Be An Organized Church Pianist

Playing in front of a congregation each Sunday is no easy feat. Make sure you are well prepared before giving your best for God and before others.

1) Practice the piano and more preferably the songs you will be playing early in the week and often.

2) Sing while you play so you can have a feel for how well your playing will mesh with the singing.

3) If you use sheet music make sure it is organized and ready to go. Write up your introductions and endings or make sure the ones you have used before are the ones you will want to use this time.

4) If you are accompanying a soloist make sure you set aside good time to practice.

5) If you are still working on your craft then make sure you are studying your piano lessons and practicing those in ADDITION TO practicing your Sunday songs. Don't stagnate. Add to your skills. Learn new songs or new ways of playing old favorites.

6) If you are the worship planner also a nice resource to have is an index that lists songs by scripture,by topic, and by key.

7) Don't give up because you don't have a piano. A keyboard will keep you going until the Lord sees fit to bless you with a piano. Truly. This happened to me.

8) Do you want to play in a particular style? You could just purchase music that is arranged in the style you want to play. But an easier option is to learn what specific notes or chords are making that special sound.

Use these ideas for how you can keep yourself together so come Sunday morning you can concentrate on making a joyful noise for the Lord!

See more ideas for a beginning church pianist in my book The Struggling Church Pianist

Kemi is a church pianist and author of the book <a target="_new"href="http://www.lulu.com/content/121356">The Struggling Church Pianist</a>. Visit her website and download some free musician tools at... <a target="_new" href="http://www.strugglingchurchmusician.us">http://www.strugglingchurchmusician.us</a>

Inspiration Wanted - Apply Within!

One of the biggest stumbling blocks for music students is knowing what to practice. In the early years students listened to their teachers and did what they told them to do, which is still of course perfectly valid. But the real turning point that sets a student on their own path is the ability to self motivate and take the reins without the aid of a mentor.

This usually happens around the time that the student falls in love with music. When a student starts out, they usually practice out of fear. Fear that they might be told off because their teacher will scold them for NOT practicing. So much later, when the student has some basic playing facility behind them, music all of a sudden becomes fascinating to them. This is when the craving to pick up the instrument starts to happen.

As the student continues to explore on his or her own, there are doubtless times when road blocks appear. I've always thought that improving happens in peaks and plateaus, where the plateaus of seeming UN-improvement seem to last forever! This of course is never the case because the plateaus are the times when the information is being absorbed which is so necessary.

However, it is during these plateaus that the student often gets stuck. Personally, I have always got through these troublesome times because I have always paid close attention to a little inner voice that would always tap me on the shoulder and say "You know you have a weakness when you play over diminished chords", or "Your sight reading in the 8th position needs a little work when you play in the key of Ab". And so on.

This little voice never went away over the years. She's still there today, tapping me on the shoulder every few weeks, making sure I am not resting on my laurels. But I have found that if I am committed to improving and really open to working on whatever I need to work on, I will always get the advice I need.

I think deep down we all know what our strengths and weaknesses are as players at any level. Therefore as we continue to grow and develop as musicians, we must always pay very close attention to our weaknesses and work on them. They usually stare us in the face. The trouble is, it is very easy to ignore what is usually obvious to us.

One thing I have found is that, unless I am really open to learning and in the mode of wanting to improve, that little inner voice tends to go away. She's not tapping me on the shoulder telling me what I need to work on unless I really want to know.

So I guess what I am trying to say here is ask yourself questions! What is your real commitment to music and what are your weaknesses? If you truly want to be a great player then you simply need to focus on your weaknesses.

Now as time goes on, and you cover the playing field regarding technique, harmony and melodic vocabulary, then that inner voice directs you to more and more specific things. She might say "You sound unsure when you play over that G7(#5) bit in the bridge of Stella By Starlight", or "Blowing in 3/4 time isn't really quite together yet is it? - let's work on that".

Now, I also find these days that my inner voice offers me inspirational things to practice. She might say, "You know when you played that augmented idea at the 10th fret over D7 - that's cool - work on that!" or "When you played that 2 5 lick but with open strings - yeah - develop that - that's interesting!". I get this all the time these days, giving me fuel to work on my things rather than other players' ideas. This is what intrigues me today.

Self improvement as a player seems to be a never ending quest for inspiration and ideas and I find the best source these days comes from within.

Chris Standring

How the Internet Helps Musicians

Everyone talks about the negative impact of the Internet on the music business. Illegal file sharing and copyright violations have decimated the profits in the industry. Record labels are less willing to take risks with new artists because the profits have dried up. Sales have steadily declined over the past several years due in large part to the proliferation of illegal downloads. All of that is true, but there are two sides to this coin. Sure, things are tougher today for the new musician than ever before, but there are also new opportunities thanks to the Internet.

The Internet has reduced the barriers to entry into the music business. Today thanks to the rapid evolution in technology, a musician can record a song and share it with listeners around the world. In the past, distribution was controlled by the record labels. Unless you had a record deal it was almost impossible to reach listeners outside of your immediate area.

Distribution was not only controlled, but there was no way around the high costs of physical distribution. Manufacturing a batch of CDs or tapes could be prohibitively expensive for the starving artist. However, with free MP3 distribution via the internet, an artist's music can reach across the world. An up and coming Latin diva can share her tunes with someone in Europe. The next rock star in Africa can share his music with someone in Japan. The Internet has opened a door that allows artists to share their art with anyone, anywhere, at any time.

Now with online retailers like Amazon, artists can even market and sell their music themselves. Sure it's tough and don't expect to make much money. But singers and bands can share and sell their music without depending on a record label in ways today that were impossible a decade ago.

The Internet helps people connect. Music is a deeply personal experience and people have their own preferences in what they listen to. The Internet lets people who prefer a particular style to group together easier and allows them to talk about new artists that they never would have had the chance to hear otherwise.

Now, don't get me wrong. Music is a tough business. With declining sales and tighter profits it is harder for anyone to make a living in the music business. However, if you have a good day job and you love to make music for the sake of the music itself, then the Internet can be an incredible enabler.

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The Need To Perform

I can't believe how much of the year has gone by, but all the same, it's unbelievable how much I've grown through the year and most of it, from demolishing my need to perform.

I grew up playing a lot of hockey, being captain of both my schools when I was in Nigeria and London. The highlight of my career came when I was 10 on a wonderful warm day when we were playing an outdoor hockey game. Apparently I did some really cool skill with the stick and the ball. Everyone was like &quot;wow&quot; and clapping. I didn't really understand what I did, but nevertheless it was great and I learnt something. The entire sports department were talking about it for weeks. By the way, at that point, I went on to just shoot and watch the ball roll into the goal.

That is and will remain to be an unforgettable moment for me as everyone was congratulating me for the goal and my skillful moment. However, my attention was taken in another direction. In the stands, I saw my mum. I ran up to her, and she said, &quot;That goalie never had a chance.&quot; Hearing those words, and sensing that appreciation was a real awesome feeling, and from that grew my need to be appreciated.

Needs generally come from our experiences from childhood and perhaps they are something we really wanted, and never got. All our parents certainly did the best they could and for that we are really grateful. About 95% of the human population is driven by needs, but the extent to which your particular need drives you may be the deciding factor in how successful you are.

If we relate this to the music world, from a young age, you may have never really got the opportunities you may have liked to perform and so from that grew your need to perform. When our needs are unchecked, they act as engines, driving us to behave in ways that we believe will lead to the experience of having our needs fulfilled.

When a need exists, it is either conscious or unconscious. As humans, we are the only species in this universe that are conscious that we are conscious. We are the only species that are aware that we are aware. And as humans, we are constantly striving to meet our needs. This consumes a lot of our energy. What we need to do is really understand where our needs come from and eliminating these dynamics will transform your entire life.

My need of appreciation only made me strive to be appreciated so that I can be told that I'm good and feel good. But that doesn't seem to last long as after a few seconds I need to feel good again. This wasn't really making me happier, just draining a lot of energy out of me. It's important to understand the energy we create when we have a need present in our lives. Think about when somebody gives you a call only when they need you. How does that make you feel?

When you are coming from a place of need, this is the kind energy you are giving off and thus this is the type of energy you attract back to you. Sometimes when you think that your need has gone and you're very clear about what you want to attract into your life but you still feel stuck, it is probable that if you dig deep, there is still a need that has a grip on you. Without addressing the need, we will continue to create the same problem (in different forms) until we eliminate the need.

Common needs that I've seen are the need to be liked, the need to be heard, the need to sing, the need for security, the need to have money, etc. What are your needs? What is it that you want to do, and if you don't you get upset? What do you strive to do, but although you get the result, it takes a lot of energy out of you? These are your needs. It is good to know them. Most people go through life like this, really having a need and not able to live their true, free selves. You know better. Needs are easy to see and feel, yet we are usually blind to their influence on us. If you look closer, you can find that hold. A good way to identify a particular need is to consider these questions..

