music: กันยายน 2008

วันอังคารที่ 30 กันยายน พ.ศ. 2551

Musical Improvisation Basics - Four Strategies For Playing Wrong Notes

While it probably doesn't seem like this would help - let's face it - if you are unwilling to play a lot of wrong notes, you're never going to learn how to do anything hard. And improvising is hard! It isn't something that you can do safely, with the assurance that you will look good while trying to get good at it. You won't look good. You won't sound good -- and the sooner you realize this, the sooner you will be able to do something of real value.Strangely, we are from a culture that reinforces the idea that we should always look good. I mean there are actually people who think you should look good when you're sick. When you get up in the middle of the night. Or when you haven't slept for 36 hours.Get the picture?So, now that that's said - what is the best strategy for playing wrong notes and actually making progress at the same time?De-emphasizing Note ValuesI have found that the best way to start is by de-emphasizing note values - focussing instead upon rhythm, texture, density and shape. Music is way more than just the notes you play, and note selection tends to be the very thing that stops people in their tracks. Thus, my "Wrong Note Strategy."The following are possible points of departure for playing wrong notes - properly:Melodic Shape - Conceptualize a melody - don't get too specific with notes, but think only in terms of the overall shape of the line. Does it go up? Does it climb? Does it jump? If you have a hard time, try creating a melody on your instrument that is shaped like something else. I think it was John Cage (a rather famous composer) that used the New York skyline as the basis for a piece of music. My vote is, if John Cage can do it, we can too.Density - Think about density. Are there a lot of notes all close together? Or are they spaced wide apart? Density shape is determined by where there is little space between notes, and where there is a lot of space. It is applicable melodically, harmonically and rythmically. I think there are even methods of encoding data that use this approach (can't remember the name of it). I figure, if it's OK for Intel to use this concept for data, I think it's OK for us to use it too.Rhythm - What about a rhythmic approach? What if note values were totally unimportant, and we thought only percussively about the music? Like using blocks of notes - dissonances as though playing drums with the keyboard (or whatever)? It seems to have worked for legions of 20th Century composers, so why not for us?Texture - How about making sounds - funny sounds - on our instrument? I remember working with a violinist from the LA Philharmonic, who told me she couldn't improvise. I asked if she could make noises. She said, "Oh sure! I like making really funny noises like this; and this; and this." We proceeded to "play funny sounds" for the next hour and a half, experimenting with all sorts of melody, harmony, rhythm and texture - coming up with some really beautiful stuff, after which she asked, "was that improvising?" I said, it sure was, and she was totally changed by the experience.I love that story, because it really shows that all we really need is permission to play "wrong" notes. Once we are willing to do that, then we can experiment - often on a very high level - with the vital textural, rhythmic, shape and density aspects of music.It still communicates, it's genuinely creative, and it really is music.So play some wrong notes today!?2000-2005 Ben Dowling, the author of "The Metaphysics of Improvisation" - is a pianist, composer and an authority on music improvisation and publishes Music- Improv.com, a web site that provides useful paradigms and practices for musicians interested in expanding their ability to improvise. Learn more about "The Metaphysics of Improvisation" and "The Music Continuum" by visiting <a target="_new" href="http://www.music-improv.com">http://www.music-improv.com</a>

Name That Tune - Tips For When You Can?t Remember The Song Title Or Artist

For years, you have been searching for a song lodged in your brain that is driving you nuts. Unfortunately, you have forgotten both the song title and the artist and all you remember are a few words. Don't you wish you could just name that tune once and for all so that you can get on with your life??Below is a simple yet surprisingly effective procedure for naming that tune when all you have are a few song snippets and some hazy memories. Your search will draw from the voluminous Usenet archives which contain one of the largest repositories of searchable song fragments on the Internet. <li>Write down the most unique words and phrases of whatever song fragments you can remember. Jog your memory by brainstorming on the following: Who? What? When? Where? Why? <ul> <li>The "who" could include the singer, the person(s) to whom the song is addressed, the subject of the song (e.g., as in a ballad), or any other person, animal, fictional character, or even cartoon character. Tip: If you can remember any first names, surnames, nicknames, titles, and proper nouns, you may already have an important clue as to what the title of your "mystery song" could be. <li>The "what" could include any material objects, ideas, concepts, or events that may be central to the theme or otherwise contribute in some way to the story line. The possibilities here are endless, e.g., relationships, phone numbers, first dates, current events, modes of transportation, symbolic objects, the supernatural, anatomy, flora and fauna, food and beverages, drugs and alcohol, etc. (you name it). <li>The "when" could be the time of day, a season, a day of the week, or a year. <li>The "where" could be a city, state, or country, a street address, a locale, or a direction (e.g., East, West). <li>The "why" could be an expression of love, a social commentary, or a lament about a relationship gone sour. </ul> <li>Try to remember other words and phrases that stand out in any way, e.g., colors, descriptive adjectives, acronyms, numbers, greetings, foreign language words and phrases, sets of rhyming words, and incongruous, nonsensical, or bizarre phrases (e.g., "Crystal Blue Persuasion"). <li>Pay special attention to any repeating words and phrases as may occur, e.g., in a chorus or refrain, as they often point directly to the song title. <li>Verify correct spellings (names can be especially tricky) and also allow for all possible alternate spellings and misspellings as often found in Usenet postings. Here are some alternate representations of some words often found in pop tunes: tonight/tonite; love/luv; going/gonna; want to/wanna; night/nite; out of/outa; you/ya, u; and/'n. Also, for words ending in "ing" an ending apostrophe (') is often substituted for the ending "g." (To cover all bases, try searching on a word both with and without its ending "g.") <li><a target="_new" href="http://groups.google.com/advanced_group_search">Right click here</a> (to open in a new window) to access the Google Advanced Groups Search form. Enter the word "music" and up to 9 words in the "with all of the words" field. (Tip: To get as many search results on one page as possible select "100 messages" for number of results to display.) <li>If your initial search results look hopeless, cut and paste your word set in the "with at least one of the words" field, leaving "music" in the "with all of the words" field. <li>If you are getting too many hits and your song is not on the first page of search results, narrow your search using any of the following methods as appropriate. <ul> <li> Remove any unnecessary "OR"s in the search box at the top of the first page of search results. (To be systematic, shave off one "OR" at a time starting with the ones that are between those words about which you are most certain.) <li>If you find a group of words that occurs as a phrase in your song, enclose it in quotes. <li>Sometimes, certain common words such as "I," "a," "was," and "in" may be ignored in a Google search, even when the entire phrase is enclosed in quotes. In case that happens, just repeat your search with a "+" sign in front of any word that was ignored the first time around. </ul> <li>Repeat Step 7 as necessary. It is generally best to experiment with one permutation at a time. As you try different combinations, this will further jog your memory and you can weed out any words you discover to be incorrect. <li>If your first word set does not pan out, try a new set or change one or more words in your original set (e.g., see the tips above on alternate word spellings). <li>Repeat Steps 5-9 until you find your song (hurray!). If you have no luck with Google Groups repeat your search on Google. Good luck in your song search! Amy Gold (c) Copyright 2005, allbutforgottenoldies.netAmy Gold is the webmaster of <a target="_new" href="http://www.allbutforgottenoldies.net/">http://www.allbutforgottenoldies.net/</a>. Visit her website where you can search and browse thousands of song titles from 1960-1975 with links to audio clips. Her website also has interviews, RSS feeds, and many tips and resources of interest to oldies music collectors and other music hobbyists.

