or the linear connection between the arts can be seen as going from the general to the specific. On the two extremes of this linear spectrum are the auditory and linguistic arts. Between them are the visual arts.

The auditory arts are by their very nature abstract. For example, music can only express emotion. Music is not capable of producing a tangible object. A composer can only express an abstract idea through music. Because of the abstract qualities of music, a listener can only feel music. To prove this notion that music is abstract one would only need to ask listeners what the music was expressing. As a result one will get varied answers. In addition to music only expressing emotion, it is the only current media that can impact the body as a whole. Moreover, a listener can turn their backs, close their eyes, and, in some rare cases, cover their ears towards the musical source, and still experience music. Due to these aspects of the auditory arts, they stand on the one extreme of the art spectrum.

Contrary to the auditory arts are the linguistic arts. Unlike the auditory and visual arts, the linguistic arts are capable of expressing a very specific and tangible ideas. For example, if one were to see an image of a man standing atop a hill, many would interpret this in a literal sense. Contrary to this example, if one were to hear or read the following: "Atop a hill an Afghanistan man stands looking over a valley," many would have a more definitive idea than the previous example. As one can see from the previous examples, the latter most likely invokes a definitive feeling as compared to the visual description. This is the beauty of the linguistic arts. They can invoke specific ideas that reflect the current times. And quite possibly, linguistic arts can invoke a deeper emotional response than the other arts.

In between the auditory and linguistic arts are the visual arts. Philosophically, the visual arts can express abstract and tangible ideas. Hence, because of this notion, the visual arts stand between the auditory and linguistic arts. Ultimately, visual arts balance the auditory and linguistic arts. As a demonstration of the visual arts capability of producing tangible ideas, one could look at many paintings from the 19th century and earlier. The subject material in these paintings could be touched and experienced by many. For one to see the abstract nature of the visual arts one does not need to look too far. The 20th century has produced many paintings and other visual medium that express abstract ideas. For one to experience a Jackson Pollack painting, one would have to of been in the process of creating the painting or one would have to physically touch the painting. As one can see from these two descriptions, the visual arts can express tangible and abstract ideas.

In the end, the multi-artistic theory that has been discussed represents the underpinnings to the various arts. With this artistic concept and the understanding of a theme and its development, as discussed in the previous article, one can produce a multi-artistic piece without failure. Creating such a piece is simple. It is a matter of choosing a theme, developing the theme, and finally choosing the art forms to express the production. So what are you waiting for? Start creating your production now. Grab a pen. Get a piece paper. And begin. That is where it all begins.

Andrew Hanna is the CEO & Production Manager of At Hand Productions, Inc. At Hand Productions (http://www.AtHandProductions.com) is a leading Philadelphia concert and theatrical production company. Andrew Hanna has 20 years of composition experience and 16 years of saxophone performance experience. His compositions range from duets to large theatrical productions such as My Journal, Requiem for the Now, and Prophecies of War.

Dave Brubeck in Concert at Orchestra Hall. Chicago, Ill. Mid 60's

2009-01-05T01:39:00.001-08:00

Orchestra Hall, a monument to Beaux Arts architecture located just a little south on Chicago�s �Miracle Mile�, was designed before the days of equality for the masses. It was, up to that point, a place to enjoy opera and symphony and such. In order to get to the cheap seats you hiked up 7 (or was it 10?) stories through a winding, narrow, windowless corridor that only accommodated one way, single file traffic. This set up allowed adoring, but economically challenged, fans to get to seats in the roost without disturbing the �real� customers. The seats ran to the top of the Hall and the incline was as close to 45 degrees as engineering could safely construct. This may not sound like a recipe for having a good time but the Hall lived up to its conceit in some ways. The acoustics, for example, were celebrated and legendary. Also, in the 50�s, a �jazz concert� as opposed to a �jazz set�, particularly in such rarefied air, was a different kind of party and a bow to Jazz� growing recognition as a �legitimate art� form.

The night of the event was cold and punctuated by some sort of weather disturbance that I, and my crew, (obviously) thought unremarkable for a Chicago winter. We were there to see the Dave Brubeck (featuring Paul Desmond) and Gerry Mulligan Quartets. And if we had to sit on top of the building we would have. We were young enough to make the ascent to the top with minimal damage or complaint and the prospects were way too delicious to be dampened by weather and steps. As long as our noses didn�t bleed from the altitude we were happy.

The Dave Brubeck Quartet was scheduled to go first. After some announcements that I don�t remember, the crowd quieted and exhibited the decorum to which the high-toned venue was accustomed. The curtain parted and there THEY were at a casual ready. There was Ron Crotty on the bass, Lloyd Davis on the drums, Paul Desmond on the alto sax and Brubeck, with huge glasses rimmed to match his shiny black grand piano, on the keys. The set immediately and unceremoniously opened with one of the soon-to-be-jazz classics which are now recognizable by the first bar - and proceeded from there. Can�t remember the exact offerings but I can remember how it felt.

Subsequent liner notes have said it all in better words that I can command. Genius; Controlled soaring; Astonishing�respectful� challenging interplay. Innovative timing. Surprising improvisation. In addition, there was just enough of an interjection of a classically trained mind to let you know how Bach devotees, back in the day, felt upon first hearing his music. The absolute artistry of everyone involved ate away at the reserve the Hall usually inspired. The atmosphere became infused with the hums, wry smiles and spontaneous claps and responses of a real JAZZ audience, which, we would soon learn, was the same no matter the venue.

At the break it was announced that Gerry Mulligan�s flight had been delayed as a result of the weather. Small decorous groan. Brubeck and company resumed but in the middle of an offering, a harried and bedraggled looking Gerry Mulligan lurched on to the stage (half carrying/ half propelled by his ridiculously large horn) with his group straggling behind. Any Orchestra Hall-tied decorum that had been left at that point in time was immediately lost.