1. What are the patterns of problems in your life?

2. Where do you feel most stuck?

3. What causes you to get upset most?

4. Ask someone to say what they see at work within you.

By recognising and eliminating the need of appreciation, I've been able to create my life on purpose and in harmony with my desires instead of feeding a childhood wound.

Kavit Haria is the musicians coach, working with musicians to facilitate and further their personal and professional development so that they can achieve their desired results. Kavit runs InnerRhythm, a coaching practice for musicians in London, UK and runs a free fortnightly newsletter action-packed with tools, tips and strategies to make you a successful musician. Subscribe here: <a target="_new" href="http://www.coachkavit.com">http://www.coachkavit.com</a>

Guitar Players...Learn About The Point Of Discipline

Have you ever started learning a lick or exercise and stopped practicing it before you had mastered it? Now I don't know you, but my guess the answer to the question is yes! Why is that? Why did you stop, when it was something that you REALLY wanted to learn?

There are quite a few reasons for it, but the one I would like to mention now is what I call the "point of discipline" . This is the point when the initial enthusiasm of learning that new lick/exercise wears off. It is no longer so new and exciting. This is the time when you will have to use your self-discipline to complete the task at hand.

A lot of guitar players will tell you at this point?"Hey man, guitar's supposed to be all about fun! If I have to use my self-discipline, I'll no longer enjoy it." If anyone says that to you, have a look at their playing. Most of the time they are not very good :)They have not reached a virtuoso level of playing, so why listen to them!

The point of discipline is when most guitar players quit. Rather than using their self-discipline to TRULY master the lick/exercise, they stop practicing it and move onto something new. It's tempting isn't it? We've ALL done this at some point in our development as a guitarist. But what's the cost of doing this?

Some of the negative consequences of quitting at the point of discipline include:

1. You'll never reach the virtuoso levels of guitar playing. Can you imagine virtuosos like Yngwie Malmsteen , Rusty Cooley , Michael Angelo etc, quitting before they have mastered what they are working on? I don't think so! They didn't become so incredible by being quitters. They have learned to tap into their self-discipline.

2. You'll never have that feeling of pride that comes with truly mastering something.

3. You won't learn to confront your present technical limitations and overcome them. This will mean that you'll learn a lot of new things but your overall level of playing won't become elevated.

4. You'll know about 1007 bits of songs, but if someone asks you to play a song from start to finish, you can't.

Not a pretty picture is it? So what are some things that you can do about it? Here are a few ideas?

1. When learning a new lick or exercise, set a speed goal. Keep practicing the lick/exercise until the speed goal has been reached. Realise that this can sometimes take weeks, months (or even years!).

2. Learn to enjoy using your self-discipline. Feel proud about yourself every time you follow through and master something.

3. Use visualization. See yourself in your mind's eye becoming a guitar virtuoso. This will help keep you motivated and enthusiastic!

4. Make a commitment to completion. With everything you learn, refuse to quit. Keep working on it until it has been mastered.

I guarantee that if you learn to tap into your self-discipline your guitar playing will improve at an accelerated rate! Of course, if you want to sit on the couch watching TV and eating bags of potato chips,dreaming about one day becoming an awesome guitarist, that's cool also!

Copyright 2005 by Craig Bassett. All Rights Reserved.

Craig Bassett is a professional guitarist, guitar tutor and author living in Auckland, New Zealand.

Master the notes on the guitar fretboard...
<a target="_new" href="http://www.pentatonic-guitar-lessons.com/note-mastery.html">Master the Guitar Fretboard.</a>

Is Your Child Struggling in School? Get Him (Or Her) Music Lessons

This is counterintuitive, I know. Our natural response to seeing our child struggle is to find a way to help, not to add to the burden. If a child is struggling, why should we risk setting them up for failure in music lessons?

The answer is simple. Playing music has been discovered to have a direct and almost immediate effect on the brain of the student. That's right. Music lessons have been shown in a German study to have a significant impact on the way the brain functions after as little as five weeks!

What they found, when comparing a group of students taking music lessons with a control group that was not, was that students who had taken as few as ten music lessons over a five week period exhibited a significant ear to hand link.

So? What's the big deal? Life doesn't make much use of ear to hand connections unless you want to play an instrument by ear (I've always thought that provoked a strange mental picture ? imagine the ears you'd have to have to play the trombone!). The significance is two fold. First, it means that music lessons lead to brain development which ultimately means that music lessons have the effect of giving the individual that is taking the lessons improved brain function from which to draw in the rest of his or her life. Second, (and I saved the best for last) the ear to hand brain connection from music lessons is significant because researchers in Hong Kong took the study one step further and tested a group of students with music lessons and a group without music lessons for verbal memory and found that the group that was taking music lessons outscored their nonmusical peers by a significant margin.

It gets better still. The same groups of students were tested a year later, even after some of them had discontinued their music lessons, and found that they still outscored their nonmusical peers in verbal tests!

The moral to that story is get your child (or even yourself) into music lessons if you want your child to have every advantage possible in life, because these are only two benefits that we know of, but there are bound to be far more yet to be discovered.

Duane Shinn is the author of over 500 music books and products such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He can be reached at <a target="_new" href="http://www.chordpiano.com">http://www.chordpiano.com</a>. He is the author of the popular free 101-week e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Piano Chord Progressions" with over 56,650 current subscribers. Those interested may obtain a free subscription by going to <a target="_new" href="http://www.playpiano.com">http://www.playpiano.com</a>

RAP Music and Brain Washing Issues

I am not sure if anyone has been watching out there, about the types of music that we are listening to. Let us look at them for a minute. Our grandparents listen to music like; "Happy Days are Here Again, the Skies Above Are Clear Again." Kids today listen to RAP, which actually starts with a 'C' except the 'C' is silent in this new spelling and pronunciation. Its really, CRAP. A radio station in TX is actually called K-RAP. Perfect.

It is not that the music is so bad; actually it is good, because its rhythm and cadence puts people in a convergence state of mind. In other words it puts them into theta state of mind and that is where it is easier to suggest a new thought or to brainwash in sleep state. The initiation of such brainwaves is powerful indeed. These tactics are also used in certain churches and Sales and motivational seminars. Also during commercials and government uses them to some degree for important endeavors, for instance cadence in military marching. The gangster rap is not good in that it suggests killing, drugs, other gang activities while putting its listener into the convergence state of mind. This is a negative thing, and may cause these individuals to dwell on certain thoughts and give them ideas that they may with proper gang mentality attempt one or more of the activities talked about in the songs. It would be much better to have songs with that type of cadence, which promoted good deeds and love. Perhaps there are many of these types of songs yet they do not sell very well and I do not here positive rap songs as much as I should. Mostly the Gangster Rap.

Many Techno type songs are also negative in nature. But these songs do not have the proper beats per minute to put a person into a trance like state, where suggestive behavior is introduced that is a throw back to before the human change in society. Is it possible to disallow this type of music? Music is an escape for many people to the fast paced life, and being in a trace state is probably a good state to be in, if one wanted to escape from the world for a while. A strong Bass in a song and certain beats per minute introduce this convergence state, then the subject is 100 percent ready for fresh new input. Theta States of mind are induced and a waken dream state provides for easy subconscious input.

But what are we allowing to be put into these minds of altered state? Songs of this nature are better than drugs, yet the drugs would effect the singular and not the victims of the deed that are done once the behavior of an individual are altered through this convergence. There is freedom of expression in this country yet the listeners are not realizing the effect of the changes as they occur. They are being brain washed while listening to their favorite music. Which become more favored because it puts them in a trace state allowing them to escape from problems of life. Hey no one said life was easy, right? I believe Rappers should be thrown in the trash cans, not littering the minds of our youth. It costs businesses money for graffiti cleaning and tax payers money in police. The cost to society is too great to calculate as a whole, but it is real. Rather than eliminate a cultural phenomena.

Let us instead make each record label and artist (I use this loosely as I do not approve of the RAP, but without passing judgment) produce 10 songs with positive lyrics for every one song of negative lyrics. That solves that problem. People can still escape in their trance state, record companies still make money, the constitution is still upheld, but there will be less negative and more positive thought going on when trance like state is producing more of one chemical in the brain than another. A person in this state is easy to recognize, their eyes are glossy and remain so for while afterwards.