1973 Interview with Paul McCartney - Forming Wings

July 6, 1973 Birmingham EnglandSteven: Has it been difficult for you putting together a new band? There would seem to be an extraordinary amount of pressure on you to come up with a group of musicians that could compete with the Beatles.Paul: It was a bit touch and go at the beginning because it was a bit difficult for me to just suddenly develop a new band. Because let's face it, the Beatles played Hamburg for like a year solid, playing eight hours a day before we ever were anything. Then we still came back to Liverpool and played for years at these little places, Litherland Town Hall and the Aintree Institute. So it took a long time but that was the idea. We felt, 'Well, we can't take quite as long with this band but we're gonna kinda duck out of the press thing and do little anonymous gigs.' We did our university tour and we did a Europe tour which was a bit more kind of press but we thought we've got to swallow our pride and go right ahead.Steven: Were those considered breaking-in tours?Paul: Definitely, for us. It was to get the band used to playing. Because if you get any five people, it's pretty hard to get a band out of it unless you've been going a year or so. It takes that long for five people to begin to understand each other.Steven: After playing with the same three musicians for such a long time, was it difficult to find new players? When you chose the people in Wings, were they your first choices?Paul: Yeah, they were all first choices. I didn't do it like thinking, 'OK, who are the best musicians in the world?' and get it together like that. It was all done very kind of random, really; there was like a great element of randomness in it. I went to New York and we auditioned drummers which everyone said later was about the uncoolest thing you can do because these drummers are like the world's top. And there's me, I just got them all down in a basement and said, 'Alright, lads ?' And they're sitting there and there's no band, each drummer is just sitting there. But Denny (Seiwell) was the one who kind of appealed to me; I thought he looks good, he sings, and he can drum great. And he's picking up a lot of compliments now from musicians who think he's a red hot drummer. Brinsley really digs him, Brinsley's drummer goes crazy over Denny. That's Billy (Rankin).Steven: Was that your idea to bring Brinsley Schwarz on the tour?Paul: We did that special, that TV special, and that was kind of the end of our breaking-in period. We really hadn't played very well, I don't think any of us thought we played very well as a band up until the end of that special. And the last night, we did a concert for the special which we didn't dig too much, it just didn't get enough on for us. It was a bit of a dead audience.Linda McCartney: And the audience was just sitting there all hot.Paul: And they were all lit (with lights) and it was very. But we did a gig at the Hard Rock Caf? in London which is a real tiny, little thing for kind of charity. And Brinsley Schwarz were on before us and they kind of warmed it all up and they got a standup. Once you've heard a band rock a bit you can't go on and not rock, you've got to play better. So we thought,'Great,' and we went on after Brinsley and that was the first night we thought we played at all well. We were all double made up with that night. We rocked a bit that night.Steven: What are you going to do for a second encore? You'll have to have one now.Paul: There are a lot of features with the act that are still a bit raw. Our opening is still possibly a bit raw, and the end we could go on a bit longer, but this is all fine tuning. The thing for us, the way we've done it is the idea of having places to go still. This is only our third thing really ? university tour, European tour and this.The aim was just to have a band, pure and simple. Have a good band. As to where we play, we're easy. We'll play down a pub if it's cool, if we feel like it and they like it. But that's the thing for us, we won't naturally just play 50,000-seaters. That's' the interesting thing, we got Denny from New York, we auditioned some drummers there, and I knew Denny (Laine) was a good guitarist and good singer and stuff. So I just rang Denny up. And Henry was a kind of friend of Denny's and Ian's and he turned up one day at a rehearsal we were doing.Henry McCullough: Drunk!Paul: Drunk again. We didn't really know, we were just thinking about it and stuff and he turned up and he played good stuff and that's the kind of thing I meant about the element of random. It wasn't like, 'OK, now let's audition another fifty guitarists and let's see who's who and what's what.' We just thought, 'Great, let's see how it goes' and we had a band together then. It worked out good.Henry McCullough: Everybody got to know each other; you know me, I know you, and we took each other for what it is. We were a little bit scared of each other. It started off we were a little bit apprehensive and it was 'Who's this we've got in the group?' but we managed to cool out.Steven: Did you have plans from the beginning to include Linda?Paul: Yeah, Linda was a kind of first inclusion because we'd done Ram together. I worked her so hard in New York because it was all very well having Linda on harmonies but I'm not having her do bum harmonies. So I only worked her like mad. I mean she had never done it before, she'd never done a thing before. If you listen to Ram, all those harmonies on there are just me and Linda. Pretty good, some of them. It was quite hard work as I said. I worked her hard on that album. There was a bit of (mimics Linda), 'What do you mean I'm singing flat?' But in the end it was OK and we did it.Steven: You must have noticed tonight that the more rock tunes you did created a bigger response. Will you emphasize those more and more?Paul: That's what we're thinking, that's the way we're going to include a few more of those kinds of numbers. The main thing in performance, an average audience always go for numbers they know. Witness tonight when we did 'C Moon;' as soon as we hit 'C Moon,' which was a hit in Britain but not in the States, how the audience reacted.Linda McCartney: On the university tour, we did some numbers twice.Paul: But rather than go back, we'd like to do new numbers in the same vein. And on the next album we'll have another bunch of numbers from which to choose. And by the time that album is done the whole act will be there.Steven: How did it feel getting back on stage?Paul: It's now beginning to feel really good. It feels good to have a gig. If you're just recording it's very nice but you get a bit sterile. It's a bit testtube, a bit like being in the laboratory. And if you go out and play, it's the difference between sex and artificial insemination. Do you get what I mean? That's what I think ? audiences. It's true enough, isn't it?Steven: Being on stage, then, must be a natural place for you.Paul: You see I've always been, I suppose, a bit shy about getting up on stage. I remember the first time I ever got up on stage, I hauled my brother up with me. He had his arm in a cast, he'd broken his arm at scout camp, and I brought him up there with me. I brought my guitar with me and guess what I sang? 'Long Tall Sally.' I was eleven and still doing it.Steven Rosen is a Rock Journalist. Since 1973 he has accumulated over 1000 hours of audio content and 700 articles and interviews...all now available for licensing or purchase.Contact Steven Rosen for more information and review more of Steven's published interviews at <a target="_new" href="http://www.classic-rock-legends-start-here.com/classic-rock-interviews.html">http://www.classic-rock-legends-start-here.com/classic-rock-interviews.html</a>Classic Rock Legends biographies, discographies, top 10 albums and more at <a target="_new" href="http://www.classic-rock-legends-start-here.com">http://www.classic-rock-legends-start-here.com</a><a target="_new" href="http://www.classic-rock-legends-start-here.com/beatles.html">http://www.classic-rock-legends-start-here.com/beatles.html</a>

New M3 with Competition Package

The new competition package available for the BMW M3 is almost sad as it is wonderful. With everyone knowing of the strong rumors of the M3's power plant changing to a V8, it's almost heart breaking to think about the legendary straight 6 cylinder being laid to rest. The competition package has many pretty neat extras that give the beamer something to beam about.The competition package is going to be a $4000 dollar premium to the M3's price tag but I think its well worth it. You start out getting 19 inch cross-spoke forged alloy on all 4 corners. With the package you are also getting a revised interior with suede accents and of course a new color option of Interlagos blue only available if you get the competition package. One thing that can't be left out of the competition version is the upgraded brakes that come with it. The brakes are cross drilled and 20 MM bigger then the standard M3, the cross drilled rotors are the first BMW has ever equipped from the production line. BMW's are created by drivers for the <a href=http://www.jdm-4u.com/Auto%20Enthusiasts.htm target="new"> experienced auto enthusiasts</a> the sport button on the M3 actually does something? It changes the calibration from throttle body to pedal. That means without the sport button depressed the throttle won't open all the way. Since there is more air into the engine the fuel mapping of the car also changes when the button is pushed.In all I think for the four thousand extra it is well worth it. Also I would check out the SMG transmission that is available for it too. The SMG or sequential manual transmission is awesome. You can change the manual gear box hydraulically via paddle shifters or stick which allows you to late brake and accelerate easier out of the apex of corners.About The Author: Taylor Bamber is a proud owner of a 300zx turbo and belongs to many 300zx clubs in Northern Colorado. Being waist deep in the import world, he knows where to find all the best online JDM deals <a target="_new" href="http://www.jdm-4u.com/Fast">for the fastest cars</a>. He has scoured the web and has found the best sites for your import car needs. Check out his site at <a target="_new" href="http://www.jdm-4u.com">JDM-4U.com</a>.

วันจันทร์ที่ 29 กันยายน พ.ศ. 2551

Play Piano As Fast As Possible!