After some adjustments Mulligan took the floor and proceeded to exorcize the frustrations that accompany delayed travel, nasty weather and other assorted challenges to his usual cool. The group- usually sartorially perfect in (very) narrow suits and ties but now mismatched and rumpled- pushed, drove, strode, charged and jammed for another hour. The audience went into tent revival mode.

But there was more�

Just about the time that we were sure we were going to be thrown out, Brubeck and Desmond returned � just ambled back out from the wings. All hell broke loose.

With a minimal amount of chit chat � or that�s the way I remember it � everybody involved launched into the first piece of another full set. Desmond and Mulligan romanced, challenged and dueled. Brubeck, hunched over the shiny black grand, flashed his devious cleverness and exhibited a little less cool and a lot more intensity. It was at least 1 am and nobody was moving an inch.

About an hour later, we found ourselves on a crisp, deserted Michigan Avenue. I don�t even remember the descent from our perch high above the stage. The audience was still in the unity of the experience and had not yet disintegrated into individuals. They still carried the awe and were congratulating each other on being in the right place at the right time. And then the famous Chicago �hawk� reminded us of where we were. We moved deeper into our coats and hurried to our cars but we were warm all the way home.

Sunni Knight is a DC metro based writer and soldier in the fight against family violence. This article was originally published in http://www.natcreole.com/, an online global urban culture magazine. Visit the site weekly for updated news, reviews, profiles, playlists, essays, travel journals, and upcoming events.

Professional Studio Tips: High Production, High Energy in the Studio

2008-12-13T03:08:00.001-08:00

I have worked for years in a commercial recording studio, and have observed all kinds of artists create their masterpieces, pay their tolls, and then leave. Some of these songs made deep impressions in my mind, and even many years later I can recall those pieces as if they were recorded yesterday. Others songs rapidly blurred away into obscurity. I ask you--what do you think the difference is between the two?

I say Attitude.

Today's listeners have both precision and perfection deeply engrained into every bit of sound that enters their ears. Doing a complex technical performance really is status quo these days. It's no big deal. Having perfect aural qualities of every instrument is standard operating procedure as well. What then, sets one song apart from another? Well (of course) you need a well-constructed and likeable song, but the point that I am talking about here is how the song is performed in the studio. When everything just clicks and everyone is right on top of his or her game, when you just cannot believe how great everything sounds, there is a sublime element present; many call it the song's music. It is that unexplainable great thing that is happening in the sound, song, and musicians.

The studio in kind of like a blank canvas on which we will paint our resonance; rightfully so, it was virtual reality before V/R exploded onto our computers. Separated by the push of a few buttons, the sound environment within the same four walls can be a raucous live performance, and then instantly become a soft and intimate presentation. Surely different studios will have slightly different offerings, but one thing remains constant: no matter how many tracks you put down on a song, and how many "takes" you record in order to achieve your perfection, the listener will be able to perceive the magic in your music (if that is what you convey when you lay down your song).

So how do you get your attitude aligned for a stellar performance? Well there are a number of things that you should do. If your band doesn�t have rules, then it should consider at least these few basic ground rules. Studio time is expensive, and although it may be a labor of love, it is stressful and often times physically exhausting. To make the best of your time in the studio consider these guidelines:

No altered states in the studio. Period. This includes alcohol. This doesn�t mean drink a six pack and then come into the studio without. It means come into the studio more energetic and prepared than you�ve ever been for any other job you�ve ever worked at. It also means do not come sleep deprived. This is your time to shine as brightly as you can. Want to hear that again? This is your time to shine as brightly as you can. This is your time to reach a level of precision and perfection in your song like never before. Always try to remember that people will be able to perceive the magic.

No excessive aural exploration. If you want a certain sound and you need to come in and spend the time to find it, it should be before the other band members arrive. Like wise with the drums, it can take an hour or more to get the drum sound that you are looking for. Energy levels dwindle as all other band members are placed �on hold� while technician bands on a snare for (seemingly) forever. Know what sound you want before you arrive. If you can achieve the sound you want via a stomp box and and an amp, fantastic. Bring your set-up in and have it miked. Nothing simpler.

Have Fun. The most important rule in the studio is to have fun. People can truly hear the difference. "Crabby" artists can signal process all day looking for the sound of a happy productive band. They will not find it in a circuit board.

Whatever it is, that thing that transpires in the music, has not been synthesized, sampled, or virtualized yet. It is magic, and it is in your sound.

Please browse my other Professional Studio Tips Articles.

Until Next time--see you on the other side of the tracks.

Gary "g-man" Wesselhoff is an acoustic blues writer/performer working the Chicago Metro area. You can contact him at: gman@gmanblues.com

Please Visit his site: http://www.gmanblues.com

Born to sing, Britney Spears is as big as ever today

2008-12-12T13:27:00.001-08:00

Britney Spears was born December 2 1981 as Britney Jean Spears in Kentwood, Louisiana, USA.

Many people who knows Sagittarian Britney Spears knows that Britney Spears was born to sing. Before she made a name for herself in the entertainment world, Britney performed in local dance reviews and church choirs. Spotting her unusually keen interest in performing, her attentive parents, Jamie and Lynne Spears, sent Britney Spears for an audition in Atlanta when the Disney Channel�s Mickey Mouse Club called for performers. She was eight years old then. Although Britney Spears was not selected during the process (she was too young for the show), a producer on the set noticed the extraordinary talent in her and arranged for Britney Spears to spend 3 full summers in Broadway Dance Center and Professional Performing Arts School. Despite her young age, a door was opened to Britney Spears when she DID appear in an Off-Broadway Production, Ruthless in 1991.

