วันอาทิตย์ที่ 30 พฤศจิกายน พ.ศ. 2551

Self-Expression Without Criticism

When I was 9 years old I played the Saxophone and thought I was pretty good at it. Unfortunately, I had a teacher who didn't think so and he went out of his way to make sure I knew how he felt.

One day, my mother bought me a new saxophone (it wasn't exactly new it was used) but to me, it was the best gift I ever received. Now, of course, I wanted my teacher's approval and so I showed him my new instrument.

He called it a piece of s---!

Then the tears started to flow and from that moment on, I lost all interest in playing the saxophone.

Now, mind you, I loved this instrument. I loved the honking sound it made and the way it looked. I thought it was the coolest thing on planet Earth. But, getting that kind of criticism at such a young age destroyed my spirit and I soon found myself growing very disinterested in playing the Sax.

Self-expression is a very personal thing. It's a thing that brings joy and happiness and can die very quickly if it is not protected and guarded from criticism. Even though I was a child and fragile, it is the child part of us that can become wounded if we allow others to walk over us - consciously or unconsciously.

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!

One Way to Improve Your Music Journalist Relationship

Boy, I really detest how some people do websites. Bands are some of the worst. Seems like any band that wants to look "professional" feels they must create a website using pop-ups and flash. Why? Cuz that's what the Majors do?

I tried to go to a friend's website today to find his email address. He's in a band. "Click here if you have a pop-up stopper." Now is that a stupid way to start a website or what?

So I clicked... dreading the outcome... For the next minute the minute flash loaded... A MINUTE!

Meanwhile, I was enjoying some wonderful music by Angelo Branduardi, a wonderful Italian world folk musician. Then "BLLAAAAARRRR." The frickin flash program was trying to play music that was causing problems with the music I was enjoying... All I wanted was an email address, not a headache!

I find it intriguing. Do you really WANT to alienate journalists?

I publish this newsletter and the Celtic MP3s Music Magazine, and I have to steer clear of Flash websites, because they cause problems. I skip them. NO Band is so good that I'm willing to put up with that crap!

Not to mention Flash websites hinder my ability to review the band. You see, when I start researching a band, I go to their website, copy and paste some info about the band, finish my comments, and voila! There is NO copy and pasting available with Flash. Again, you've cut your opportunities for getting decent reviews in half.

I know you want to take advantage of the cool technology available, but technology is useless unless it is used with intelligence. So seriously folks, lay off the Flash websites!

Bard Marc Gunn of the Brobdingnagian Bards has helped 1000's of musicians make money with their musical groups through the Bards Crier Music Marketing and Promotion Ezine and the Texas Musicians' Texas Music Biz Tips. Now you can get personal advice by visiting <a target="_new" href="http://www.bardscrier.com">http://www.bardscrier.com</a> for FREE "how-to" music marketing assistance.

No time to visit the site? Subscribe to the BardsCrier.com distributed weekly for Free. Just email <a href="mailto:subscribe@bardscrier.com">subscribe@bardscrier.com</a>

Would Chopin Have Passed A Music Quiz?

Q. My children are very interested in playing music. Is there such a thing as a music quiz for kids?

A. Sure there's such a thing as a music quiz, and you can find one right inside of your head. Just reach up there, pull it out, and put it down on paper. I'm serious. Who knows where your children's musical interests lie better than you? Right -- no one; so instead of finding some pre-made music quiz, which may or may not challenge them at the levels that you want them to be challenged, go ahead and write your own.

The key to writing you own music quiz is... "G". OK, just kidding. The key to writing your own music quiz is to come up with questions that will interest and challenge your children. Make the quiz a mixture of technical, factual, and trivial (which is a lot like factual but with subjects that are more fun).

Let's suppose that your son plays the guitar and your daughter plays the flute. Yes, I know that I'm using stereotypes but it's just too hard to be politically correct when you're a simple Quizmaster.

A technical question for your son might be:

"What does 'playing harmonics' mean?"

While your daughter's technical music quiz question might be:

"What is acoustic impedance and why is it important to a flute player?"

By asking questions that go beyond what their music teacher asks you are helping your child develop a 360 degree view into their instrument. They'll be naturally better players when they understand how and why those notes are produced and how to stretch their instrument to its limits by manipulating and understanding the laws of physics that control the instruments. Physics? Can a music quiz teach physics? You bet it can.

Since your children are interested in music, and you're going to be taking the time to write a music quiz, why not fool them into learning other subjects by using music as the entry point into a learning experience?