One of the rules of practicing we all hear over and over is "Be sure to practice slowly." (I'm guilty of this too!) Often the result of this is a feeling of inhibition, which leads to tedium. Picture yourself filled with excitement and yearning in setting out to learn a new piece. Suddenly a voice from the darkness whispers: "Don't touch those keys! Sit erect, play slowly, stay strictly in time, watch that fingering..." and your smile is gone. I'm beginning to feel a cramp just talking about it.The fact is, a certain amount of slow practice and attention to small scale detail is absolutely necessary. But there is something lacking in the approach so many of us have taken; we set out to make music, and end up playing what amounts to no more than a series of sterile exercises.How can we overcome this problem?First of all, it's important to remember that music comes to life through shading, dynamics, differences in touch, the shapes of its phrases, the rhythmic vitality that is so much a part of the right tempo. These qualities are all missing in a slow, rigid "practice" version of a piece. They are just as essential as correct fingering, and they don't come across without careful work.So, perhaps we should change that rule from "Be sure to practice slowly" to "Practice as fast as possible." But Wait! This requires some further discussion. The slow part of practice helps teach the fingers where to go, and makes it mush easier to learn the work. But in order to learn how to create music, how to make the piece sing-we must practice it at a tempo that will help reveal musical relationships and subtleties of form.Pianists must have the opportunity to experiment with touch and phrasing while practicing, and there is little chance of boredom when so many exciting elements are introduced to the practice session.In my E-book, I've included many basic exercises with background music to assist you in acquiring this level of keyboard performance. In other words, you will be practicing with other instrumentalists. You will hear the drums, bass and an unobtrusive piano accompaniment that provides a harmonic blanket for YOU to practice your course material!Ideally, then, both ways of practicing should be used!First, we should practice slowly enough to learn the notes and fingerings. Then, we should "practice as fast as possible"; that is, as fast as we can without losing control of the basics we learned in slow practice.Here' how this would work. Take a short part of the piece; you might choose a four- or eight-measure phrase. Practice it slowly. When you feel comfortable with the music, increase the tempo. Don't wait until you've practiced the entire work slowly. In this way, at each sitting you'll get to learn a little section, bring it up to tempo, and feel into what is needed to bring it to life.At the next sitting, work on the next four or eight measure. When you have that section brought up to tempo, combine it with the first section. Now, you will begin to understand how the phrases relate to each other. You can introduce the idea of dynamic shading and decide which lines to bring out at a given moment. In fact, you will be making real, exciting music-even before you've learned the whole piece!As you go on in this way, you will probably change your mind about how to play the work as new sections are added. This is part of the process of discovery and experimentation. Concert artists are always re-interpreting, because they think about these elements all the time.So play as slowly as you need to; but as fast as you are able!I wish you the best of success.Ron Worthy http://www.mrronsmusic.com/playpiano.htmCopyright 2005 RAW ProductionsRon Worthy is a Music Educator, Songwriter and Performer. He provides online piano instruction for all ages at: <a target="_new" href="http://www.mrronsmusic.com/playpiano.htm">http://www.mrronsmusic.com/playpiano.htm</a>

Independent Music Promotion on the Web: 3 Steps to Success

Let's face it, the wildfire spread of web-based portals designed to introduce independent music to the world has created a bewildering array of opportunities and costs. So where do they all balance out? When does the cost of signing up to yet another music promotion service yield results? What results are we looking for anyway?The key is to make your web promotion targeted, systematic and rich.What is the main drive for independent artists promote their music on the web? The fundamental incentive for web promotion is the opportunity to get your music heard by people who might otherwise never know that you exist! If people know you exist they can become fans and repeat-listeners. Which of those fans buy CD's and downloads? Targeted listeners.The most important goal of web promotion is to attract targeted listeners.Any independent artist who says they use the web to sell their music has missed the primary target - attracting targeted listeners. Attracting targeted listeners should be every independent artist's first priority. Remember, you don't sell your music - listeners BUY your music. It's a buyers market. The more targeted listeners you have, the more sales you make - provided you are systematic in getting your targeted listeners.The best way to get targeted listeners is to be systematic.Many artists tend to approach their web promotion thinking that since they have a website and have signed up to a couple of artist showcase sites, that the listeners will just come pouring in. Yes you have managed to target some potential listeners, but you still have to shout, "Hey, over here...you'll like the sound of this!" A systematic approach to getting listeners to hear your music will attract and maintain their interest. But remember to make sure you have the content ready for the listener to enjoy.Sites rich in content will retain your targeted listener.In the independent artist's case, the rich content is the music. This may seem like old news, but look at the amount of independent artist websites that give the visitor loads of info about the band but very little (or hidden) ear candy. Music should be the first thing a visitor gets. At the very least they need an obvious link to where they can listen to your music. And not just one or two tracks but a variety of your music. Independent artists have to remember they have not had the radio exposure to model the presentation of their music after more well established acts. Listeners need to be convinced they like your independent music before they will buy it.So the question is how to make your web promotion targeted, systematic and rich?Tips for Targeting.The best targeted listeners on the web will be those that make it to your website. Find a way to know who they are. Setup a newsletter and make it easy to sign up to it. People interested enough to want to receive news about you are your hardcore web fans, keep them happy.The next best group of targeted listeners are those that hear your music on other sites. Try to pick sites that allow listeners to link to your site. If they like your music they might click on that link to visit your site. You can then find out where these visitors are coming from. Find a good web statistics package that lets you know which sites your visitors are being referred from. Take note of those sites and focus your efforts with them accordingly.When choosing sites on which to promote your music, check to see if they offer any individual stats relating to your music. Like how many track plays or page views you and your music receive on their site. This way you can check in periodically and monitor your performance with these sites.Systematic Steps.The key to being systematic is organization. Keep a note of all the sites you use to promote your music, a brief description of what they do and how much it costs. Try to get into the practice of monitoring all of them regularly. Take note of which sites are getting better results than others and focus your efforts accordingly. You might pay for minimal promotion on one website, while another gets you loads of listeners for free. Naturally you'll want to put more effort into updating the sites that are getting better results.Provide a link on your website and newsletters to all of the sites you use to promote your music. Remember your website visitors are your hardcore web fans and are the most likely to check out and spread the word about your spot on other websites. So encourage them to visit your profile on other websites. At the very least it raises your stats on those websites - making your music look more popular!Try to create a ring of sites that link to each other though the content you supply. For example, you might have your music on your own website and two other showcase sites - Site A and Site B. Your site should without a doubt link with Site A and Site B. Site A should link with your site and Site B, Site B should link with your site and Site A and so on. What if these sites don't allow you to setup links to other sites? Put a web address in the areas where they do allow you to supply content. Like biogs or descriptions.The ultimate aim of linking all your sites is to provide your listeners with a variety of access points to your music, as well as access to the different ways various sites may deliver your music. Remember to link to your specific page on the site and not just the site itself. Your site linked with a site that play your tracks on Internet radio, linked with a site that sells your downloads, linked with a site that sells your CD's provides for a powerful combination of exposure.Be RichWithout money! That is the challenge that most independent artists face. The conventional approach to selling music is that it should not be too readily available to listen to, should the incentive for listeners to actually buy albums be undermined. This has persuaded independent artists that they should limit web listeners to low-quality snippets of streaming audio.Independent artists have to remember they don't have the resources and finances to support the "shotgun approach" of spraying their music across radio and music television. Big artists have big companies behind them that need to recoup the costs of mass media exposure, and therefore try to limit the extent to which listeners can sample their music on the web. Listeners have already heard the music and are trying to find a copy of their own.Conversely, listeners haven't had a chance to listen to independent artist through conventional media. Therefore independent artists can't assume that people will buy their music off of a website if they don't get a chance to really listen to it. If people have already heard an artist's music, and like it, the value they pay for is in owning a copy they can play whenever they like. If people have not already heard an artist's music, the value is in being able to sample as much of the music as possible.So being rich is providing your listeners with as much of your music as they want to listen to before they buy it. Now you don't have to make all your tracks available for free download, but you can provide good quality, full-length streams that impress the listener and enhance your sound. Not tight-fisted snippets that lose the listener because they are lo-fi and over before they attract the listener's interest.Being rich is also making your music available in a variety of formats for different audiences. Telling fans that your music can be heard via Internet radio, on-demand streams, mp3 downloads and mail order CD means you can appeal to listeners who prefer more than one type of media. You can also use your web promotion to go beyond simply plays and sales - consider licensing.Licensing your music for use with television, film, advertising, websites, video games and other multimedia will open up your listening audience, provide revenue and introduce a degree of professionalism to your career that attracts the notice of industry reps and A&R. Adding this depth to your web promotion helps to enrich the presentation of your music and retain targeted listeners.So remember: a) maximise your targeted listeners, b) be systematic in obtaining them, and c) retain them by making sure your own site and other sites are rich in content.Nick Hooper has helped to create Tunetrader, an online platform for the promotion of independent music at <a target="_new" href="http://www.tunetrader.com">http://www.tunetrader.com</a>

Its Jewish Music, But Is The Music Jewish?