Britney Spears remembers the role in Ruthless very clearly; recalling that at 10 years old, she was playing a child who was really sweet on the outside but evil on the inside. �It was fun!�, she laments.

The entertainer in 11-year-old Britney won the hearts of the judges when she auditioned for a place in The Mickey Mouse Club again and got the part for 2 years. After 2 fun-filled years of working on the Orlando-based set for the Mickey Mouse Club, Britney, at 14, returned to Kentwood for an ordinary year of high school � but as expected, the energetic Britney Spears found herself itching to get back into the limelight.

It seems that Britney was born to enliven the lives of those around her and enjoys idyllic lazy days on a beach. Beautiful Britney Spears took the world by storm when her first single �Baby One More Time� made its debut at number 17 on the Billboard�s Hot 100 chart!

The shopoholic Britney Spears proclaims her love for romance novels, her NEED to sing and her love for travel. Despite rumors and negative feedback from critics (mainly about being a bad role model because of the skimpy clothes on stage), Britney Spear�s reputation and attitude towards life as a famous teen remains relatively untarnished and refreshing to a fault.

However, life as a pop Princess is tough, especially when the rumor mill won�t stop spinning. Her influence on the young and old is indisputable. Britney Spears raised eyebrows when she pulled attention-grabbing stunts that stunned the world � like kissing Madonna at the Video Music Awards and her short (very short 55 hours) marriage to her childhood friend, Jason Allen Alexander. But obviously, that�s not all. The name �Britney Spears� have been linked to several high profile names and figures in and out of the entertainment world � like Prince William (heir to the English throne), Justin Timberlake (N�Sync) , Collin Farrell (actor) and Fred Durst (Limp Bizkit). She married Kevin Federline, a back-up dancer, in 2004. Britney proclaims that she has done everything there is to be done at her age and the only thing that she can�t wait to do now�.is to have a baby!

Britney�s sister, Jamie Lynn, is following in her sister�s footsteps and set to enter the world of entertainment herself. Jamie Lynn has the full support of her sister, the pop Princess, Britney Spears and with her support, we are all pretty sure that Jamie Lynn is set to have a very successful career in showbiz.

Britney Spears won the following awards in her career (till 2004)

MTV Europe: Best Female Artist, 2004

Access Hollywood: Top Star, 2004

MTV European Music: Best Female Artist, 1999

MTV European Music: Best New Artist, 1999

MTV European Music: Best Pop Artist, 1999

MTV European Music: Best Song, Baby One More Time, 1999

Center States of U.S.A: Miss Talent, 1990

Dean Erickson. Journalist, and web site builder Dean Erickson lives in Texas. He is the owner and co-editor of all-britney-spears.info on which you will find a longer, more detailed version of this article.

Beginner's Guitar Lesson

2008-12-11T08:25:00.001-08:00

I�ve met a countless number of people who say they�d like to learn how to play the guitar but actually never went on to learn. These are the ones who actually have a dusty guitar case lying around the house or started taking beginner guitar lessons that they discontinued for one reason or another.

Are you one of them? If so, why did you stop? Chances are, like many others, the more pressing concerns of your life took over and learning how to play the guitar had to take a back seat.

Frankly, learning to play the guitar the traditional way (i.e., with an instructor, through lessons) is difficult to do, especially if there�s a lot going on in your life. However, there are many other options. For example, you may choose to take lessons via the internet or purchase a DVD or books on how to play the guitar. And don�t worry if you don�t know how to read music, because these options will teach you how to read tablature, which is easier to learn than reading music.

Whatever option you choose, the basics remain the same. You�ll have to start out by learning about picks and tuners, about the right way to hold the guitar and pick properly, about how to tune the guitar so that it sounds right. This may seem to be too basic to some people, but the fact is that there are others who struggle with even these basics and could benefit from a few pointers. It would also help if they took their first lessons at home so that the embarrassment factor is low. Aside from the above, beginners are also taught about the basic scales and chord formations too, as well as basic music theory. These are things that even accomplished musicians refer back to.

The main thing to remember is to establish a firm foundation, because this gives you something solid to build on. Once you learn the basics, it�s a lot easier to move forward. It doesn�t matter if you decide to learn online, from a DVD, or from more traditional means, learning the basics is key. Bear in mind that the guitar is one of the easiest instruments to learn (although it sometimes doesn�t seem that way) and is very versatile for most types of music. Don�t give up on that dream just because you can�t find the time. Just think, after only a few lessons, you�ll be wowing all your family and friends with your musical prowess on the guitar.

http://www.myentertainmentweb.com is a site dedicated to providing arts and entertainment information. It is owned by Phillip Culver who has a keen interest in the arts.

Article Source: http://EzineArticles.com/?expert=Philip_Culver

Rock'n'roll is the Future of Music at Wichita Falls Records Thanks to Pioneer Frank Lee Sprague

2008-12-09T00:43:00.000-08:00

With the state of the music business becoming more and more stale, consumers are looking to the internet to satisfy their craving for new and innovative music. A record label located in Wichita Falls has started a revolution on the internet with music that is daring and groundbreaking. Wichita Falls Records has released albums such as Merseybeat, the Savage Sprague Brothers, and now its newest release Cavern.

The recording artist Frank Lee Sprague is well known the world over for his loved recordings of the best in rock'n'roll. Playboy magazine called his band a "great lost west Texas rock band."

Now he has turned his innovative approach to business. With the launching of his new label Wichita Falls Records Frank has created marketing strategies that have been blazing the internet resulting in sales and promotion in staggering numbers. Not content to do things the old fashioned way, Sprague keeps creating in music as well as business. As a sign of recognition of Frank's genius El Toro Records in Spain recently aligned itself with Frank's label and released a multi-volume CD of the Sprague Brothers music. This is a sign of things to come concerning Sprague's music as other companies worldwide are eager to join in the new music revolution. Many cooperative ventures are on the horizon and there are DVD's in the queue for release as the label is growing at a staggering rate.