You may just find that what started out as a simple music quiz becomes a lesson in understanding how science and mathematics interact with everything that we touch, see, and think. With a little bit of thought your music quiz can become a a major cornerstone of knowledge for a couple of musically inclined kids.

----------------------------------------------------------------
Brian Fong run the popular quiz site
<a target="_new" href="http://www.QuizFaq.com">http://www.QuizFaq.com</a>
Quiz Faq - Your solutions for the quiz.
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วันเสาร์ที่ 29 พฤศจิกายน พ.ศ. 2551

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>

How to Create a Multi-artistic Piece - Part II

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

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

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

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

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

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

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

วันศุกร์ที่ 28 พฤศจิกายน พ.ศ. 2551

Bluegrass Music - Alive and Well in the Appalachians

One of the Appalachian Mountain region's greatest contributions to the world is Bluegrass music. Born in hills and hollows, Bluegrass is simply mountain folk music with heavy Celtic influences.

Today, you can hear the sweet harmonies of Bluegrass instruments and smooth vocals throughout the United States, and indeed the world. Bluegrass festivals abound, featuring performers from all over the globe. But the heart and soul of Bluegrass remains securely in the Appalachian region.

During the warmer months the tight rhythms of the banjo, mandolin, fiddle, flat-top guitar, upright bass, and dobro echo off the hills and buildings of many small towns and cities. You'll often find Bluegrass being played at festivals, fairs, street corners, and front porches at most any time of the day.

The future of Bluegrass looks bright as well because many of the performers in the region are youngsters who started playing an instrument at a very young age. It is quite common to find families spanning several generations playing Bluegrass together just for fun.

If you have never had the opportunity to experience a live Bluegrass show, you owe it to yourself to do so. You'll hear this traditional Appalachian sound and most likely be hooked!

About The Author

Rick Rouse is the owner of RLROUSE Directory & Informational Resources. Visit <a href="http://www.rlrouse.com/bluegrass/" target="_new">http://www.rlrouse.com/bluegrass/</a> for more information about Bluegrass music.

Just 3 Chords? No Way!

A student wrote me an email about the lesson "Ocean Dreams." Here it is:

"Dear Edward, I can't believe that you're using just 3 chords for this piece. It sounds like it uses much more material. Please tell me how you did it!"

Here's my answer - Dear B. First, thanks for listening to my free lesson. To answer your question, the secret to getting the full sound you hear in this piece is not in how many chords are used. It's in how the chord is voiced! Notice in the lesson that your left hand is very much open and covers a full octave of the keyboard.

This is what creates the full sound you hear! My right hand is playing melody notes pretty close to the left. Also, I use the principles of repetition and contrast to maintain interest. For example, you'll notice that there is a beginning section where the melody repeats. Then another section is added (still only using the same 3 chords) with a contrasting melody. Then back to the first theme so the whole piece can be broken down into what's commonly know as ABA form (even though this piece was improvised).

Using repetition and contrast, we create music that has a definable form or shape. ABA form is very, very common and is used in almost all genres of music, especially New Age. This is why I always say that you don't need a lot of material to create with. If you understand and use time tested principles, you can use just 3 chords and create an entire piece of music. I hope this answers your question. Regards, Edward Weiss.

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!

Jealous Again - Jealousy Among Musicians

Jealousy ? do you feel it? Do you sense it in others? Does it hinder your relationships with other musicians? Does it sap your confidence? Does it block your creativity? Here are some questions to help you get clearer about the jealousy in your life.

1. What is my jealousy trying to teach me? Generally when I have a strong emotion towards a specific person it's either because that person represents something about me that I can't tolerate yet or because that person embodies something that I wish I could do or have. I remember being in a high school arts program and being incredibly envious of a fellow singer. What I was so painfully aware of (though I couldn't have articulated it at that time) was that this person was able to fully express herself and her talents, and I couldn't. I was a better singer at home in my bedroom than I was in front of other people, and THAT'S what I couldn't stand about the situation. By doing what I couldn't do, she shone a spotlight on my biggest challenge. It made it virtually impossible to have a good relationship with her.

2. How can I identify with this person as a fellow musician, instead of comparing our work? What opportunities are there for collaboration, mutual support and the exchange of ideas? Can I open myself to receiving gifts from this person ? feedback, support and love? What can I, in turn, give to this person? Even the most famous, the most successful musician is a human being just like you. Find the connection. What can I give to a musician who's newer than I am?