"Lance Winslow" - If you have innovative thoughts and unique perspectives, come think with Lance; <a target="_new" href="http://www.WorldThinkTank.net/wttbbs">www.WorldThinkTank.net/wttbbs</a>

The Dos and Donts of Getting Your Child to Love Learning an Instrument

We all know that music can be inspiring, entertaining, and exhilarating. There are few things more enjoyable than listening to good music. If you're lucky enough to be able to play a musical instrument, you know the joy that can come from strumming those strings, tapping those keys, or blowing those reeds. It's immeasurable. But, with all the amazing aspects of music, why is it such a struggle to get your child to enjoy learning how to play an instrument? Some children naturally enjoy the learning process, while others rally against it like it with all their will.

If you're the parent of such a willful musical holdout, thankfully for you there are simple ways to help your child love learning an instrument. For your benefit (and sanity), I'd like to share the following tips-the Do's and Don'ts of getting your child to love learning an instrument-so that music is always a pleasure to your family's ears.

What to Do If You Want Your Child to Enjoy Learning an Instrument

If you want your child to enjoy playing, then you should:

? Always give the highest compliments for progress and commitment

? Spend time listening to your child practice and play without criticizing

? Share your favorite music with your child

? Make music a part of your everyday (e.g., visit places where a variety of music can be appreciated like concerts and recitals)

? Provide the best equipment you can afford for your child and make sure the instrument is well-maintained

? Encourage your child to talk with you about his or her lessons

? After practice has been completed, encourage your child to experiment with music

? Make available the opportunity for your child to play for others without pressuring him or her to do so

What Not to Do If You Want Your Child to Enjoy Learning an Instrument

If you want your child to enjoy playing, then you can't:

? Have unreasonable expectations for progress

? Turn practice into a penalty

? Make your child perform for others when they say &quot;no&quot;

? Provide substandard equipment and think your child will be able to play like a virtuoso on it

? Criticize or make fun of small mistakes in your child's playing

? Make apologies to others if your child doesn't play perfectly

What to Do If Your Child Doesn't Want to Practice

If your child is losing interest in playing, practicing, and/or performing, there are a number of things you can do as a parent to help remedy the situation.

? Talk with your child. Find out why your child doesn't seem as interested in playing any more. Refrain from criticizing, but be sure to ask plenty of questions to see if you can get to the heart of the matter. Does your child not like his or her teacher? Choice of instrument? Time of practice? Type of music? Length of practice?

? If your child is taking formal music lessons, speak with the teacher and brainstorm ways to create renewed interest

? Assess why it's important to you for your child to learn an instrument and make sure it's your child's decision to play as well as yours

? Start wheeling and dealing. Talk out an agreement with your child. If your child will commit to continue with lessons for a set period of time, he or she can choose to quit after fulfilling that commitment

? Be the best cheerleader you can be. Your enthusiasm, support, and compliments can make all the difference in the world to your child. Be their number one fan!

Ultimately, you just want our kids to learn a love for music as well as a love for learning, right? There are few more satisfying experiences than when a child learns both of these life lessons. Do everything you can to foster a passion for learning and music in your home.

Knowing what to do and what not to do is so important if want to grow as a harmonious and happy family. You can do it.

Starting from the top now, and a one, a one, a one-two-three-four?

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

Motorhead Inferno

<P align=center>Motorhead-"Inferno"-Review by <A href="mailto:preyinglizard@houston.rr.com">Les Lewellyn</A><BR>
<P align=left>When David Grohl of Nirvana and Foo Fighters fame release the sensational CD "Probot" this year it rekindled my metal tastebuds. For those of you not familiar with his project I'll explain. He recorded songs on which he played all instruments and he had guest vocalists come in and sing as well as write the lyrics and play whatever instrument they might also play. The cd features vocalists such as King Diamond, Snake from Voivod, and many other great singers/musicians. The whole cd flows like it was a gift from God or at least the Heavy Metal God. On that cd Lemmy from Motorhead does a fantastic job on the tune "Shake Your Blood". On first listen I was excited to hear Lemmy singing on such a awesome tune and the excitement was enough for me to do some google searching and that is where I found out that the boys were back and had a new CD released on the indie label Sanctuary entitled "Inferno". Like Monster Magnet, being on an indie has enhanced their sound big time!
<P align=left>Always a rough and tough rocking band, Motorhead has never rocked like they do on this CD. What's amazing is how great Lemmy's vocals sound. I have loved the band since their beginning and my fondness for Lemmy dates back to his Hawkwind days. I have to say I have enjoyed Motorhead whenever I've bought a cd and listened. But NEVER have I been entrapped into their sound like I am today.
<P align=left>The opening song, "Terminal Show", features Steve Vai on guitar. I have to admit even though I'm a guitarist I respect Steve Vai but I just can't get into the instrumental cds he's released. Actually, I dig them I just don't find myself playing them very often. But Steve takes hold of "Terminal Show" and sounds like he's in the band. He refrains from overplaying his part and he fits Motorhead like a glove. Philip Campbell, Motorhead's guitarist, allows Steve Vai to play with no conflicts and it's sweet as honey! But Philip Campbell then goes on to play lead on all the rest of the tunes like a banshee in heat except the end of "Down On Me" on which Steve Vai returns. What's cool about this is the fact that the two tunes on which Steve Vai plays guitar are not necessarily the best on the cd. It's a seemless collection of tunes that will rock the toughest crowd. I can only imagine how great they sound live and I can't wait to catch them on their current tour.
<P align=left>Mikkey Dee returns on drums and this cat pounds the hell out of them. Lemmy attacks the bass like a maniac and his vocals are his best to date. The cd never gets politcal but it does paint a dim look at life in these troubled times. It's really kind of creepy how convincing Lemmy sounds on the tune "Killers". Obviously the dude is fascinated with murder because he sings three tunes about the topic. I'm glad he's got his bass and band to keep him busy!!!!
<P align=left>I know I claimed Monster Magnet have the best cd this year but I have to say that Motorhead are coming in with a tie at least! "Inferno" is a must buy cd for any hard rock fan. From start to finish the album soars past and demands repeated plays. I am sure that Motorhead's old fans will freak out over this cd and also they've created a cd that will hopefully get them some new young fans. Visit their site at <A href="http://www.imotorhead.com"><a target="_new" href="http://www.imotorhead.com">http://www.imotorhead.com</a></A> Buy this CD!<BR>

<P align=center>Copyright August 2004 by <A href="mailto:preyinglizard@houston.rr.com">Les Lewellyn</A>
<P align=center>Originally published by <A target="_New" href="http://www.preyinglizardmusic.com">Preyinglizardmusic.com</A>

Everything I Play Sounds the Same

Many students want to create music that has a certain emotional quality. For example, I once had a student ask me to show her how to play something that sounded happy.

Of course, this student missed the entire point of my teaching - to play where you are emotionally and to not try and come up with something. I tried to explain to her that if she were feeling happy, then the natural outcome of the music would be flavored with this emotion.

As a natural outgrowth of the proceeding statement, there will be times, many times perhaps, when the music that comes out of you sounds the same. Many interpret this as being uncreative, when in fact, you are being true to yourself. When you don't try and come up with material, but instead, let the music come up, you are not forcing or willing the creative act. Instead, you are allowing yourself to express in the moment - whatever the sound may be.

If someone tells you that everything you play sounds the same, acknowledge it silently as a compliment and know that you are being true to yourself and the integrity of the artistic process!

When you are more concerned with enjoying the act of creating then trying to come up with material, you'll be way ahead of the game!

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 <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

The Irish Harp

The harp that once through Tara's halls the soul of music shed, now hangs as mute on Tara's walls, as if that soul were fled. So sleeps the pride of former days, so glory's thrill is o'er, and hearts that once beat high for praise, now feel that pulse no more

To tell the history of the Irish harp is to tell the history of the Irish people. This ancient folk instrument with its beautiful, delicate sound is played today despite being ignored, derided and proscribed for centuries. Harpers, who in earlier days would have been hanged for their art, now flourish throughout the world, as do the Irish themselves

Legend tell us the first harp was owned by Dagda, a chief among the Tuatha De Danaan. At one time during a war with the Fomorians, the gods of cold and darkness, his harp was stolen but later recovered by Lugh and Ogma. When it was returned it had aquired two secret names and the ability to call forth summer and winter. From then on, when Dagda played, he could produce a melody so poignant, it would make his audience weep, he could play an air so jubilant it would make everyone smile, or bring forth a sound so tranquil, it would lull all who listened to sleep. So thus did the harp became the dispenser of Sorrow, Gladness and Rest.

Harps are played throughout much of the world. From ancient artworks, epic tales and poetry, we learn of harps in Babylonia and Mesopotamia. We see them in the tomb of Pharaoh Ramses III , votive carvings from Iraq and sculptures of ancient Greece. From Africa, which has more than 100 harp traditions, the instrument travelled north to Spain and soon spread throughout Europe. Strung with sinew, silk or wire, harps vary in size, structure and decoration according to the physical and technological environments of their origins. African harps have been made from wood and gourd covered with cowhide, the Burmese sang auk has an arched soundbox similar to the Turkish ceng while European harps feature a triangular frame, There is one feature that all harps share: the strings run vertical (rather than parallel) to the sound box.