A while back I was driving along the Jerusalem highway scanning the radio stations. On one frequency, a very intense dance beat was exploding out of the speakers. I was about to move the dial some more in search of a Jewish tune when the vocalist started in. Shock of shocks, he was a heavily Hassidic singer, complete with eastern European pronunciation. And what was he singing? "Kumee oy'ree ki va oy-reich.." from 16th century Rabbi Shlomo Alkavetz' classic Sabbath poem, L'cha Dodi. Before he had began his rendition I had been expecting something like "Oh baby, the way you move with me ..."!I had to ask the old question, "Is this good for the Jews?" And I had to give the old answer, "Does hair grow on the palm of your hand?"Of course it's not good for the Jews, I felt. Poor, unfortunate L'cha Dodi, dragged from the fields of Tsfat on the Sabbath eve and infected with Saturday Night Fever! Lovingly done by a Hassid, no less!Speaking of Tsfat, I recall meandering about their Klezmer festival once and hearing a contemporary setting of Psalm 126. It was to a funk rhythm, and the words did not fit. The singer had to split words in two, which rendered them more or less meaningless. Good for the Jews? Nah.What bothered me about this so-called Jewish music? To put it briefly, besides the words, it just wasn't. It was dance, trance, shmantz. It was hip, driving, suggestive. If this music was asked where it wanted to play, the synagogue or the sin-skin club, the answer was clear. If Jewish music is to be defined as such, it must have authentic Jewish roots. And so much contemporary music simply does not. Where was the source of this tradition? Nowhere. That's what bothered me.But, as Tevye reminds us, there's another hand. After all, go listen to classic Hassidic nigunim (melodies). Then go listen to Russian folk songs. Eerie, no? Weren't those folk songs the "dance" of their day?Even stronger, go watch the religious kids. They love contemporary popular music and all its villains. What these new Jewish groups do is take what's hip and put Jewish content into it. Isn't that what the original Hassidic nigunim were all about? If we don't want to lose our young people in the culture war, we have to compete. Didn't Rabbi Samson Raphael Hirsch bring the choral works of Lewandowsky and Japhet in to the synagogue service, even though they were completely in the style of the German composers of the age, such as Schubert and Mendelssohn (he needs an asterisk because he was halakhically Jewish)? So maybe I should not only calm down, I should applaud this phenomenon.Hold on. We're both right, I believe. Here's how I reconcile the difference, and my earnest appeal to all who create Jewish music. The most important thing is to ask, "To be or not to be?" That is the question.Every song has a purpose, a message. It can be joy, faith, pensiveness, determination, anything. The message is in the melody and rhythm, which create the atmosphere. It's in the text, which gives articulation to the message. And it's in the performance, which makes the message personal between the performer and the listener. If the message is congruent, if the music and the lyrics are a perfect union that inspires the performer, then you have a great piece of music. If the message is mixed, if there's a battle going on between the rhythm and the words, then we are troubled. That was why that "kumee oy'ree" was so absolutely awful. It was a mixed message of licentious music with holy texts.We love to set verses from the liturgy to music, and that's wonderful. Composers have a special responsibility to make sure that the music conveys the message and colors the words with deeper meanings. Do that, and I'm fascinated, I'm inspired, even if it's a contemporary style.But be very, very careful with verses. We tend to ask, "Do you think Adon Olam goes to this?", when we would do better to ask, "What is this melody saying?". If it says Adon Olam, good. If it does not, then WRITE YOUR OWN WORDS. To keep with the idea of message, if you have a great tune that can say something worthwhile (something human and real, not negative or immodest), say it your way. That satisfies.The foundation of Jewish music has always been expressing what's in our hearts as a prayer to God. That expression must be congruent, pure, sincere. There is room in the Jewish music world for great innovation, if it comes from our hearts, not from the charts.Seth Yisra'el Lutnick is a singer and composer who has performed on stage and screen. His CD is called Gesharim, and he is also a trained cantor. Visit his website, <a target="_new" href="http://www.greatjewishmusic.com">http://www.greatjewishmusic.com</a> for music and more.

Memorizing Music - How Is It Best Achieved?

When memorizing music there are several things you can do that will make your job that much easier. Memorizing music is important as most people know you play better when having the music in your head rather than having your head in the music. So where to start when memorizing music effectively?I agree with Fred Noad, when discussing memorization in his book, Solo Guitar playing, he states...Learn to play a piece from beginning to end with absolutely correct fingering and with complete continuity (however slow) before committing it to memory.To learn music in this fashion helps with an overall visual memory of the piece and it helps with continuity rather than have the piece sound disjointed and fragmented. If you think about it you will realize that our thoughts and memories are nothing more than powerful images or, pictures, if you like.To prove my point let's say I ask you to think of an elephant. What do you see? Is it the word elephant written down (which could be a picture) or is it a picture or part picture the animal itself? I bet you I know the answer. Another test would be to ask how you dreamed at night. Do you dream in words or are your dreams a series of pictures rather like a scene from a movie?You need to work with your brain rather than against it. Why not utilize the natural operation of your memory? It's crazy not to!I also know from my days at Teacher's College that most people have different strengths when it comes to learning something new based on the body's different senses. Some people are visual learners, some learn better with their tactile (touching) sense and some are strong auditory learners.What is clear in most literature about memory is that a combination of as many of your senses as possible is a stronger way of learning anything. Because of this we should employ most of our senses when learning a new piece of music. Of course we can't include taste and smell to any great degree (unless you want to eat your music!) but we should definitely try to use our other senses of sight, hearing and touch.So, having established a method of learning a new piece of music what comes next? What are the nuts and bolts, so to speak?I would actually take a step back. That is, start not with playing a piece of music but rather just reading it, just like a book, on its own. What I would be looking for is how it is put together. I would look at the key, form, and structure of the music? What about sequences and repetitions? What about dynamics, articulation and tone?Breaking a piece up into its component parts first before you start to play it and get a visual memory of the piece allows you to take a short-cut of sorts. If you understand where the repeats are, for example, you have already cut down on the amount of bars you have to memorize. If you know about the dynamics of the piece before you play it physically your brain won't have to deal with too much information at once.As Sharon Isbin says in the Classical Guitar Answer Book..."The more you understand the language and structure of a piece, the easier it will be to memorize."I liken it to driving to an unfamiliar place or suburb in your car and using a roadmap. If you just turn up and expect to find the street it would be very difficult indeed. But if you look at the map beforehand you stand a much better chance of finding your destination by noticing the signs along the way. You recognize where you are, with much less stress!Of course, I'm talking about reading the music AWAY from the guitar. This should be your very first step. I would then employ the Noad method after this.Next I would test my memory by playing the separate phrases in the music. If you definitely know a phrase, try to string it together with the next phrase in the piece and so on until you get to the end of the piece. If you are not confident to play phrases try playing one bar at a time and going back to the printed music when a bar is forgotten.In this way the music can be overlapped until the whole piece can be played by memory.I would leave the piece for several days to a week after that. Then I would test my memory again by trying to play the whole piece, making note of where I faltered or needed to consolidate. Leaving it for a period of time allows your subconscious brain to keep "working" on it for you. The subconscious is really quite powerful and when you get out of its way, you'll be amazed at what it can achieve.Studying a new piece in this fashion should yield results. And remember, the more you practice (properly) the easier it will become. Good luck!Trevor Maurice is an Australian, living in beautiful seaside Maroubra, in the eastern suburbs of Sydney.He's been involved in playing guitar (mainly classical) for longer than he cares to remember and has also taught the instrument for many years. He is teacher trained, having a Diploma of Education (Majoring in music)He has also taught Primary (Elementary) school for many years and had a long-held dream to build a quality website for the classical guitar that is of use to anyone even slightly interested in this beautiful instrument. He has now made that dream a reality with the highly rated...<a target="_new" href="http://www.learnclassicalguitar.com/index.html">http://www.learnclassicalguitar.com/index.html</a>