The future of music is secure at 'tomorrow's music company' and with the internet becoming more and more of a force in the industry Wichita Falls Records and Frank Lee Sprague forge ahead!

Lee Holley is head of Artist and repitoire at Wichta Falls Records.

Guitar Lessons: Musical Expression Starts from Within

2008-11-17T03:49:00.000-08:00

Great guitar playing is more than playing riffs and licks; it�s about presenting your emotions and feelings in musical terms. That�s why it�s called it musical expression.

When I first started playing I was so concerned about hitting every note right. I�d spend hours practicing scales and chord forms and making sure that each note sounded perfect. After about two years of practice I knew everything in the world about making chord shapes and playing scale, and nothing about making music. I�d record myself and the listen to the playback and it sounded like a bored guitar student trying to play every note perfectly.

Time to crack a few eggs and make a new omelet. I started to listening to some great guitar players that I admired like David Gilmore, Stevie Ray Vaughn and Jimi Hendrix to figure out what they were doing different then me. I knew the same scales, and chord progressions, but I sounded nothing like these legends. I decided I wanted to sound more like David Gilmore so I spent the time to learn the solo from Comfortably Numb, but it still sounded flat and unexciting. I was try to play it exactly the way David Gilmore did, when what I should have been doing was playing it the way I FEEL.

That�s when it all started to come together for me. I figured out that I can learn for great guitarist, but the musical expression must come from inside me, to be of any interest. To channel what is in your soul to the guitar, I learned to simplify musical passages, and feel each note, and I learned not to be so worried about what my hands were doing. Magically my hand started singing because I had reached deep inside and cleared my head enough to allow for the musical expression I was unable to share in the past.

All the scales, chords and hours of practice just provide me with the tools I needed for self expression. My musical journey will never end, but my ability to explore is now at warp speed.

Bill McRea is the publisher of The Guitar Warehouse and Guitar Playing Techniques. Both sites offer free lesson and product sales.

ANDREA GERAK the Enigmatic Hungarian Female Voice, Possible Successor of Marta Sebestyen

2008-11-16T21:48:00.000-08:00

Dialogos 3, the highly popular music program of Spanish National Radio recommends Andrea Gerak as the artist who can follow the World Star of World Music, Marta Sebestyen "Looking for musical beauty and searching to find impressive, new artists, whose talents leave us perplexed and speachless... In particular, the voice of the little Hungarian woman called Andrea Gerak has not left us indifferent. She has confessed to being influenced by the voices of Enya, Lisa Gerrad, Sally Oldfield and Clannad, and her compatriots like Marta Sebestyen and Iren Lovasz. In her beginnings, this girl from Budapest was a soloist singer and dancer with various folk groups of her country, and she now tries to guide her career towards being a solo singer. She therefore makes herself known on these web sites that are promoting artists who are just beginning and who not yet sent a Long Play to the market. Her main ground is interpreting Hungarian folk songs and performing them A Cappella or as World fusion, or with electronic instruments in a matrimonial fusion of textures. Other styles in her repertoire include pop, rock and jazz. If you are a reader of this blog, and are passionate about new "celestial voices", we encourage you to find out how Andrea Gerak sings. One must only know how to search the web sites mentioned above in order to run into artists of enormous quality, because there is "much more gold than what shines in simple view". And this singer is one example of it. If you check with me, it is even possible that she collaborates with a Spanish artist named Cambridge [มngel Or๓s]. We hope that this collaboration is carried out and produces a musical encounter in which they jump with sparks of creativity and voice with synthesisers marry, as has never been imagined before. As Ramon says, referring to listening to "enchanting" music, it is "enchanting" at the first listening; but that remains hidden to the listener and to music critics entertained in other sacred homes of sound. "TOC, TOC. I am here to be discovered. What are you going to do with me then?" Will you be one of the first ones to meet such musical wonders? That should be your challenge, ours already is, since a while." *** Thanks for the kind permission of Dialogos 3

Music Making as Spiritual Experience

2008-11-14T22:27:00.000-08:00

If you've been playing piano for some time, you may come upon periods where you forget yourself and only the music remains. You might even have had a spiritual experience. A phenomenon where emotion and intellect become one and the outside world disappears.

This experience is what we all want, whether we admit it or not. This is a very important part of making music - especially new age music. We want that moment where we can stop thinking and start feeling.

Of course, there are times when we create something for a specific purpose such as dance music, rock and roll, etc. But when you are attuned to your feeling and letting the music flow from your fingers the wonder and magic of it is enough to make you want to come back again and again for more.

To get to this place does not require any special ability. It only requires that you know a little about chords and how to use them. Then, you place your fingers on a chord and off you go.

What makes this complicated for some is their indecision about which chord or notes to play. After all, there are thousands of choices. The solution for this problem is limiting your choices. In the free lessons, I give you a scale to play and a few chords from that scale to improvise with. This is enough material to get the imagination going. Some students thrive on limits while others fight them. I fought them too until I realized that my goal was to feel good about music making - not to create a masterpiece.

As soon as I thought about creating anything - I froze up. Technically, I knew a lot but it did me no good. I reexamined my reasons for making music and came to the conclusion to keep it simple. Simple, in my mind at the time meant boring. But I finally let go of the need to please others and as soon as I did, I began to experience music making as a spiritual experience.