Griffith of Wales employed harpists in his court at the end of the 11th century and the monk-historian Geraldus Cambrensis admired the great skill of the Irish harpers and remarked that some even considered the Scots to be better players. For Irish and Scottish harpers commonly visited each other's countries to study, to learn and exchange tunes and their music was admired throughout Europe. Another twelfth century archivist, John of Salisbury, wrote that " ... had it not been for the Irish harp, there would have been no music at all on the Crusades."

These harps were quite different from the large pedal harps we see in modern symphony orchestras. They were much smaller, originally held on the harper's lap, leaning against the left shoulder, had no pedals, and usually were carved in one piece from bog wood. The Trinity College Harp and Queen Mary's Harp are the oldest surviving Celtic harps and both date from the 15th or 16th centuries and illustrate the similarity between the Irish and Scottish harps. A distinguishing characteristic of these Gaelic harps was that they were wire-strung, rather than gut strung. The word "harp" has its roots in the Anglo-Saxon, Old German and Old Norse words which mean "to pluck." In Gaelic they were known first as cruit and later as clarsach or cl?irseach.

The harp isn't peculiar to Ireland but subsequently became its national emblem. (Nowadays you can even see it on the Guiness label) Harpers were highly trained professionals who performed for the nobility and enjoyed political power - so much so that during the 16th century, Queen Elizabeth I issued a proclamation to hang Irish harpists and destroy their instruments to prevent insurrection.

Sadly, while this oldest emblem of Ireland is still with us today most of the ancient airs and melodies it once produced are long gone, but younger harpers are taking up the challenge to reawaken the pride of former days.

Susanna Duffy is a Civil Celebrant, grief counsellor and mythologist. She creates ceremonies and Rites of Passage for individual and civic functions, and specialises in Croning and other celebrations for women. <a target="_new" href="http://celebrant.yarralink.com">http://celebrant.yarralink.com</a>

How to Remove DRM from WMA - Is It Legal and Worth the Effort?

Technically, it's illegal to remove DRM from WMA protected music. Digital Rights Management (DRM) is part of the music industry's effort to curb piracy. There are legitimate reasons for removing it, but first understand DRM can not be removed from file sharing network downloads. Most tracks can be legally copied 3 to 5 times, and this has been exceeded long before they appear on a peer-to-peer network. You must have either purchased the music or have unrestricted free music downloads.

There is no easy way to remove DRM, but it can be removed with some effort and know-how. The best advice is to only download music in the format you need, and that you have the right to copy to an mp3 player, CD or other device. It's also important to determine that the player will recognize and play the DRM protected WMA track.

What if I Really Like the songs and Want to convert them?

Let's say you've already downloaded music and need to convert to another audio codec. The common conversion method is to burn the tracks on a CD, then rip them in the desired codec's format. Even this requires special ripping software and numerous steps because the DRM is still embedded in the tracks. And because codecs like WMA, mp3, OGG, AAC, etc. are lossy formats, the sound quality will be degraded.

Lossy formats selectively discard sounds the human can't hear to make the file smaller. But each format removes slightly different sounds. For example, converting a track using a WMA to mp3 converter is now missing the sounds that both codecs have deleted.

There are other ways to remove DRM and convert WMA to mp3, but they require numerous steps and more software - and they're not for the technically challenged. Free WMA to mp3 conversion software and detailed instructions are available on the Internet.

MP3 players information from A to Z: player types & features, how they work, accessories,comparisons and more - plus free music download tips and info at <a target="_new" href="http://www.a-z-mp3-players.com">A-Z MP3 Players.com</a>, Your Complete A-Z Resource for MP3 Players, Accessories and Information.

This article may be re-printed in its entirety, with no changes and this resource box included. ? 2005 <a target="_new" href="http://www.a-z-mp3-players.com">http://www.a-z-mp3-players.com</a> All rights reserved

Review: Medications - All Your Favorite People In One Place

One of the most intriguing aspects of music is how easily it can transform one's mood. The right notes, at the right tempo, and all of a sudden, BAM! You're in a good mood. This 3 piece from Washington, DC knows exactly how to pull this off. Consisting of members of the now defunct band &quot;Faraquet&quot;, Medications oddly enough, sounds a lot like Faraquet. It's peculiar how a band consisting of the same musicians can sound very similar. After the Faraquet breakup 2 of the founding members created Medications and while the sound is very similar, the new third wheel does add some new elements into the mix. A mere 6 months since the release of their Medications EP, they have returned with their first full length Your favorite people all in one place available now on Dischord.

While the music on this album does sound a lot like Faraquet and the Medications EP, the quirky time signatures and awkward vocal lines are quickly becoming a thing of the past, the songwriting maintains that same dry, yet clever feel, but it seems the band is slowly trying to forge a new identity. The album begins with Surprise! Which is arguably the single greatest opening track of all time, starting off as every 70s rock concert ended, a solid 4/4 beat with ascending guitars and thundering drums. Any band that has the guts to open their disc with a rock and roll finale gets extra points from me.

The production and dumbed down songwriting of this album is slightly disappointing, unless of course you are a classic rock fan. You can clearly hear the influence of early rock bands like Led Zeppelin, both on the production, and the songwriting. With drumming that is very evocative of Bonzo and very thin, vintage guitar tones. The album, just as the EP and all Faraquet material before it, has a very raw and uncut feel to it. Not raw in the St. Anger &quot;we didn't even try&quot; sense, but more along the lines of a live recording, the band sounds tight, but you can still pick out the playing nuances of each member, giving the band a very 'real' sound. If you're sick of pro-tools albums, this just might fit your prescription. (Pun intended, zing)

I think the classic rock influence shines strongest on the albums 9th track, I am the Harvest the opening feedback drops into a guitar riff that just screams Jimmy Page from miles away. You can almost see the band performing it in your head, after nearly 2 minutes of introduction guitar noodling, the vocals finally enter and the guitar takes a much needed break. The drumming really takes over on this track, as the guitar feedbacks during the verses and allows the drums and bass to dictate the rest of the song.

Your favorite people all in one place may not be a bold step into uncharted territory for this DC trio, but there's nothing wrong with a slow evolution. The music is solid and the band still appeals to their core fans while managing to remain fresh and interesting.

Overall: 7.1

Chris Elkjar is the founder of 'trust.me' an online music magazine for the enthusiast. He spends all of his spare time immersed in music, be it writing reviews, interviews with leading bands or writing his own music.

For more of his writing, check out <a target="_new" href="http://trust-me.ca/">Trust-Me.ca - Music for robots</a>

Songwriting - The Art of Writing a Good Song

Did you know that good songwriting is often the key to establishing a successful music career? But more than that, it can be fun! When you write a song you are able to express yourself in new and creative ways. Whether you're sad, happy, angry, or in love... with words, you can fly!

Freedom of expression is one of the greatest priviledges we have, but with it comes some responsibility. Words are very powerful and have been used successfully by many for better, or worse. When writing a song, consider how your words are going to impact your listener. Do you wish to alienate them, or draw them into your perspective on things?

A good song will create an emotional reaction in people, and that's exactly what you're trying to achieve! You want to get your listener to feel with you. You want to move them emotionally. You want them to like your song and be willing to listen to it again and again. If you can get your audience to identify with you on some level, you will be on the road to creating a good song.

As you are stirring up your creative juices you may discover that finding just the RIGHT word is sometimes a bit frustrating. But with the RIGHT songwriting tips and resources it becomes a lot easier! Here are three of the most important songwriting tools you should have:

1. DICTIONARY - A dictionary is essential when writing. Besides giving you the correct meaning of a word, it will also help you to express yourself more clearly. You will discover new words while expanding your vocabulary too!

2. THESAURUS - A thesaurus is another important tool to help with creating your songwriting material. You can use a thesaurus to find different words that have similiar meaning.

3. RHYMING DICTIONARY - As the name implies, a rhyming dictionary organizes words that rhyme in alphabetical order using the vowel sounds A E I O U. For example, if you were looking for a word that rhymes with Abel you would look under A sounds. Words rhyming with Abel would be listed in alphabetical order.

There isn't really a secret formula for writing a good song because determining what is "good" is subjective and a matter of personal opinion (some great songs have broken all the so called "rules"). However, many successful songwriters have used the following format to write a "Hit" song:

INTRO: Approximately 4-8 measures of instrumental music that contains part or all of "the hook" (a part of the melody that is easy to remember).