Formal Highland Attire: The Correct Wearing of the Kilt; the National Dress of Scotland

We don't simply wear a theatrical costume; we wear the national dress of Scotland. While some people might think that any proposed definition of what is "correct" in traditional Highland dress is in some way a gross infringement of their right to express their individuality, others may be interested to know just what the standards are, even if they choose to exhibit variations on the theme. Voluntarily observing the rule and custom of the Scots in the matter of dress is one way to strengthen and to reinforce the genuine and traditional of the Highland culture that we claim to celebrate.BLACK TIEFormal Highland attire is in order whenever the invitation on an announcement reads "Black Tie" or "Evening Wear" requested. For men, this means the Highland equivalent of a tuxedo. Burns Nights, St. Andrews Dinners, and Dining In ceremonies are all formal affairs. This includes a kilt, either white hose or other solid primary color kilt hose, tartan kilt hose, red and white, red and black or blue and white diced kilt hose and flashes, white tux shirt (with studs and cufflinks, if appropriate), black or solid colored bow tie and one of the formal style kilt jackets such as the Prince Charlie, regulation doublet, or Argyll jacket. The Argyll jacket is particularly appropriate for an individual who doesn't want to spend a fortune on several different coats as it can be properly worn for both day and evening wear. All of these are worn with waistcoats. A dirk may be worn on the right hip with a Prince Charlie or regulation doublet with the hilt between the tashes (Inverness flaps).For the ladies, formal Highland attire means either a hostess length kilted skirt with a fancy lace trim blouse or an evening dress (either long or tea length) with an optional tartan sash and brooch. Some evening dresses incorporate or are entirely made of tartan. In Scotland, it is traditional for younger lassies to wear white evening dresses with full skirts and tartan sashes for Scottish Country Dancing. As they become older, they graduate to black dresses. The ladies should wear their tartan sashes on the right shoulder unless they are a clan chief or a colonel of a Scottish regiment, or the wife of a clan chief or colonel of a Scottish regiment, who then wear it on the left shoulder. The exception to this rule is Scottish country dancers who wear the sash on their left shoulder for safety's sake. The rules for a lady's sash apply for both day and evening wear. Women do not wear bonnets with evening wear.WHITE TIEWhite tie for men means the formality equivalent of "tails". This requires a kilt with tartan or diced hose, white pique shirt and vest with white studs and cufflinks, and a Prince Charlie or regulation doublet, with a white bow tie. The Argyll jacket is not appropriate here. Another option, and there are many for this level of formality, would be one of the white collarless shirts with lace jabot and cuffs with one of the more formal type coats such as the Sheriffmuir or Montrose doublet. The sporran should be like that worn with black tie, except that the day/evening sporran is not considered appropriate for this level of formality.For ladies, "white tie" means long evening gowns with the option of a silk tartan sash and brooch.Kilted SkirtsUnless in the uniform of a pipe band women don't wear kilts, they wear kilted skirts, either soft pleated or knife pleated. The lighter worsted wool falls more easily into easy soft pleats and hangs better. You can just pull the gathers or soft pleats together and place a waistband on it. Length is largely a matter of taste and varies with occasion. You can put a zipper in the side or a button or even eye & hook closing (left side). If you want to wear it for evening dress you can make it floor length (or formal). As with a man's kilt, matching up the setts in knife pleating can be very tricky, but must be done properly to look good. Some ladies wear a vest or velvet jacket of dark, complimentary colors, with a plain white long sleeved blouse under it. Lace ruffles can be snapped or sewn in the sleeves and allowed to come gracefully down half way on the hands, and a lace jabot at the neck flowing out over the vest or jacket. Most items of male Highland attire are generally not considered appropriate feminine attire, including sporrans (the possible exception would be a sporran worn as a shoulder bag, which can be most tasteful and attractive), dirks, sgian dubhs, kilt hose and flashes, etc.Military DecorationsWith formal wear, miniature military medals are worn on the left lapel of the coatee or doublet. Ribbons, campaign ribbons, unit citations, or full-size medals are never worn with formal Highland attire. The exception to this rule is the Congressional Medal of Honor, which is worn around the neck in its full-size form for day or evening wear. Non-military medals and/or ribbons are not worn. It is absolutely incredible to me that this needs to be said, but experience has repeatedly shown it to be necessary and worth repeating here. The wearing of military medals or ribbons to which you are not rightfully entitled is considered the penultimate in bad manners, deeply offensive to a great many people, and may provoke the most negative of consequences socially. In Canada and the UK it can even get you arrested.PlaidsA full plaid may be worn over left shoulder and under right arm, pulled firm to the body. The edge of the plaid should be 11" from the ground at rear of the leg with fringe hanging down below this level. The lower edge of the plaid should be horizontal and parallel with ground. The leading edge of plaid and front face of plaid is secured by plaid brooch high on the left shoulder. While very striking, a full plaid is also very hot, and wrapping and securing it properly requires quite a bit of practice, and generally cannot be done without an assistant. A more common alternative, the fly plaid, may be worn on the left shoulder, usually under the epaulette and pinned with a plaid brooch. The upper edge of brooch should not be above the top of the shoulder, with the design properly aligned. An Irishman might elect to wear a brath instead of a fly plaid; essentially the same square yard of cloth but folded into a rectangle, draped over the left shoulder, and pinned with a kilmainham (penannular brooch). Plaids are always in the same tartan as the kilt and preferably purchased at the same time, as there can be differences in color from one bolt of cloth to the next, even from the same mill.SporransFor formal wear the sporran should be a formal type with a silver-mounted cantle-top and fur pouch or a full fur and animal mask type (the animal masked sporran is one of the few all-purpose sporrans that can be worn with the most formal dress or the most informal wear). There is also a day/evening combination sporran that looks best when worn with the Argyll jacket, but looks a bit out of place with the more formal Prince Charlie. Sporrans are worn centrally over front apron of kilt, the cantle one hand's breadth below the waist belt buckle. The sporran should square the area between the hips and the knees and swing at a natural arc from the hip. Sporran straps go through the belt loops at the back of the kilt, and over the buckles at the sides (the belt is generally not worn through the belt loops, but over them and the sporran strap), with the pointed end of strap pointing to right hip. A military horsehair sporran is generally not worn except with a military or regulation doublet. Leather sporran straps are worn with horsehair sporrans (leather sporran straps also don't wear on the kilt quite as badly as chain straps). Hair sporrans are not trimmed to length. When a gentleman is dressed in Highland attire and dances with a lady, he should move the sporran to his left hip. For Scottish country dancing, you may want to take up your sporran belt a couple of notches. The sporran should also be moved to an unencumbered hip when sitting down to the table. This removes the sporran from harm's way so you don't spill on it and makes your lap unencumbered for a napkin. In general, it's just considered good manners.BeltsFor evening wear the belt should be of black leather and the buckle silver; generally belts will match the leather and hardware of the sporran. The belt is worn outside of the kilt's belt loops, it's top edge flush with the top of the kilt's waistband. It should be very snug, allowing only an index finger to be inserted between the belt and kilt. The buckle should be centered on the body, level from front to back, and both runners should be drawn up tight on both sides of the buckle. The belt should not cover the buttons on the rear of the doublet or tunic. Belts generally aren't worn together with waistcoats.Hose & Flashes Argyll and diced hose are considered formal wear. Solid color hose are appropriate for almost all occasions. The color of hose and flashes should compliment both kilt and each other. If you want dressier hose but can't afford Argyll in your tartan, get a pair of the fancy cabled kilt hose with the ornate knitted hose tops (not the puffy "popcorn tops" of cheap pipe band hose). The top of your hose should be three fingers breadth below the outside bone at your knee, and level side to side and front to back. The leading edge of front flash may be vertically lined up with the front of the leg (in line with the center of your shoe), or just forward of the side of your leg, with no gap between the flashes. If wearing diced or Argyll hose, the leading edge of the front flash should bisect the top "diamond" of the pattern (which should be centered on the front of your leg). The sgian dubh is worn tucked inside the hose of right leg in the front-right portion of leg bisecting the flash. The handle should protrude only and inch or two above the top of the hose top. Staghorn sgian dubhs are not appropriate for evening dress.ShoesFor formal wear, black gillie brogues or shoes with gilt or silver colored buckles are worn. With gillies the laces should not be wrapped up around the leg like a ballarina's slipper. Gillie laces are given two or three turns in the front, wrapped around the ankle, given two or three twists, then brought forward and tied off in front or the outside of the ankle. White spats are only worn with military and pipe band uniforms.BonnetsThe balmoral is worn with ribbons tied; the glengarry with the ribbons left untied. The balmoral is worn level on forehead 1/2" above the eyebrows, with the cloth top pulled over right side of the head. The cockade should be centered over the left temple. The bow should be centered at the back of the head. The glengarry is traditionally worn canted to the right; 1" above the left eyebrow and 1/2" above the right eyebrow, with point of the glen centered on the head, aligned with the nose (although some regiments wear them square on the head). In Scotland, the balmoral is the more popular style, in various colors, with or without the red "toorie" on top. The glengarry owes its popularity to the Highland regiments and pipe bands. Civilians, officers, and pipers generally wear plain glens; enlisted ranks and drummers wear dicing. The diced (red checked) band indicates loyalty to the House of Hanover, i.e. the royal house of England. Highland civilians generally do not wear dicing. The caubeen, the traditional green bonnet of the Irish piper, is worn level on the head with the cap badge centered either over the left eye (Royal Irish Rangers) or right eye (Royal Irish Guards), with the cloth pulled over to the opposite side, similar to a balmoral. The Irish caubeen is often decorated with a "sheillah"; the harp of Erin, or a shamrock. In the Republic of Ireland, the harp is usually displayed without the crown for obvious reasons. Traditionally the only adornments should be the cockade and your clan crest worn in a strap and buckle form or your own crest if you have one. It's also common for veterans to wear their regimental badges, and sometimes firefighters and law enforcement officers their badges. It is also appropriate to adorn the bonnet with a sprig of your clan's plant badge, or rosemary on Remembrance Day, and rising no more than about 1 1/2" above the top of the badge. It's also customary for pipers to wear the red poppy on their glens for Remembrance Day, as the bass drone tends to brush them off of jacket lapels. The poppy is usually displayed forward of and on the same side as the glen badge (although I know of at least one regiment which has an aversion to anything being forward of their regimental badge; even a red poppy).Remember that the bonnet isn't a cowboy hat; it shouldn't be the repository of your lapel pin collection. However, a friend of mine wears an old USMC collar pin on his; as it dates from his visit to the Chosin Reservoir, I don't think anyone has ever questioned his right to wear it any way he pleases. Feathers in the bonnet are traditionally reserved only for clan chiefs, clan chieftains, and armigers. Officially the rule is; a Chief wears three feathers, a chieftain wears two, and an armigerous gentleman (one who personally has a right to heraldic arms) wears one. The wearing of bonnet feathers by those who are not chiefs is generally considered presumptuous in Scotland. However, Americans, who have the right to keep and bear arms guaranteed under the second amendment of our Constitution, could arguably wear one eagle feather in good conscience. Feather hackles are awarded to regiments for battle honors or a special reason. Therefore, serious consideration and research should be given prior to hackles being worn by a civilian pipe band, much less an individual.One last word on hats; uncover when you go indoors. It is considered bad manners to continue to wear the bonnet indoors, especially in someone's home or in church. The only exception is when you are under arms. Examples of this would be carrying a flag or tartan banner in the Kirking of the Tartans, or while playing the pipes. Pipers should uncover when not actively piping.The KiltThe inside and outside aprons are securely fastened by buckles, with the inner apron folding to the left, usually secured by one buckle, and the outer apron folding to the right, usually secured by two buckles (buckle the lower one loosely). Ladies' kilted skirts fold the opposite way. The kilt is not meant to be worn like blue jeans, down around the waist near the hips. The top of the waistband should be at your navel; military-cut kilts rise high enough to come to the wearer's bottom ribs. Highland dancers and Scottish country dancers often ask for a very high rise so that when they raise their hands above their heads, tartan is still seen beneath the jacket instead of a white shirt front.The lower edge of the inner apron should not be visible. If the inner apron consistently shows from beneath the outer apron, you'll need to tighten the strap on your left hip, even if it means cutting away the buckle and moving it back a few inches. The lower edge of the kilt should break somewhere between the middle and top of the kneecap. Above the knee, and it's not a kilt, but a Catholic school-girl skirt. Below the knee, and it becomes a tea-length dress. The apron should be centered and the hem should appear even from front to rear and side-to-side. If you wear a kilt pin, the proper place to wear it is three inches from the bottom of the kilt and three inches inward from the right side of the apron. The kilt pin should only go through the top apron and not be pinned to the bottom apron. Any variation in this general area is considered OK, and if you have a double thickness on the right side of the apron, you might affix it to that area. As with the sgian dubh and the sporran, the kilt pin should be appropriate for the level of dress and the occasion. Keep in mind that kilt pins can become snagged upon all sorts of objects, potentially tearing the outer apron.<a target="_new" href="http://home.sprintmail.com/~ejb/Piper.htm">tampabaypiper.com</a> Bagpiper available for weddings, receptions, formal dinners, ceremonies, corporate functions, funerals, memorials, and special events of all kinds throughout the greater Tampa Bay area.