Now, there is nothing that heals me so much as just being at the piano - letting the notes fall where the will within the limitations I set for myself. First, I allow myself to gravitate to any sound that calls me. For example, it could be a minor chord. It might be the pentatonic sound that calls to me. Then I simply stay within that sound or tonality and all is well.

You Don't Just Have To Hang-out, Records Can Make Your Time With Friends Fantastic

2008-11-14T07:46:00.000-08:00

Music is a great way to pass the time and can even act as background music when you are having a party, studying, or doing something as simple as cleaning the house. Music is a part of most people�s lives, whether they realize it or not. Perhaps you like to get together with friends to hangout, records are a great way to break the ice and set the tone of the party or get together. Music is everywhere: on the television, on the radio, in the office, and even on the telephone when you are put on hold. It�s no wonder that we are all walking around humming songs a good deal of the time.

Even if you are not getting together with friends to hangout, records are still a great way to pass the time. If you need to get in shape you can do it to your favorite music. Simply put your favorite CD, tape, or even an old record on and start working out. Music can help you keep the pace on a treadmill, exercise bike, or even doing something like calisthenics. If you get together with friends to hangout, records can allow you to work off some of that party food if you all dance to your favorite tunes. Many friends enjoy getting together so that they can teach one another their favorite dance steps before heading out to the clubs for an exciting night on the town. As you can see, whenever you get together with friends to hangout records are a great addition.

If you have a lot of studying to do, music can be a great motivating factor. If you need to get a certain amount of homework done by a certain time and you like background noise, but on your favorite CD and get studying. Make a deal with yourself that you will be done with a portion of the work by the fifth song, and another portion by the tenth song. Working to your favorite music will not only help you set goals, but will help to make your studying and homework much more enjoyable.

If you need to do a good house cleaning and you need some motivation, music is a great motivating factor. If you can solicit the help of friends and ask them to come hangout, records in hand. You can all work together to your favorite music and get the job done in very little time. Spring cleaning, cleaning before or after a moving, or even weekly cleaning can get done in very little time with the help of a little music. You could even put together a library of music that you use to help one another clean and do dirty chores such as spring-cleaning and painting. Music helps to pass the time, and when you get friends together with the music, there is nothing better.

If you are looking for some new music or you like to change your music up while you work, play, or clean you should look into compilation records. A lot of artists work together to bring fans really diverse sounds on these compilation discs. If you are looking for some good ones, there is a CD entitled Avenue 707 that has some really great sounds and is fast becoming one of the best hangout records that you�ll find. Avenue 707 is not the only one though, the NOW series is quite popular as well and features all of the most popular artists songs all on one CD so you aren�t stuck with just one sound when you turn on music. These sorts of CD�s are fun to clean, study, and even drive to because they are so diverse.

Chris Robertson is an author of Majon International, one of the worlds MOST popular internet marketing companies on the web. Learn more about Hangout: Records are Number One or Majon's Music directory.

Article Source: http://EzineArticles.com/?expert=Chris_Robertson

Guitar Lesson: What Is The Ultimate Way To Practice On Your Guitar?

2008-11-12T17:25:00.000-08:00

Is there a best way to practice on your guitar? Of course you have to make your practice sessions effective but could there be a way to practice that is more effective than other ways?

There are many principles involved in an effective practice session and I think some of these are:

1. A motivation founded on a love and passion for the music you can produce on the guitar.

2. An acceptance of the fact that you must practice on that technical level you have reached.

3. A working knowledge of muscle tensions and how to minimize them when you play and how to work on reducing them when you don't play.

What shall we do until we find the most effective way to practice on the guitar?

When I was studying music at an academic level I many times had the question messing around in my mind about the ultimate method for practicing on my guitar and other instruments I played.

A well renowned jazz tenor saxophonist who was my teacher in jazz improvisation discussed this issue with me as I asked him and he gave me the most intelligent answer I ever heard before or after. He said with a smile, "until you find out the best way to practice, practice anyway!"

How effective can a practice session be?

My humble opinion after much practicing and playing guitar and piano and other instruments and also teaching piano and guitar is that you have to take many things into consideration like the time available, your motivation level, how concentrated you can expect yourself to be and more.

As real growth often is a slow gradual process you will not very often be able to measure the effectiveness of a practice session by how much you have learnt so you have to find other ways to find out if you are effective.

Can you practice too much or too effectively?

It depends on how we define effective practice sessions. If effective guitar practice is to work through a long list of things to improve in your playing and to practice ten hours a day without interruption I guess you can practice too effectively.

This will mean that you practice in such a way that you will get fed up with guitar playing and maybe you will even hurt your muscles and develop an aversion towards guitar playing for the rest of your life.

What is real effectiveness when you practice on your guitar?

Real effectiveness is better measured by how well your practicing methods and results are pointing towards you goals. Without goals you cannot measure effectiveness. The roads to Anywhere are many so to find out if you are on the right road you have to decide your destination.

If your goal is to have fun with your guitar then you have a very effective practicing session if you have fun with your guitar. If that is what you want then it is a worthy goal. I guess you could come upp with more specific goals with deadlines so you can measure them better. But it is up to you to decide your own goals, otherwise the goals will not be effective.

I hope these words on practicing guitar playing will give you some comfort and also help you realizing that when human beings like you and me are involved we cannot definitely say how we ought to play to be effective.

Human beings are funny things that sometimes behave like as if they were identical, but nevertheless they are unique. This also applies to guitar players like you and me. We are different in many ways but I guess we want our guitar playing to contribute to our happiness and joy so have fun and..."until you find out the best way to practice, practice anyway!"!