3. How can I develop confidence in my unique message and express this authentically? I will never sound like this other musician, or anyone else for that matter. Influences may be heard, comparisons will inevitably be made, but my words will never come out exactly like theirs, because my &quot;story&quot;, my life, my experiences, my collection of qualities, strengths and challenges are completely unique to me. When I honour my uniqueness my confidence grows, and it becomes pointless to compare myself to others ? there's no comparison. This quote by Martha Graham further explains what I mean.

There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. ? Martha Graham, quoted by Agnes DeMille, Martha: The Life and Work of Martha Graham

4. How can I turn my attention away from this other person and back to what I can do to further my own success and creative fulfillment? If I'm jealous of someone winning a songwriting contest, I can ask myself: how many songwriting contests have I entered? If I'm jealous of the size of their fan base, I can ask myself: how am I attracting new fans and how I am deepening my relationship with the ones I have now? If I'm jealous of the number of songs they've written, I can ask myself: what am I choosing to do with my time instead of writing songs?

5. Now that I've learned from it, how can I let go of my jealousy? Often in life we hang on to emotions long after they've served their usefulness. They become comfortable, familiar and safer than doing the work to get to the other side of them. And yet they can also weigh us down and block our creativity. Try the analogy FEEL. First, Feel your feeling ? don't suppress it, actually let yourself feel it. Next, Express the feeling ? write about it, sing about, talk about it with someone you trust, play it on an instrument or express it in art. Next, Explore the feeling ? what is it trying to teach you, etc. as discussed above. And finally Let it Go. This can be as simple as saying a short prayer or affirmation (&quot;I have let go of my jealousy&quot;, or &quot;I have valuable and unique gifts to offer&quot;), or writing the feeling on a piece of paper and tearing it up.

Jealousy has a lot to teach us. So when it shows up in your life, pay attention. If you notice jealousy in others, put yourself in their shoes and help them to identify with you. Reveal your humanity. Let them know that they've got something to offer you.

This article was originally published on the Muses Muse Songwriter's Resource website (December 2004) http://www.musesmuse.com.

(c) Copyright 2005, Genuine Coaching Services.

Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. To receive her free monthly newsletter, &quot;Everyday Artist&quot;, subscribe at <a target="_new" href="http://www.genuinecoaching.com/artist-newsletter.html">http://www.genuinecoaching.com/artist-newsletter.html</a>

Flaming Guitars! Minarik Fuels The Excitement Of A New Generation Of Musicians

Celebrating an endorsement between G-Man Music and the fiery axe-makers known as Minarik Guitars, Scott G (The G-Man) reviews the Minarik Inferno X-treme.

From the Telecaster to the Flying V to the Iceman to the Warlock, some guitar designs are forever branded on our consciousness, and now there's a new one: the Minarik Inferno X-treme. The body shape erupts in furious fingers of flame. If ever there was a guitar design destined to ignite the imagination of young players, especially boys and girls who want to rawk, this is it.

Not that the Inferno X-treme lacks subtlety. With scientifically placed tone chambers, this instrument can sing sweetly if that's what you desire. Or, it can live up to its appearance and enable you to carve sonic craters in the parking lot.

Although this guitar has a look that will inspire thousands of preteen statements along the lines of "Mom, that's the one I want," I suspect that tons of established players will find it useful in the studio or on the road because of its delicate balance, sleek feel, and stunning versatility. (And besides, the cunningly crafted guitar is also available in a more traditional body shape.)

"So, what's the story on Minarik Guitars?" I can hear you ask. As the designer of the B.C. Rich Goddess Warlock and several other noteworthy models, Marc Minarik already has a legacy in the business. Now heading up his own company, Minarik has the goal of fusing quality workmanship with visually exciting design concepts.

Actually, his plan is much more complex than "make it attractive and build it right." Marc Minarik is as eager to talk about the playability of his guitars as about their construction and appearance. And if you inquire about the light weight and the chambered body, he is just as pleased to demonstrate the superior nature of his firm's products.

The flame-shaped body isn't just flashy; the size and curve of the flames have been carefully calculated to positively affect the tone and balance of the instrument. The flame design is eye-candy, but it's the application of the physics of sound that makes the Minarik Inferno X-treme really hot.

With a wonderful combination of form and function, the Minarik guitar line may have some interesting side effects, like bringing vitality to retail sales, launching a new generation of guitar players, and saving music from passive pop.