วันอาทิตย์ที่ 28 กันยายน พ.ศ. 2551

10 Ways for Unknown Musicians to Get the Word Out

When Clear Channel controls the radio and the monopoly newspaper doesn't like you, how do you win over new audiences?The good news: there are many, many ways. Here are ten of my favorites.1. Approach a local college or alternative radio station or community access cable TV station with a programming idea, like a live songwriter showcase. Other musicians will want to be a part of your show, and you'll build an audience for your own music--and theirs.2. Write CD or concert reviews for a local alternative (or mainstream) paper.3. Give copies of your CD away to public radio and TV stations for their fund drive premiums.4. Organize, publicize, and perform at charity events for your favorite causes.5. Lead songwriting or performing workshops in the schools (these are usually paying gigs, and all the parents hear your name). Invite some of the kids to perform with you; they're sure to bring a bunch of relatives along who will pay for their tickets and maybe buy a CD.6. Announce your gigs in every community calendar. Newspapers, magazines, radio stations, community web sites, cable TV stations--they all run event listings. Type out one paragraph that includes a tag line about what you do, such as "Sandy Songwriter, River City's 'Homegrown Bono,' will perform labor songs and love ballads at The Trombone Shop, 444 4th Street in Downtown River City, Wednesday, January 15, 7 p.m." If admission is free or there's a charity connection, say so. Include contact phone number and e-mail.7. Find Internet discussion groups related to your cause. Whether it's immigration, voting reform, peace, safe energy, the right to choose...there will be discussion groups online. Post responses and include a "sig"--a short on-line business card. Use different sigs for different purposes. Here's one of mine (in a real e-mail, it would be single-spaced):__________________________Shel Horowitz, mailto:shel@frugalfun.com, 800-683-WORD/413-586-2388"I make the world INSIST on learning why YOU'RE special"News releases, brochures, newsletters, ad copy, web copy, resumes, etc.http://www.frugalmarketing.com * http://www.principledprofits.com_____________________________8. Set up a simple low-cost website. Include a couple of sound clips, pictures of you performing, a place for people to sign up for your fan newsletter, a link to your favorite musicians, and, of course, your tour schedule and gig availability.9. Get exposure on other people's websites. Write CD reviews, endorse their music with a blurb, submit articles on the local music scene...and always include your contact information and a statement that encourages people to visit your site.10. Use the letters columns. Call in to talk shows. Post messages to Web forums...in short, use every feedback tool you have to spread the word.Copywriter, marketing consultant, and speaker Shel Horowitz is the author of six books and publisher of five websites, five webzines and three ezines. His two most recent, Principled Profit: Marketing That Puts People First (<a target="_new" href="http://www.principledprofits.com">http://www.principledprofits.com</a>) and Grassroots Marketing: Getting Noticed in a Noisy World (<a target="_new" href="http://www.frugalmarketing.com">http://www.frugalmarketing.com</a>) have both won awards. He's currently engaged in a campaign to get 25,000 people to sign--and spread--the Business Ethics Pledge: <a target="_new" href="http://www.principledprofits.com/25000influencers.html">http://www.principledprofits.com/25000influencers.html</a>

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, "If it doesn't say it, we won't play it." 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 "If it doesn't say it" 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 "Kingdom Of The Wallet."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 100% Southern Gospel! <a target="_new" href="http://www.southerngospelplace.com">http://www.southerngospelplace.com</a>

Musicians Injuries: OUCH, It Hurts When I Play (But Please Dont Tell Me To Stop!)