VERSE: Each verse should be written in such a way as to "set up" the chorus. Try to keep the meter of your song even by matching the syllables of your words. Be consistent with the sentences that rhyme. Verses should create an anticipation of fulfillfment.

CHORUS: This is where you make your statement. Stress the most important part of your song and make it tasty. Think of your chorus or "hook" as being like the icing on a cake. You want your words to be worth remembering.

VERSE: Continue to follow the idea of your song all the way through, don't get side-tracked!

CHORUS: This is where you have the opportunity to repeat your "hook" which should continue to emphasize your songs main theme.

BRIDGE: This is where you can create some interest and tension by changing your melody line, modulating to a different key, or adding an instrumental guitar part, etc. Don't make it too long, approximately 8 measures or so. It should build or crescendo to the final chorus.

FADE CHORUS: This is generally the same as your first chorus, but you will end by repeating it over and over, then gradually fade out to end your song. Use your "hook" generously, but don't over-kill!

Be flexible and use your imagination! Don't just copy or mimic what is currently popular. Remember that some of the biggest names in the music business made it to the top because they were not afraid to be ORIGINAL or have a different sound. So, experiment, be yourself, and most of all- have fun!

FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following information:

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar . She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: <a target="_new" href="http://www.abclearnguitar.com/songwriting-tips-and-resources.html">http://www.abclearnguitar.com</a>

An Introduction to CD Mastering

While many people think that the mixing of the separate audio tracks is the final step, a recording must be mastered well in order to sound good. CD mastering is the last chance for creative input when creating a compact disc. After a disc is mastered, it can be printed, reproduced, and sold.

The process of mastering a CD includes several steps. The first step is putting the songs, called tracks at this point, in order. Next, the volume is leveled for all of the songs. The length of time between songs is also adjusted, and any editing on the intros and ends of the songs (such as fades and crossfades, etc.). Also, any unlisted, secret songs, usually known as hidden tracks, are added at this point.

There are several ways to master a CD. First, the mix can be sent to a professional CD mastering engineer, which is what professional musicians with major recording contracts usually do. These mastering engineers often work in their own mastering facilities, which are different from standard recording studios, in that they have much less gear and are designed for the best playback of the mix as possible in order to fix any slight discrepancies.

Aside from professional CD mastering engineers, CDs can be mastered at home using computer software. This option is usually more realistic for unsigned artists or musicians who are just starting out. Depending on the quality of the software and the skill of the person doing the mastering, the CD may sound great or it may sound muddy and unprofessional.

Online CD mastering is another option. CDs mastered online can be a great time-time, in that, instead of sending a mix to a mastering engineer, the mix is sent over the Internet. This option requires a high-speed Internet connection.

Free CD mastering is obviously the cheapest way to master a CD. Artists may want to use free mastering programs on demos or other early recordings that artists use to send to record labels to generate interest. Many CD burning programs included on many computers can be used to do basic but necessary mastering functions.

The difference between a professional sounding CD and an amateurish recording is often found in the mastering. All of the songs played on the radio are extensively mastered in order to sound slicker and more listenable.

<a target="_new" href="http://www.e-cdmastering.com">CD Mastering Info</a> provides detailed information on CD mastering engineers, facilities, and software, as well as online and free CD mastering. CD Mastering Info is affiliated with <a target="_new" href="http://www.original-content.net">Original Content</a>.

Silent Discos!

ข้อมูลสรุปนี้ไม่พร้อมใช้งาน โปรด คลิกที่นี่เพื่อดูโพสต์

Copyright Basics for Songwriters

Should you <B>copyright</B> your song? If you're a songwriter, sooner or later you will probably have some questions about getting your material <B>copyrighted</B>. Since I've already been down this road before, you might be able to benefit from my experience. Though I am not an expert in the field, I do believe that I have some valuable information to share with you.

Having been online for over a year now, I've noticed that there seems to be a bit of confusion regarding the subject of <B>copyrighting.</B> A fairly common question among people who frequent songwriting forums is "How do I <B>copyright</B> my song?" which, of course, is quite understandable. Just imagine what it would be like to have one of your songs stolen, only to find out later that it grossed several hundred thousand dollars for some band you never even heard of. You might think that you would be able to console yourself with the idea that this only proves you can write a good song, but I doubt it. More than likely, you'd be pretty upset over the whole matter and want to take legal action. The sad thing is, most people never do prosecute because they don't have the money to hire an attorney. Even if they did, it's not likely to be an easy case to win without proof of <B>copyright</B>, and many would probably "lose their shirt", so to speak, in the process.

Nowadays, however, due to the popularity of the internet, people are sharing their original material as never before. Have you ever wondered if this is a safe thing to do? How does a <B>copyright</B> protect your material anyway?

Well, as far as the first question goes, I have found most people to be pretty trustworthy with regard to my own material. At least, nothing out of the ordinary has come to my attention yet. But that doesn't mean it can't, or won't. Then again, I took the steps to <B>copyright and register</B> my original songs with the <a href="http://www.copyright.gov/" target="_blank">Library of Congress</a> prior to sharing them online.

What you need to realize upfront is that your song, or lyric, automatically obtains a legal <B>copyright</B> from the moment you put it down on paper with your signature and a date. But don't just take my word for it, read the following quote taken from the <B>U.S. Library of Congress</B> website:

"Copyright protection subsists from the time the work is created in fixed form. The copyright in the work of authorship immediately becomes the property of the author who created the work. Only the author or those deriving their rights through the author can rightfully claim copyright." ~ U.S. Library of Congress

When you register your song with the <B>Library of Congress</B>, they simply act as a witness to the fact that you are the author of the song. And, I guess if you need a witness, the federal government should be as good as any! But the <B>Library of Congress</B> does not and will not provide any legal defense for you in the event that your material is stolen. All they can provide in such a situation is the written and/or recorded version of the <B>copyrighted</B> material which you signed, dated and submitted to them. However, this documentation would be considered evidence in your favor and should stand up in any court of law.

Something else which I have done in the past and you might consider also, is to have my songs notorized. A Notary Repulic is another authorized government offical who will bear witness to your <B>copyright</B> claim by placing their seal and signature upon your work. This will be another means of providing proof that you wrote the song, should the need arise. And, just to be safe, why not put the notarized copy of your song in an envelope and send it to yourself in the mail? Though there are some people who don't think much of this practice these days, it certainly can't hurt. Besides, the U.S. Post Office is another branch of the federal government and thus a credible witness to your <B>copyright.</B> The date which is stamped on the front of the envelope provides further evidence of when you wrote the song. But be careful that you <B>DO NOT OPEN</B> the letter when you receive it! Instead, place it in a safety deposit box at the bank.

So, the important thing to remember when it comes to protecting your song, is being able to establish enough evidence via credible witnesses in order to verify the facts. The more the merrier, at least as far as your <B>copyright</B> is concerned, if you catch my meaning. Have fun and strut, I mean share, your stuff with others. You never know, the opportunities are boundless and you might just make the right connections out there. But I suggest that you do take the necessary precautions and protect your songs by obtaining a registered copyright</B> through the <B>Library of Congress. Afterall, it's your future.

FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following information:

Kathy Unruh is a singer/songwriter and webmaster of <B>ABC Learn Guitar.</B> She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: <a target="_new" href="http://www.abclearnguitar.com">http://www.abclearnguitar.com</a>

Improvising On The Piano: Jazz Musicians Do It -- Why Not Other Styles?

Why jazz piano improvisation?

Why not gospel piano improvisation?

Is it not possible to improvise classical music, or sacred music, or any other kind of music?

Bach improvised many of his fugues and inventions while playing organ in church. Many others in all musical styles have improvised within the context of their own persuasion. So why study improvised jazz? Why not study improvised classical music, or improvised gospel music?

The answer is access.

Jazz piano improvisation is so much more accessible than is improvisation in other areas. Some classical pianists do improvise, but at performances they are generally expected to play Chopin or Debussy or Mozart, rather than to make up their own music. There are gospel pianists who do improvise, but the expectation of their listeners is not primarily to hear music created on the spot.

But the expectations of a audience of jazz fans is expressly to hear music created extemporaneously, without benefit of written score. And so jazz, far more than any other musical style to date, has become the music of improvisation. Not because there is anything inherent in the tunes jazz musicians play that calls for improvisation, but because of the expectation of improvisation that has built up over the years.

This fact makes it possible for an interested observer to study jazz improvisation like he could study no other kind of improvisation. He has easy access to concerts, recordings, transcriptions of jazz recordings, and even local jam sessions. When can he attend a classical concert and be sure of hearing music improvised? When can he attend church with assurance that the pianist will improvise? But with jazz, his sources are many and are readily available.

Can the principles derived from jazz improvisation be applied to other musical styles?