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your free sheet music and learn to play resources at http://www.capotastomusic.com

Hip Hop Potency

2008-11-11T04:04:00.000-08:00

The success of rap music as the main expression of hip hop has elevated it beyond a cultural movement but to the status of financial powerhouse. Started in the 70�s by innovative DJ�s, rap has become a world wide phenomenon. The organic growth of the music has established the identity of rap music as a political tool for the underprivileged. It has been the voice of the oppressed and underrepresented. Today�s rap, however, has changed. The forces behind hip hop are no longer focused on the art and message. Instead rap has become a commercial boom to be used for profit. The hyper commercialization of rap music has led directly to the degrading of its potency as a form of pure art.

The rap industry posted revenues in excess of 1.5 billion dollars in 2005. It�s a far cry from the roots of rap, perfected in east coast ghettos some 25 years ago. Today, the industry of hip hop is run with the efficiency of major corporations. Potential rap stars are plucked from obscurity with the public psychology in mind. Businesses pour millions of dollars of advertising revenue into artists such as Nelly and Eminem to shill for their clothes and shoes. Music industry corporations have fully accepted and promoted gangsta rappers like 50 cent, leaving violence and sexism in their wake.

The over commercialization of rap has spawned a litany of pretenders hoping to strike gold. The use of controversy to garner attention is widespread. Involvement with a shooting, being associated with a gang or getting arrested for weapons charges can add �street credibility� to your image. It follows that in order to gain millions of dollars many artists may stage a shooting or purposefully get arrested. This misuse of violence is matched with a high degree of sexual exploitation of women. Females are valued for their physical attributes only. Video after video show us herds of women dressed in porous outfits dancing aimlessly. Rap lyrics reveal a general perception of woman as whores and liars. Sexist and violent mainstream rap no longer holds the position as the enlightened voice of a struggling generation coming to grips with the harsh realities of an unfair world.

The quality of the music itself has been diluted. Rappers who do make it tend not to produce great albums like we saw with the likes of Run DMC. Instead they focus on producing �hits� hoping to experience a windfall from the impulse buying public. Never mind about elevating the art craft, let�s get paid, now. The market is flooded with one hit wonders and fools pandering to target audiences. Meanwhile, the public is left with the bad taste of weak albums hurriedly slapped together in anticipation of advertising deadlines. The revolution that was rap is now a business model for hustlers.

Rap is not dead, yet. There are some bright stars. Artists like Kanye West and the more obscure Jurassic 5 have had success in the face of the emergence of commercialized rap. They represent a side of rap that can still be cutting edge but more responsible and socially aware of the consequences of their actions. They are conscious rappers who are concerned by more than their bottom line. Africa Bambaata was the first to identify hip hop as a cultural movement. Rappers like Common have carried that torch by not selling themselves through controversy or promoting violence. They use words to stimulate thought, discussion and hopefully change. The commercialized rapper will answer these charges by pointing out that violence and sexism is reality and he is just testifying. There is truth to these comments. But where is the responsibility to your community? Why not uplift the people with your music? The answer is not up to him but rather to us to reverse our bad habits with buying gangsta rap and establishing a commitment to our communities with our music choices.

Article Source: http://www.articledashboard.com

Derek Belay works for www.jewelrypayless.com�>Jewelry Payless.com and KingIce.com as a marketing manager.

Piano Music - How to Begin and End a Piece

2008-11-07T22:22:00.001-08:00

How do you begin a piece of music? That's a question I'm often asked. The answer I usually give is that you begin as soon as you start playing - that is, if you're trying to "compose" something, the piece begins the moment it has energy and is something you want to capture. If it's an improvisation, the piece begins the moment you set your fingers on the keys and hit the first note. It's like free flow writing and writing a chapter to a novel.

The writer can both improvise and enjoy the process or can structure the ideas more - or, as I like to do, combine both procedures into one. I start out by improvising - always. Then, if I want to memorialize a musical idea, I write down the first two bars of melody along with the chord(s) I'm playing. I throw this on a chart and voila - the idea remains fresh until I want to either expand on it, or ignore it completely.

If the idea is a rhythm pattern I write down (Left hand = whatever the pattern is) so I can remember it later. I never stop improvising though because that would stop the flow and who knows what could come out of it. Don't forget that an improvisation is a piece of music in and of itself. There is really no need to impose structure on something as beautiful and organic as spontaneous expression. In fact, these spur of the moment fantasies are often more inspiring than any contrived composition. There is something more alive to them because there IS more life to them.

Endings pose another problem, namely the problem of when to stop playing. For improvisation, the answer is when energy (inspiration) starts to wane down. That's a good time to bring your music to an end. You'll know when this is happening when you become bored. That's the sign it's time to stop.

Composition is a different story. The form of the piece already dictates when you should stop. For example, an ABA form tells you to play the A section once or twice, go to B, back to A then bring the piece to an end. Of course the amount of repetition and contrast is a personal decision but the form establishes both beginning and ending. It's a nice safe way to say that yes, I have a piece of music here. Now, improvisations can have form as well. The big difference is that you don't consciously think about putting the music into a predefined shape.

But for some unknown reason, most improvisations do have symmetry - that is they take on a form of their own. I don't know if this is because of human beings innate rhythm (heartbeat) or what.

Even Zen flute music, which may be the most freely inspired improvisation style around has some structure. You can hear it in the phrases. Beginnings and endings. Don't worry too much about them. What's important is where you are emotionally while you play. Become aware of that and all your problems are solved.

How to become a Singer?

2008-11-07T18:22:00.001-08:00

Everybody loves a good song. There are a lot of people who love singing and there are various types of singers such as bathroom singers, classical singers, professional singers who sing songs based on genres such as country, pop, rap etc. If you are aspiring to be a singer you need to experiment with the following ideas:

First, try singing to a smaller public, and ask them for an opinion. Record your voice at the time of singing and listen to it. Refer some of the important books that will provide you instructions regarding the different techniques of singing. Attend practical classes to learn music by choosing a good tutor. Switch on the musical devices and try lisping when you hear your stars singing. Attend the shows at live concerts to practically know about the stage performances. You will be probably inspired by their strengths and try to acquire a few points from them.