This article takes a look at musicians' injuries. For an expert perspective, I interviewed Dr. Sarah Mickeler, B.Mus., D.C. Dr. Mickeler is a former professional musician and a chiropractor who concentrates on musicians' injuries in her practice.1) What led you to specialize in musicians' injuries?I have a very personal connection to musician's injuries. I had trained as a classical clarinet player and it was during my undergrad that I started to have all sorts of problems from playing too much and with poor posture. Unfortunately, I was told, as many others are, that I should just play through the pain and that maybe it would get better! Of course, it didn't, and it eventually led to the demise of my career as a clarinetist, because I was totally unable to hold up my instrument. So, I decided to pick a new career that would help others musicians - and hopefully before they got to the point that I was at! Chiropractic appealed to me because of the whole health care paradigm that it embodies - as chiropractors, we diagnose and fix the cause, rather than masking the symptoms.2) What is different about treating musicians than treating the general population?Often, what I tell people who don't understand the specifics of musicians' injuries, is that "it takes one to know one". As a musician, it can be very difficult to explain to a physician or physiotherapist or even another chiropractor what the mechanics look like when you are playing your instrument. But when someone comes into my office and says that they play flute, or guitar, or tuba, or whatever, I know exactly what the physical component of playing their instrument involves. That is a very important first step.Secondly, not only do you have to be able to have a good understanding of what playing that instrument involves, but you have to be able to see that person play. Even if someone tells me they play violin (I automatically think: "ok, so they will be leaning their head to the left and have right shoulder problems, etc..."), I am often shocked to see how over the years of playing they have contorted themselves into a little pretzel while they play!So, on the first or second visit, all of my musicians bring in their instruments and I do a thorough playing analysis to see what it is that they're doing right and wrong. It could be that their posture is contributing to their injury. Or maybe there's something about the instrument that we could change; it might just need a minor adjustment in the thumb rest or a key positioning.For instance, I have very small hands and found it difficult to reach some of the alternate fingering keys on my clarinet - so I had them sawed off and re-soldered on in a different direction so I could reach them.Thirdly, it is important to recognize that there are some really common reasons for performance injuries. The most common ones are a change in repertoire, a change in the instrument (such as a new mouthpiece or something similar), a change in practice time or an upcoming recital. If we can pinpoint what it is that the performer has been doing differently lately to contribute to their injury, that helps immensely.And lastly, it is so important to realize, especially for freelance artists, that you can't just tell them to take a muscle relaxant, and take a few weeks off. If these people took a few weeks off, they wouldn't have a roof over their head or food on the table. While it's occasionally absolutely imperative that a break be taken, most of the time I take a holistic approach to treating performers and change and fix what we can, within the obvious limitations of current gigs and upcoming events.3) What's the most common injury that you see in your office?In my office, there is a tie for the most common injury. The first is upper back/shoulder/neck pain - I lump these together because those terms can mean the same thing to a lot of people - often someone will come in and say that their shoulder hurts and point to the pain, but to me what they're pointing to is actually their upper back or lower neck. This one is often a function of poor posture or poor practice ergonomics. If we can figure out how to improve the overall posture and ergonomic situation then this tends to resolve quickly.And the second most common injury is hand and arm pain. You would not believe how many people walk into my office with numb and tingly hands and fingers - which can be very scary if you're the one to experience it - to find out that the problem isn't actually their hands and fingers at all, but it's a little further up the arm and can be quite easily treated once properly diagnosed. Or they come in with tennis elbow - but they have never held a tennis racket in their life! In my office, I call tennis and golfer's elbow "musician's elbow" because it is a repetitive strain injury. It is really, really common and surprisingly easy to treat.4) What can musicians do to prevent injury?First of all, don't be a hero! There is just no reason to practice for hours on end without a break. Always remember to take a little break for every 30 minutes that you are playing. Secondly, don't play through pain. The pain signal is there to tell you that you are doing something wrong. Playing through it is not going to get you anywhere - other than in more pain and in worse shape down the road. Thirdly, be aware of your ergonomics. If you sit to play, does your chair fit you properly? In rehearsal, do you have to strain at all to see both the stand and the conductor? Are your arms contorted oddly in order to be able to play properly? This is not good. And lastly, seek the help of a professional who can not only help you with the injuries that you are currently dealing with, but can help you avoid future injury and optimize your overall performance.You can find out more about Dr. Sarah Mickeler and her Toronto-based chiropractic practice concentrating on musicians' injuries at http://www.drsarah.ca.To echo Sarah's advice, please pay attention to any pain signals your body is sending you! Admitting you're having a physical problem doesn't make you any less of a musician ? it means you're a very smart musician with years of playing ahead of you!!This article was originally published on the Muses Muse Songwriter's Resource website (February 2005) <a target="_new" href="http://www.musesmuse.com">http://www.musesmuse.com</a>.(c) Copyright Linda Dessau, 2005.Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. To receive her free monthly newsletter, "Everyday Artist", subscribe at <a target="_new" href="http://www.genuinecoaching.com/artist-newsletter.html">http://www.genuinecoaching.com/artist-newsletter.html</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 InstrumentIf 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 soWhat Not to Do If You Want Your Child to Enjoy Learning an InstrumentIf 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 "no"? 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 perfectlyWhat to Do If Your Child Doesn't Want to PracticeIf 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

Musical Improvisation Basics - Four Strategies For Playing Wrong Notes

How to Compose Using ABA Form

ABA form is like a musical sandwich. You have the 2 slices of bread with the contrasting meat and cheese on the inside. Instead of bread and meat, you use musical materials. Perhaps an 8-bar phrase for the A section followed by a 4 or 8-bar phrase for the B section. A nice little musical sandwich.A piece of music made from ABA form can last anywhere from 45 seconds to 5-6 minutes or longer DEPENDING ON HOW THE COMPOSER UTILIZES THE TOOLS OF REPETITION AND CONTRAST!For example, I can take an 8-bar phrase, repeat that twice, play another 8 bars for the B section, then back to the A section again for another repeat (with variations of course). Now, how long will that last? It depends on tempo or how fast the piece moves through time. Most small ABA sections don't last longer than 2-3 minutes. Why? Because if they were repeated for longer periods of time, the music would become dull and repetitious.BUT, if we create another section of music - the C section, it provides the relief the ear is searching for and we can then repeat the entire thing again so the form would look like this: ABACABA. This form extends ABA and provides the necessary contrast to create longer pieces.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!

วันเสาร์ที่ 27 กันยายน พ.ศ. 2551

Why Play Guitar?