Of course.

Every pianist uses the same 88 notes of the keyboard. All music consists of some kind of melody, some kind of harmony, some kind of rhythm. Elements from one style can be transplanted to another style; in fact, this is happening all the time. Notice lately how much of contemporary pop music is flavored with elements from jazz, country-western, and even classical music. Cross-pollinization of styles abounds in contemporary music.

So improvisation can be studied by the student of classical music, the church pianist, the worship team keyboardist, the new-age pianist, the country-western piano player, and any other style of music. The benefits and rewards of learning to improvise on the piano are enormous.

So next time you see or hear a jazz pianist play, pay close attention to what she or he is doing. Ask yourself what's going on musically -- what chords and chord progressions are being used, what rhythms are in play, and how the tune of a song is being altered as the pianist improvises the melody line.

Then go home and apply what you've learned to your style of music. You'll be surprised how much you can learn by simply observing and then applying what you've seen and heard to your own playing.

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He is the author of a CD-DVD course titled <a target="_new" href="http://www.pianoplayingwithchords.com/">"How To Make Up Music As You Play -- How To Improvise On The Piano!"</a>. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He is the author of the popular free 101-week online e-mail newsletter titled <a target="_new" href="http://www.playpiano.com/">"Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions"</a> with over 57,400 current subscribers.

Chords or Melody First... Which is Best?

There are basically two ways you can compose a piece of music. The first and most traditional way is to write out the melody and then harmonize it. Some call this working from the top (as opposed to the chords on the bottom.) The second approach is where you create some kind of rhythmic harmonic pattern and improvise (or compose) the melody on top. Now, which one is best for New Age music?

The answer is neither approach. Each has its own merits and own special benefits. For example, if you start with a pattern in your left hand and improvise a melody with your right, you are doing what most new age composers/improvisers do. This is what George Winston does most of the time. He has chords he sets to a certain rhythm and does his thing with that amazing right hand of his.

This is the style that I have been playing, but I've recently lost interest in it. Not because it isn't good but because I don't feel like playing that way anymore. Currently I'm leaning towards a softer sound that comes from leading with the melody first. What I do is get the first 2-bars down and then improvise the rest till I fill up 8 measures. This way I can vary the chords and patterns without it sounding very repetitive (minimalism). It's actually another style. You can call it melodic while the other one (Harmony approach) is more textural. IT ALL DEPENDS ON YOUR MOOD!

Don't let one style freeze you into something where you can't maneuver artistically! Remember that your feeling must come first. Everything else is secondary. Let your feeling lead you and your creation will be truly inspired, however, if you try to mold what you have to say into a specific style, the result may be less than satisfactory.

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 <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

10 Music Download Legal Points

Everybody's doing it: downloading music and sharing files. People who share music files on the Internet argue that downloading is legal; today they can be sued by the record industry. Can one be sued without a great intrusion into personal lives of an individual?

1. Enjoy music downloads from safe and legal sources. Get the facts and not the scare tactics, about online music services.

2. The prosecution has to able to prove, with adequate evidence, that the IP address used for music downloads can be linked to the person accused of illegal content sharing. There is a growing concern for "privacy". Legal experts worry about the "intrusiveness" of Internet monitoring in order to prove a court case.

3. These IP address--numbers--given to user by the ISPs are dynamic and change rapidly. The starting point is to establish that there is enough bona fide evidence to prosecute.

4. It is difficult to a pin an IP address on any one person. The IP numbers that some ISPs assign to their users can change from one "session" to the next. The music industry must be able to link file-sharers to specific IP addresses at the times those addresses were used for file sharing.

5. Since their are personal freedoms involved, the courts want to make sure that the individual is revealed to the public.

6. These copyright allegation lawsuits are a minefield, because they involve the personal information of the defendant.

7. In Canada, under its privacy laws, people are protected through court confidentiality orders. In the United States, the Recording Industry Association of America (RIAA) must get a order to reveal the downloader's identity.

8. It is difficult to give a definitive decision on the interpretation copyright law itself.

9. The legal tactics of the U.S. recording industry, which have been suing individuals for sharing music on-line. The entire music industry has changed dramatically. Since file sharing began, there has been an increase in the popularity of DVDs and video games that have put recording sales revenue in a slump.

10. The Recording Industry Association of America (RIAA) desires the industry be compensated for losses due to copying, but what decision would make it a flat-out victory. Can the recording industry prove that its bottom line was really affected by file-sharing. In the U.S. the RIAA can sue for statutory damages of $750 per song on a file-sharer's hard drive. But look dramatic price cuts by "big box" retailers. Once selling music files for charging 99 cents a song was the norm, now look at Yahoo who now offers $60 a year for all you can eat program. How can the RIAA or CRIA claim such high damages?

Downloading music has been around only a few years and is still evolving. A good road map is needed for what we have to do in the future in the area of copyright on the Internet. It doesn't mean copyright law does not protect "content". For sure, whatever rulings are arrived at, will have long-term effects for us all.

Vincente Applegate
Dedicated to offering news, articles, and instruction on online music downloads. You have a definite choice of music sources online. Visit <a target="_new" href="http://www.anymusicdownload.com/">http://www.anymusicdownload.com</a> for more information.

Discover The Perfect Place To Perform

Once you know what your Unique Selling Proposition is as a musician (we covered this in the last issue), it's time to ask yourself what kind of venue you want to be letting those talents out in. This is the process that will help you determine your &quot;Perfect Performance Venue&quot; so that you don't waste your energy and efforts searching for performances in the wrong area!

Take some time to do this visualisation. It will only take a few minutes, but you can go on for as long as you want. Think about your performance, and imagine yourself performing somewhere. Now step back from that performance but remain in the venue. Look around, and absorb the setting, the area, the smell, the sounds, the size, the facilities. Is that the type of venue you want to be performing in?

Remember that a venue is very important. You may be so desperate to perform so you could just play anywhere, but what about performing when you'd really enjoy it?

Get a piece of paper and scribble down exactly how you want the venue to be, and what sort of venue you want. Then, from today, make a point to keep that list with you and read it over at several points in a day. Keep it safe with you, and keep it in the back of your mind when you're doing something. Although you're not focussing on it fully, it's still there. Keep it there.

If you do this, you'll begin to see all kinds of beautiful and superb venues in areas that you are in every day, but you just don't open your eyes to it. You'll immediately be attracted to it and may even work on getting yourself a gig there.

Remember, the Universal Law Of Attraction brings to you whatever you desire as long as you really get clear and decrease your resistance!

Kavit Haria is the Musicians' Coach - a life coach for musicians. He is well-known worldwide in the music industry for his ability to work with musicians and help them achieve the results they wish to in their lives. Sign up to his free fortnightly newsletter at <a target="_new" href="http://www.coachkavit.com">http://www.coachkavit.com</a>

Mp3s ? The Future of Music?

Mp3 music is audio that has been digitally encoded and compressed to make the amount of data smaller without compromising the overall sound quality. It's a revolutionary technique with incredibly good results; mp3 music is frequently indistinguishable from music found on a CD (though some audiophiles with very sensitive ears dispute that statement).

The popularity of mp3 music made available on the Internet is a trend reaching gigantic proportions; these encoded songs are everywhere. Websites called mp3 blogs offer rare or hard-to-find mp3 music and avid fans sometimes spend hours at a time sifting through the piles of downloadable material. Newer recording artists that would often fall under the radar without the help of a well-known label are now able to convert their songs into mp3 music and make them available on the Internet, allowing huge numbers of people the chance to hear songs that they otherwise wouldn't have been exposed to. It's an extremely popular thing, mp3 music, one of those rare pop-culture phenomena embraced by nearly everyone.

But regardless of its massive popularity, mp3 music is surrounded with controversy. Many programs that allow users to transfer mp3 music directly from computer to computer offer the services for free, eliminating the possibility of royalties for the artist and label. Fearful of losing tons of money to fans downloading records instead of buying them, large factions of the music industry fought to make free mp3 music illegal -- and succeeded to a degree. The laws, however, have loopholes, and many websites or P2P programs have exploited them for all they're worth.

Additionally, laws regulating mp3 music in the United States aren't necessarily applicable to other countries, so new websites and programs (particularly, for some reason, in Russia) have popped up offering the free services railed against in America. Because of the hotly argued ethical issues surrounding mp3 music, many shy away from the topic (and practice) completely. Others embrace it, citing huge record costs as justification enough for free mp3 music. It's an argument not likely to end anytime soon; the ethical issues will be debated as long as free mp3 music is available somewhere.

In any case, MP3's are here to stay, and wise is the musician who learns about them and takes advantage of them.