If you firmly believe in your talent then continue with the activity more seriously by choosing a good tutor. Sing alone whenever there are no people around you. Add style to your singing by adding a few dance steps.

Before you get into this stream, assess your singing potential; otherwise you will be unnecessarily investing your money and ending up in failure.

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Music Business Contacts: Music Business Registry connects artists, managers, publishers, producers &

2008-11-06T12:21:00.001-08:00

"The difference between success and failure is information," notes Ritch Esra, and he should know. Along with his partner, Stephen Trumbull, Esra is a leading part of the number one most-reliable source of information on "who's who" and "who does what" in the music business. Best of all, they can tell you where everybody is located.

FIVE VOLUMES OF DATA.

The Music Business Registry (http://www.musicregistry.com) publishes five directories: the "A&R Registry," the "Music Publisher Registry," the "Music Business Attorney Registry" the "Film and Television Music Guide," and the "Record Producer and Recording Engineer Directory." For many in the business, these are indispensable reference works.

"The directories give everyone vital, accurate and the most up-to-date information they need to contact the entire A&R, music publishing, legal and film/TV music communities," Esra states. From comparing notes with dozens of professionals in all of these areas of expertise, I can tell you that no one disputes his claim.

More than one music industry executive has told me that the Music Business Registry publications are worth their weight in platinum. Tess Taylor, president of NARIP (National Association of Record Industry Professionals), says "I couldn't get through one day without the directories from the Music Business Registry. These publications are the finest in the business."

Each directory tells you how to reach industry professionals by regular mail, e-mail, direct dial telephone and fax. The books provide each person's exact title, street address, the name of their assistant and the styles of music in which each executive specializes. Web sites are also included.

UPDATES? YOU WANT UPDATES?

The world of the A&R executive is exciting but ever-changing. Which is to say, there's a lot of turnover in this part of the industry. So much turnover, in fact, that the A&R Registry is completely updated and reprinted every eight weeks, whereas the publisher volume is biannual and the other books come out yearly.

NEED A PRODUCER? HERE ARE 1,700 OF THEM!

Created in partnership with RPM Direct, the "Record Producer & Recording Engineer Directory" presents 1,700 of today's leading Record Producers, Recording Engineers & Remixers throughout the US, Canada and Europe in every genre of music. Included in the book are:

(1) Complete contact information for every Producer, Remixer & Recording Engineer along with a list of their credits.

(2) Producer/Engineer/Remixer Management Companies including a complete staff listing as well as full client rosters.

(3) A Complete Index to easily locate any producer.

(4) Several Interviews and articles with today's leading Producers & Engineers.

No wonder you can find the Music Business Registry's publications in the offices of top record company executives, music publishers, artist managers, agents, music attorneys, recording artists, studios and other music business professionals everywhere from Los Angeles to London, New York to Nashville, Chicago to Copenhagen, Toronto to Tokyo, Stockholm to Sydney and Minneapolis to Munich.

YOUR SEARCH BEGINS HERE.

The Music Business Registry is located at 7510 Sunset Blvd #1041, Los Angeles, CA 90046-3400. Phone: 800-377-7411 or 818-995-7458. Fax: 800-228-9411 or 818-995-7459. E-mail: ritch@musicregistry.com.

Scott G (The G-Man) writes and produces radio commercials from G-Man Music & Radical Radio. With albums on Delvian Records, iTunes, Amazon, and many other online stores, he also composes music that is played in clubs, on college radio stations, and on commercials. A member of NARAS (the Grammy organization) and NARIP (National Association of Record Industry Professionals), he writes about music, advertising, marketing, communications, advertainment, and digital distribution for the Immedia Wire Service and MusicDish.com. Samples of his songs and commercials are on his site at: http://www.gmanmusic.com

Turn It Up: Plugging Into The Perfect Guitar And Amp Settings

2008-10-31T20:40:00.001-07:00

Yowza! Did you hear that hideous noise? It sounded like a combination of nails on a chalkboard, a cat in a dryer, and a baby wailing at the top of his lungs. Do you have any idea of what made that awful sound? As a long-time musician, I think I may have the answer for you. It's a guitarist fiddling for the first time with his new amp.

Before I bought my first amp, I wouldn't have thought that a human could produce such a horribly wretched sound. But, now I know better. In the process of finding the perfect settings for your guitar and amp, you are sure to discover all kinds of disagreeable screeches and squeals, shrieks and screams. And, believe it or not, these unpleasant and often other-worldly sounds are all part of the learning experience.

I've often been asked to give beginners online advice on how to dial in their amps and guitar settings. For a number of reasons, this is no easy task. As you know, the experience of sound is totally subjective. What I may like, you may not. This said, it's hard to give definitive advice about guitar and amp settings.

So much is involved in getting the sound just right for your tastes-including the room you're playing in, the gauge of your strings, the guitar you're jamming on, and the type of amp itself. All of these come together to create a playground for experimentation: a place where you can twist this knob here and turn that knob there and, before you know it, you're a musical stylist, an expert in designing the perfect sound.

I can, however, offer a few general tips that might help out as you begin playing with your amp.

Always start with your dials pointing to 12 o'clock and twist and turn from there. 12 o'clock will give you the baseline to work from and you can let your ears tell you what does and doesn't work from there.

No matter how many other bells and whistles your amp has, you're almost always looking at a four basic areas you'll be most interested in learning how to manipulate:

Treble Adjusting this setting will affect the amount of high end in your sound. If you go big with treble, you'll end up with a very sharp and crisp sound. However, if you go too big, you'll likely end up with a harsh sound.