As a full-time guitar instructor, I am constantly faced with people in all walks of life who, for all different kinds of reasons, believe that playing the guitar will add something to their lives. Most people that are just starting the guitar for the first time are young (pre-university) although certainly not all. One of my favorite students last year was a 65-year-old retiree who wanted to learn enough to be able to start a bar band with his friends.There is no "one" reason to play the guitar. This instrument can bring joy to everyone regardless of their primary motivations for taking it up. There's no such thing as being too old or too musically inexperienced for the guitar either. Neither the Beatles or Jimi Hendrix could read music, and I think most would agree that they did all right without it.Many guitarists will ask me, after their first lesson, how long it will take them to become good at the guitar. I've never been able to answer this question. No one can. Your success or failure in playing the guitar depends completely on the effort that you put into it. One of my favorite stories is about Eddie Van Halen: he would come home after school and pick up his guitar. He would sit at the edge of his bed and play until he had to go to sleep. Not once, not every once and a while: every day. Of course, most of us don't have the luxury of this much time to practice, but this story helps to illustrate that success isn't completely dependant on some inborn talent, but on hard work. There's no easy way into it. Please, whatever you do, don't take up the guitar if you are only going to practice the last hour before your lesson. You'll just annoy me and you'll never get any better.Remember, if you go to an instructor or you take lessons online or from a book, what you learn is, for the most part, up to you. You're the one hiring the teacher and, although you're putting yourself under their direction, it's your responsibility to inform them as to where you want to go. Find a teacher who will help you succeed in the style of music that you want to go into.So, why play the guitar? There isn't a day that I don't wake up and am glad that music is such a big part of my life. Music has brought me more happiness than almost anything else. When you accomplish something, the sense of success becomes real, whether you've recorded your first song, or finally learned to play all the chords to "Smoke on the Water". Playing music, like any other art form or skill, greatly enriches those who study it.You can learn more about playing guitar at <a target="_new" href="http://www.guitar-4u.com/how-to-play-guitar.html">http://www.guitar-4u.com</a>. You can find here lots of information for players from beginner to advanced, as well as tips about and links to online guitar lessons and other great player's resources!

How to Make State-of-the-Art Video Singles Cheaply

When it comes to promoting their new music releases, I have found that most musicians only consider radio as the vehicle for exposing their music to the public.Rarely do they consider publicity, in the form of print media, i.e., music magazines, weekly arts and entertainment publications and newspapers as support tools to help support their radio airplay (another subject I shall address shortly).But, even rarer, is their consideration of the importance of having videos for their singles. A video of your single, which was once considered an optional luxury, is now a standard, vital and necessary tool if you are going to compete with fellow independent recording artists for media and consumer attention.And, a video is even more important if you are going to compete with major label artists. In fact, since having a video for your single, particularly, your very first single from a new release, is so vitally important, why would you even release a recording without one in today's music climate?To me, that is like a soldier going to war with only a handgun while leaving his automatic weapon behind in his barracks.But, perhaps, in your mind, you believe that it is still very expensive to produce videos for your singles. Even more, while you are likely an expert on producing music, you probably feel like an amateur when it comes to video production. However, that need not be the case any longer.So, I am going to show you a no-brainer approach to easily getting a video produced for, at least, your first single from your new release, if not all of your singles.* Steps to Getting Your Video Singles Produced Cheaply *1. After you have your mastered soundtrack, and have selected your first single, you should then contact an area college, university or art institute.2. Tell the school's administration department that you need to get in touch with its "broadcast journalism" department.3. When you reach the broadcast journalism department, ask to speak to an "advisor" or "department head."4. Tell the advisor or department head that you are an artist interested in getting a music video produced, and that you would like to be put in touch with either a senior student or graduate student who is majoring in broadcast journalism with, perhaps, a concentration on "production" or "direction."You may also want to stress your preference for a student who has experience with having produced music videos already. Depending on the size of the school, there will likely be several highly qualified student candidates.In most cases, you will find video producers or directors who will want to work from a script, which includes a story line, for your video single. If that is the case, and you are in need of a script, I would like to direct you to MuBiz.com, which can produce a video script from your single. See the below link:http://www.mubiz.com/services.html#Video_ScriptingYou can also see a sample video script that I created for a client at the below link.http://www.mubiz.com/vdoscript.html5. As for the low cost of getting broadcast journalism students to produce your video, in quite a few cases, these particular students are already in need of videos for their class projects, and yours just may be the one that will pique their interest. This is a no-cost method, and you will often need to arrange this setup one semester in advance.In other cases, students may either own their film equipment, or be able to borrow school equipment for production. And, in this case, there may be nominal charges, however, these charges will be very affordable.The best thing about this particular scenario is that, while you will get the best production knowledge from the student, as well as your video produced with the latest technology, you cannot be charged commercial rates, such as if you used a videographer or related service that officially operated in a commercial status.But, perhaps, the best thing about this avenue to take for producing your video singles is that, not only will you be able to bring your marketing and artist status up a notch by having a video, you will now also have another product that can be used two-fold:1. For further promotion of your single2. Able to sell another product on online music sales sites as well as in retail outlets.In some cases, you may also wish to offer it as a package deal with your CD. Additionally, why not go a step farther by incorporating it within your CD, placing it on DVD, as well as making it available on video cassette for retailers and consumer?Note: Depending on the extensiveness of your production, most videos can be produced and edited within two weeks, if not sooner.Kenny Love is president of <a target="_new" href="http://www.MuBiz.com">http://www.MuBiz.com</a>, a radio promotion and media publicity firm that also provides business and career services to musicians.

They Laughed When I Sat Down at the Piano... but When I Started to Play...

Remember the old ad that used to run endlessly in magazines and newspapers:"They laughed when I sat down at the piano...but when I started to play..." ?I remember very well the first time I played piano for a group. They DID laugh. It was a disaster. I overheard the leader say "Let's get somebody with some rhythm in there to play."Ouch!That hurt. But I told myself right then and there that I would learn to play the piano so well that no one would ever laugh at me again.Guess what?Nobody laughs anymore. And they don't laugh at my students, either.Why?Because I discovered...-- The BACKDOOR to piano playing --What in the world is the "backdoor to piano playing?Chords.Chords are a way in to the world of piano playing without having to go through the front door: years and years of scales, drills, rote practicing, etc. Chords are really a shortcut to understanding and playing music without all the formal training.Formal training is fine if you have the time and money. But most adults don't want to wait forever before they can play something enjoyable on the piano. I took lessons when I was a kid, but found it boring. Not only that, but all I could do was play the written music exactly as it was written. Without the sheet music in front of me, I didn't have a clue what to do. So I lost interest in piano playing until the incident described above. But shortly after that, I had the opportunity to play in a school combo -- but to do that, I had to learn chords, and learn them fast.I didn't really know where to turn, so I sent for a $2. chord chart advertised in Popular Mechanics, and within hours after I got it I was playing the Dm7 chord and the C6 chord in my left hand while I played the tune with my right hand. Talk about excited! Within a few weeks I could play dozens of songs using chords. And I discovered that my sight-reading speed greatly improved at the same time, because now I understood what I was seeing on the printed page!So I came in through the back door instead, and now I enjoy what I used to hate! Why? Because I understand what I'm doing because now I understand chords and chord progressions. I eventually went on to get advanced degrees in music and literature from Southern Oregon University -- and it was easy because of all I had learned about music theory and harmony due to playing and understanding chords.Can you do the same? There's really no reason why you can't if you have the desire. Start looking at sheet music with new eyes: look for notes that make up chords and then analyze those chords. Before long you'll start seeing a pattern of recurring chords ? in other words, chord progressions. Do this for a few months while simultaneously learning about chords and how they are formed, and music will take on a new dimension for you. You'll no longer view sheet music as something you are tied to, but rather you'll see it as a map that you can follow to create the sounds and styles you choose.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 an advanced degree 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.pianolessonsbyvideo.com">http://www.pianolessonsbyvideo.com</a>He is the author of the popular free 101-week e-mail newsletter titled "Amazing Secrets Of Piano Chords & Sizzling Chord Progressions" with over 55,700 current subscribers. Those interested may obtain a free two-year subscription by going to <a target="_new" href="http://www.playpiano.com">http://www.playpiano.com</a>.

วันอังคารที่ 30 กันยายน พ.ศ. 2551

Musical Improvisation Basics - Four Strategies For Playing Wrong Notes

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วันจันทร์ที่ 29 กันยายน พ.ศ. 2551

Play Piano As Fast As Possible!

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วันอาทิตย์ที่ 28 กันยายน พ.ศ. 2551

10 Ways for Unknown Musicians to Get the Word Out

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

Musical Improvisation Basics - Four Strategies For Playing Wrong Notes

How to Compose Using ABA Form

วันเสาร์ที่ 27 กันยายน พ.ศ. 2551

Why Play Guitar?

How to Make State-of-the-Art Video Singles Cheaply

They Laughed When I Sat Down at the Piano... but When I Started to Play...

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