(With Mollie Wells)

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. His book-CD-DVD course titled <a href=a target="_new" href="http://www.chordpiano.com/"http://www.chordpiano.com//a>"How To Play Chord Piano In Ten Days!"</a> has sold over 100,000 copies around the world. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He is the author of the popular free 101-week online e-mail newsletter titled <a target="_new" href="http://www.playpiano.com/">"Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions"</a> with over 57,400 current subscribers.

The Downfall Of The #1 Southern Gospel Station

Back in the 90's we had a local Southern Gospel station (I can't remember the name. You'll see why if you keep reading). They were known for their motto, &quot;If it doesn't say it, we won't play it.&quot; They were determined not to play watered-down Gospel music-even if it was Southern Gospel. And they did a good job.

The same year they made the &quot;If it doesn't say it&quot; pledge to the fans and the Southern Gospel industry, they were voted the #1 radio station in all of Southern Gospel.

Does that mean they had reached the top?

In worldly terms, yes.

Guess what happened next.

They switched to Contemporary. Less than a year later they switched to secular Pop music! Six months later, they were gone.

Did they reach the top in Kingdom terms?

I think not! God's at the top of The Kingdom with Jesus right beside Him.

We'll never be at the top of the Kingdom. After all, it's God's Kingdom. But that doesn't mean we should stop trying to get as close as we can. If we make it to the top of our vocation, God has a reason and it's not so we can abandon His plan. Go out on your own and everything'll fall apart.

What happened to the #1 Southern Gospel station in the country?

My guess is that they changed their focus from The Kingdom Of God to the &quot;Kingdom Of The Wallet.&quot;

In worldly terms they were as far as they could go. In Kingdom terms they had a long way to go!

Joey Phillips
The Southern Gospel Place<BR> 100% Southern Gospel!<BR> <a target="_new" href="http://www.southerngospelplace.com">http://www.southerngospelplace.com</a>

Music for Corporate Entertainment

For many years I have supplied music for and played in bands that provide music for corporate entertainment. Clients have included Audi, The Evening Standard, Sainsburys, P.C. World, Safeways, Large corporate clients at Henley and Ascot, I.T.V. and H.M. Treasury. Because of this experience I felt it would be relevant in putting down some pointers in helping clients choose the right kind of music for their particular corporate entertainment.

Interestingly enough, most corporate hospitality entertainment work tends to require music as an ingredient to a larger recipe. What I mean by this is a great deal of corporate events are offering a multi service package. Typically an organization may be putting on an evenings entertainment to thank its workforce for a particularly successful year. They may be offering music, food, comedy, a close up magician, a casino and a caricaturist. The corporate client organizing needs to decide what part the music has to play in the days/evenings entertainment.

Questions he or she needs to ask are:

Is the music specifically for entertainment or is the music for background listening?

Do we need one style of music early on in the proceedings and then a change of style later in the days/ evenings entertainment?

Do you expect the corporate clients to be networking and discussing business or are they just there for a good time?

What overall atmosphere do you want to project with the event?

Is there going to be a change of location for the music as the entertainment event unfolds?

Different styles of music bands lend themselves to different corporate hospitality situations. Below are a number of typical corporate hospitality events with music suggestions for suitable music entertainment.

Corporate entertainment model 1.
Evening reception with dinner and speeches.
In a situation such as this you will typically need music from the outset as part of the meet and greet of the corporate evening. A four-piece swing or Latin group is ideal with a larger ensemble for particularly large gatherings. A professional outfit can pitch the music at just the right decibel level so your guests can talk and enjoy the entertainment without it encroaching on conversations. The musicians would typically be dressed in Lounge Suits or Tuxedos (or the female equivalent) to mirror what the guests are wearing themselves. The music portrays an atmosphere of sophistication, which again hopefully reflects the evenings overall ambience.

It is rare for corporate clients to want to dance especially as clients there relationship is business not pleasure! In most cases it is more important that the band is flexible in when it is needed over the course of the evening i.e. At the top of the night for the reception, a smaller version of the band (The pianist maybe for the dinner), stopping for speeches and then after the speeches to play until other entertainment is put on for the corporate clients. In this situation give the band a clear idea of how you expect the evening to go. What to wear, when they will be needed, when they need to get their instruments in the building and be set up, when breaks will be required, let them know if it is convenient or not to feed them and then finally how they can leave when finished so as not to disrupt the rest of the entertainment.

Corporate entertainment model 2.
Company Party.
Still corporate entertainment, still corporate hospitality but a totally different set of requirements for the music. Ask yourself these questions: Are your work force the type of workforce who will want to dance at some point in the proceedings? If they are, then a professional band with flexibility is essential. My experience is that people of all ages will join together to dance to music from the sixties and seventies. Whatever background music you require earlier in the day/evening be it Latin, Swing, Rat Pack or Lounge, if you are hoping to provide entertainment that will get people dancing remember this fact. Sixties and Seventies. For some inexplicable reason this is the music that gets people up on their feet.

When choosing your music ask the band if they can cover this part of the corporate entertainment requirement. Get samples of their music if need be. There is nothing worse than an ill equipped band struggling through alien repertoire. However good the band is, if they do not play the right repertoire, the right style of music then the corporate entertainment will fall on deaf ears.

Let me at this point provide a caveat. Your workforce work together They are not always going to be the best of friends however professional their relationships are at work. Answer truthfully, will they really want to dance together or is it asking too much? I would say that in all the years of providing music for this kind of corporate entertainment / hospitality , as long as the music is right, the workforce tended to dance 30 or 40% of the time. It could be said that a workforce who will enjoy each others company in this way is a reflection on the talent of senior management to create a happy team!

Corporate entertainment model 3.
Company Fun Day.
These come in two types. The type to entertain your own workforce or the type to entertain prospective clients. Both types of corporate entertainment require music that is fun. This means that the music must be perceived as fun and the band must be perceived as fun. In both cases Jolly Dixieland Jazz or the summer sounds of Latin music are most suitable.

Ask yourself these questions: does the band need to be mobile? Meaning do you want the music to move around the site at various points in the proceedings? If so then the jolly jazz route is most suitable. A good professional outfit of four or five players can play acoustically and move around a site as directed.

If the band can be static and close to electrical power then either Jolly Jazz or Latin Music is suitable.

Is the event outdoors or indoors and do you have provision for bad weather? This is England, never trust to luck, assume the worst! Any band that needs power cannot play in the rain for health and safety reasons. At the first hint of inclement weather a band will have to breakdown their equipment. Build this situation into your corporate entertainment music decisions.

How do you want the band to dress? It is a fun day after all! In the past I and my musicians have dressed as Elvis, Cavemen, Circus Clowns, in fact all manner of characters in the name of corporate entertainment and corporate hospitality. Good bands will have suitable outfits for most situations but don`t hesitate in providing something off the wall for a special event. Most professional players have a strange urge to jump into such costumes at the earliest possibility! As someone who has played at a nudist camp and for a toga party, both dressed accordingly, take my word for it!

To draw this article together let me say this. Choose the right kind of music for the event. Brief the band accordingly but make sure you have a professional and flexible outfit, things can change over the course of the event and you want to make sure the band are both co-operative and able to fulfill your needs. Don`t hesitate to ask the band for any special requirements you have. Do it in plenty of time so they have time to prepare.

The corporate entertainment and hospitality you offer to your guests reflects directly onto your company. The music and musicians must be the type who are aware of this. Dont go for second best just to save a small amount of money. You need a well prepared, well dressed band who are both polite and charming to your guests. They need to play the right kind of music for the event in order to help make the day or evenings corporate entertainment a resounding success!

About the author
Jeff Williams is a London based trombonist and vocalist who has worked all over the world in most areas of the business. He also runs a successful, specialist, live music agency using the best of London musicians, servicing both private and corporate clients playing all over the country. He would be happy to advise you with your own event or party and offers bespoke solutions for the perfect occasion.

Contact him on +44(0)20 8761 8932 or +44(0)7747 801471 Email him on <a href="mailto:bonejeff@aol.com">bonejeff@aol.com</a>

Visit the website <a target="_new" href="http://www.jazznotjazz.co.uk">http://www.jazznotjazz.co.uk</a>

Chords or Melody First... Which is Best?

There are basically two ways you can compose a piece of music. The first and most traditional way is to write out the melody and then harmonize it. Some call this working from the top (as opposed to the chords on the bottom.) The second approach is where you create some kind of rhythmic harmonic pattern and improvise (or compose) the melody on top. Now, which one is best for New Age music?

The answer is neither approach. Each has its own merits and own special benefits. For example, if you start with a pattern in your left hand and improvise a melody with your right, you are doing what most new age composers/improvisers do. This is what George Winston does most of the time. He has chords he sets to a certain rhythm and does his thing with that amazing right hand of his.