Middle The mids can be the most important setting to your overall sound. Adjusting these settings can really impact the overall character of your sound. Low settings can give you the classic rock-n-roll sound, while higher mids will take you down the honky-tonk, bluesy path. Play around with the mids to really see how much change you can create in your sound with the simple twist of a knob!

Bass If you like that deep, booming sound, you'll definitely want to go fat on your bass. On smaller amps, however, you might not be able to get the full effect of the bass simply because of their size. But, no matter how you like it, be sure to see how the bass and treble can work with one another to create your ideal sound.

EQ / Filter / Tone/ Contour They're called by different names on various amps, but they all do the basically the same thing: adjust all of your basic settings (e.g., treble, mids, and bass) with one knob. If you want to find out what the maker of your amp considers "correct" settings, play with these knobs to hear how your treble, mids, and bass all can work together for radically differing results.

If you've got a valve (tube) amp, be sure to:

always replace the whole set when even just one tube blows

never move your amp while it's still hot

be extra careful that you line up he pins in each tube perfectly with their corresponding holes on the amp

To make sure you keep your amp in top condition, be sure to:

keep your amp in a dry location

always use the best quality leads (guitar, speaker, microphone, and effects)

always have your amp serviced by a capable technician

In the end, you have to know this one rule of amps: there is no right or wrong way to set it up. If you like what you hear, you've done a great job. If you don't like what you hear, remember the settings and the sound and don't dial those in again. Experiment, experiment, experiment and have fun!

Jon Butt is the publisher of Musical Instruments Guide , a free resource dedicated to all things musical. From electric guitars to drum sets, tubas to bagpipes, and every musical accessory in-between, the http://www.the-musical-instruments-guide.com/guitars.html">Musical Instruments Guide is packed full of informative articles, find top-rated musical instruments and online merchants

The History Of Drums - A Journey Of Sound

2008-10-31T00:40:00.000-07:00

Music and musical instruments are an extremely important part of human history. The use of rhythm and song has long been used to express meaning, and feeling and accompany rituals.

Music has been part of human life for as long as anyone can trace. Early civilizations of humans used music as a way to communicate and express feelings. Out of all of the musical instruments that we see in our society today and use on a regular basis, there is one instrument that stands out in musical history, the drum.

The history of drums is interesting and unique. When you examine this instrument historically, you will find that drums have had a place in almost all cultures around the globe. Variations of drums and drum sets occurred in many different cultures, the standard variety of a drum consisted simply of a hollowed out log or gourd with a piece of skin stretched taunt. Different sizes of gourds and logs created different sounds and beats.

The African Influence

In most African cultures, drums were very important in the use of rituals and religious ceremonies. The people of different African tribes relied on the use of drums to express themselves and when the slave trade began, the drums made the journey across the ocean as well.

African drums and drummers provided a unique sound that heavily influenced Western Rock and Roll music. Those same rhythms and beats still provide a strong influence in today�s sounds.

The Early Drum Set

When it was discovered that one player could play two or more drums at the same time, people started placing groups of drums together for one musician to play. These groups were comprised of an assimilation of drums of different cultures and from all around the globe. Cymbals and tom tom drums were brought in from China and the size was adjusted to allow for ease of play when played with drumsticks.

In the early 1930�s, musicians slowly discovered with the proper drum placement and a lot of practice, one musician could handle a set of drums, and an entire band of drum players was not required anymore. Thus, a basic kit evolved and took place.

In An Early Kit

The early drum kits were simple in their design, they typically consisted only of:

1) A bass and foot pedal
2) A snare drum
3) Tom Toms
4) A hi hat cymbal
5) One or two sets of hanging cymbals

The Evolution Of The Drum Set

In the 1930�s the drum set was heavily influenced by the sounds of the time, and the early forms of Rock and Roll music. The sounds had a strong basic beat backing them.

In the 1950�s as Rock and Roll music began to develop, the sounds became more complex and likewise, the drum sets became more evolved, with new additions added to them. Rockers began expanding the drum kits adding more cymbals and tom toms drums to them. In addition, as time went on, electronic drums were added to the drum kits as well. All of these additions allowed the musicians to expand their sounds and diversify their music.

Types Of Drum Kits

In the past, as drums evolved and drum kits developed, new companies were formed and products were fine-tuned and made better. The Ludwig Drum Company is known as one of the most influential and historical drum companies of our time.

The Ludwig drum company was started by a young man who enjoyed playing the drums. He could not find a bass pedal that would hold up to his intense drumming style. He shopped around everywhere and could not find an appropriate pedal, so he fashioned one out of wood. The pedal was superior to anything else on the market. His brother, felt that an even stronger pedal could be created out of a metal product, so they teamed up to create an even better bass pedal. Thus, the Ludwig Drum Company was born.

Ringo Starr, the famous drummer for The Beatles used a Ludwig drum set and was known for preferring the Ludwig drums. He is said to still own the original Ludwig drum set that he played with the Beatles.

There have been many other types of drum kits and company names that have played an important and influential role in the history of drums. Yamaha, Pearl, Tama and Gretsch are all famous brand names whose drums and drum kits have helped form the drum set, as we know it today.

The Future For Drums

What does the future hold for drum sets? No one can be sure. However, with the creation of more and more technology, we can be sure that the sounds will evolve even more. A combination of new sounds and traditional will always be found. And the limit for drum set creation will simply be the imagination of the musicians.

ฉ 2005 http://www.drum-sets-now.com

Kevin Brown is successful author and publisher of many informative websites including http://www.drum-sets-now.com . His websites offer tips and advice on a wide array of topics including drum kits, African drums, percussion instruments and more.