This is the style that I have been playing, but I've recently lost interest in it. Not because it isn't good but because I don't feel like playing that way anymore. Currently I'm leaning towards a softer sound that comes from leading with the melody first. What I do is get the first 2-bars down and then improvise the rest till I fill up 8 measures. This way I can vary the chords and patterns without it sounding very repetitive (minimalism). It's actually another style. You can call it melodic while the other one (Harmony approach) is more textural. IT ALL DEPENDS ON YOUR MOOD!

Don't let one style freeze you into something where you can't maneuver artistically! Remember that your feeling must come first. Everything else is secondary. Let your feeling lead you and your creation will be truly inspired, however, if you try to mold what you have to say into a specific style, the result may be less than satisfactory.

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 <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Micheal Jackson

I bet your wondering all about the Micheal Jackson Trail. Do you think he's guilty. All of us are entitled to have different opinions. I believe Micheal Jackson isn't guilty, because not enough evidence was shown during the trial.

The child who had cancer switched up his stories so many times you don't know what to believe any more. If there is some one to blame I believe the parents that allow their children to spend the night at Micheal's home should be arrested.

It's like me having cancer(I really do)and asking my mother for "Make A Wish Foundation" to grant my wish for me to meet R.Kelly. Which will be a definite no no no.

If a parent here's all these allegations against a person are supposedly true.Why would they give their child permission to go "Never Land Ranch" to meet this child molester? So much for being a child molester!

Children claim to see nude pics from nude magazines. Knowing children they probably sneaked in Micheal's cabin and were being nosey enough, to get a little taste of the action, that was obviously too much for them.

No they don't want mom and dad to find out that their sweet adoreable son, is a naughty boy, trying to see grownup things, that should only be seen by the 18 and older eyes.Next time you make a judgement about a celebrity.

Make sure you have all your facts straight. Email me at: weslhn@aol.com

I was born in New York, At the age of 15 I was diganosed with leukemia. I'm now in remission. I'm doing fine. Three important people helped me to beat this illness, which makes life much more rewarding.

Piano Teachers - Whats Wrong with Them?

Most of us like to use what we learn right away. So why is it that most piano teachers tell you you can't really play music until you learn 2 years of theory or more? What hogwash!

If I had to wait that long before I could launch into my own creations I would go nuts.

Even art schools encourage creativity among their students. Certainly, a watercolor instructor would never expect her students to wait 2 years before creating a painting.

The same thing applies to writers. When someone wants to learn how to write a short-story, the art and craft of storytelling is taught, sure. But does a writing instructor really expect his students to wait 2 years before plunging into the writing act?

Do you see where I'm going here? Music, especially classical music studies have been stifling for way too long. Why can't music students enjoy the same level of creative freedom as visual artists or writers?

I've asked myself these questions and then tried to create piano lessons where a complete beginner could create his or her own music right away. And it worked! I now have students all over the world who tell me that this is the best method they have ever used to play piano with.

Please don't spend years learning theory you probably will never use anyway. And don't spend too much time with a piano teacher who really doesn't want you to play piano.

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 <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Vintage Guitar Collectors Can Still Find Deals

If you're a recent vintage guitar collector, the stories you've heard are true. You once could step into pawn shops or flea markets and find vintage Gibson Les Pauls and Fender Stratocasters for $50 to $100. True. These guitars now sell for thousands of dollars on Ebay and Gbase.

Those days are gone -- but there are still deals if you know what to look for.

The simple thing to remember in vintage guitar collecting is ... American guitars. Not to say Japanese or European luthiers haven't made fine guitars, but the vintage market isn't looking that way. If you stay American-made, you'll have the best chance of an instrument that will appreciate in value.

Next, forget about those who claim certain years of American guitars aren't desirable. It's true that folks once looked down on '70's Stratocasters -- but folks are now scrambling and paying top dollar for 70's and 80's models! Same thing with '80's Gibson guitars -- once thought of as poor-quality examples, people now bid high amounts for them.

Why? Well, once the most desirable pieces are gone, whatever's left is going to command attention.

So -- to find the next "deal" -- look for American made guitars that collectors are currently ignoring. Because -- soon enough, these will be at the top of the food chain.

How about specifics? Well, think "student" models. Some models are already desirable -- Fender Mustangs and Gibson Melody Makers, for example; other models haven't gained notice yet ... but they will!

For instance, Fender Bullets, made in the early 1980's, are student model guitars, but are American made and use parts found in Telecasters of the same period (pickups, etc). These are great-sounding, easy-playing, and nice looking instruments. You can still find Bullets for less than $300 ... although they're beginning to gather attention. Note, we're not talking the Squire Bullet Stratocaster-type model, but the American-made Fender model (looks like a Telecaster).

Fender also put out a Lead series -- the Lead I, Lead II, and the Lead III. Again, these were an American made student series -- but are great playing, solidly made, and sound wonderful. You can still pick up Lead's for less than $300.

Gibson Melody Makers have already been discovered by collectors -- but there's not a lot of action with Gibson's Kalamazoo line ... yet. These student models are similar in quality to the Melody Makers and Fender Mustangs. I've found Kalamazoo models for less than $100!

I haven't mentioned other brands -- Epiphone, Gretsch, Guild, etc -- because either their student models have already exploded in price or they really don't have student models. Stick with Fender and Gibson, stick with American made, and keep your eyes on lesser-known student models ... and you'll find deals that will likely join other lines in appreciating over the coming years.

Joey Robichaux operates the Free Sheet Music site at <a target="_new" href="http://www.freesheetmusic.net">http://www.freesheetmusic.net</a> and is an avid vintage guitar collector.

The Flower Garden and New Age Piano Music

If you've ever looked at a flower garden, not only its beauty may have captivated you, but also its overall arrangement.

There may have been some tulips or roses combined with other flowers or plants.

You may also have stood there looking it over. Maybe you started on one side and your eye moved down or vice-versa. Now, music making is a lot like flower arranging. You combine different elements to make a pleasing whole.

It is a natural tendency of the human mind to create order out of chaos and art from nothing. What is pleasing to the listening ear is symmetry. The flower arrangement captivates, not only because of its great beauty, but because it has been composed and arranged to a pleasing whole - something the eye and the mind can grasp hold of and ponder.

We walk away with a sense of completion because someone took the time to bring order into chaos. Someone arranged varying elements to create art. Now this is what musicians do whether they realize it or not. But instead of flowers, we use notes and chords. Instead of a vase, we use musical form to hold the notes and chords.

Music is a more difficult art because the elements are not as easily put together. Music is slippery and ephemeral but when we learn to use the tools of repetition and contrast, we begin to put some order into chaos. Chaos is good and has its place in improvisation, however, for those who wish to compose their own music, it's a good idea to learn the tools of the trade.

The flower arranger must know how to create a balance between color and form - the overall look and feel of the arrangement. The composer must also create balance but uses musical materials - chords, notes, phrases, etc.

Then he puts it together into a framework. A flower arrangement can be big or small depending on the size of the vase. Similarly, a new age piano work can be long or short depending on the amount of contrast and repetition used.

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 <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Piano Music, Perfectionism, and Self-Expression

Is your heart in the music? If so, it won't matter what you play so much as what is received through your playing. Do you still think you need to learn 43 chords to sound good or are you concerned with the joy of expressing yourself through this wonderful instrument called the piano? People who sound like they know what they are doing may indeed know what they are doing but does that mean you want to listen to the music?

Let's look at pop music for example. Here is a music that is produced so tightly and carefully that nothing is left to chance. Not a crackle or hiss, not one static spot on the entire 3 to 4 minutes of the track. Yet after a few listens or even after a single listen, the mind may grow disinterested.

It's like a sporting event - exciting and enthralling while you are there but once over let down and perhaps even a little depressed. Now most (but not all) pop music is like that. It gets you hooked up for a few minutes, gives you a feeling, usually of excitement, then its gone. New age music on the other hand is a more sincere and heartfelt expression, and as such, mistakes are allowed.

Id like to share something with you. When I recorded both "La Jolla Suite" and "Anza-Borrego Desert Suite" I made mistakes. "La Jolla Suite" was recorded live so I couldn't help that, but the Desert Suite was done in one take. I wasn't so concerned with the production value as the emotion I felt at the time I was playing. I could have gone back and redone the tracks I didn't like so much but then I could have gotten stuck in a perfectionist's rut.

No, I decided that a "wrong" note here and there wouldn't kill what was heard and might even make it sound more authentic. So if you hear a mistake it may sound like I don't know what I'm doing. Perhaps not. But that doesn't concern me. What concerns me is one thing and one thing only - am I present at the piano. Am I there in spirit as well as body? If so, I am doing what I'm supposed to be doing.

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 <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!