Not bad for a guy with a dream about a flaming guitar.

Minarik Contact
<a href="http://www.minarikguitars.com" target="_new">www.minarikguitars.com</a>
818-383-1254
<a href="mailto:minarikguitars@aol.com">minarikguitars@aol.com</a>

About The Author

Scott G (The G-Man) proudly plays a Minarik Inferno. He creates radio commercials and composes music for songs and spots at G-Man Music & Radical Radio. A member of the National Association of Record Industry Professionals (<a href="http://www.narip.com" target="_new">www.narip.com</a>) and The Recording Academy (<a href="http://www.grammy.com" target="_new">www.grammy.com</a>), he also writes about music for the Immedia Wire Service. He is on the Web at iTunes, www.myspace.com/thegman, and www.gmanmusic.com.

<a href="mailto:immedia@pacbell.net">immedia@pacbell.net</a>

วันพุธที่ 26 พฤศจิกายน พ.ศ. 2551

New Age Music - How Its Made

Different styles of music have different "sounds." We can all pretty much agree on that point. For example, Jazz uses seventh chords almost exclusively. This, and the kind of chord progressions used in Jazz gives it its unique flavor. But what about new age music? Does it have it's own special ingredients? Yes it does.

Now, there are no hard and fast rules here but for the most part, new age music is a consonant music. That is, there is little or noharshness going on in the music. No Saxes wailing and what not. Having said that we can eliminate most of the tense jazz chords and their voicing. So what are we left with? Mostly Major and minor chords based on the regular scales and the modes. The chord progressions are simpler and usually start on the l chord. No ll-V-l progressions here.

What about melody? In jazz, we have a soloist who usually plays a lot of chromatic notes. This is rare in new age music because it would create dissonance. New age melodies tend to be softer and more on the spiritual side. Solos, if there are any, are not so much concerned with the expression of the self than they are with letting the music express itself. A subtle but very important distinction. Jazz players may have some ego invested in their performance. New age musicians learn to let the music play them. They learn to become a channel for the music itself allowing it to speak through them. Of course, I'm not saying that this can't happen in Jazz, but, just watch a Jazz performer and you'll see what I mean.

Last but not least is rhythm. Let's do a comparison/contrast between Jazz and New Age music. Jazz has a definite discernible rhythm. It is what makes Jazz Jazz. New age music can have a pattern or an underlying rhythm to the music. It can be used to create trance like states in the listener. Drums are usually a part of Jazz music. Percussion is mostly absent from the New Age sound simply because it would not add to the atmosphere most New Age musicians create. Timing is very important to the Jazz musician. The soloist has the freedom to play whatever he wants as long as he maintains the meter and stays in time. New Age music is more elastic in that timing is there, but is not a master of the player. The New Age player can disregard time altogether. Just listen to Zen flute music as a good example of this.

Now, what does all this mean for the aspiring New Age musician? A couple of good things. It means that there is a definite new age "sound" out there. That it is here to stay and that people like and need to hear it. And it means that there are some guidelines out there for what defines the meaning of New Age music.

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!

Health Insurance for Creative Artists -- A Multi-Talented Health Investment

For the Creative Artist -- Good Health Insurance is Truly a Lifetime Investment

Fellow artists, buying good health insurance is the best investment you can make in your lifetime! You can purchase fine jewelry, art works, vintage cars -- but none of these can assure you the value, well-being, and peace of mind that a comprehensive health insurance plan will bring you. And you don't have to pay for expensive expert advice before buying, either. For, no knowledgeable jeweler, fine art dealer or professional car salesman can begin to give you the self assurance and cool confidence that a good health insurance package affords you.

Modern Health Insurance Covers More Than You Think

At one time, health insurance coverage was at minimum basic level. Most major illnesses and surgery were covered, but that was about all. Any condition out of the ordinary or slightly obscure was dismissed as not suitable for health insurance coverage. And any medical problem or type of surgery that sounded the least bit "cosmetic", you might as well just forget about. -- No coverage would be granted, and you'd be made to feel you were foolish even to ask for it! In today's health insurance market, however, there are policies that cover just about any medical condition, even pre-existing ones. And we all can benefit from this reassurance, especially as we get a year or two older. And there is better and better coverage for dependents now, so you can relax knowing your spouse and children will be well taken care of whenever health problems arise. Just imagine -- you may soon be able to include your pet poodle or parrot on your updated health insurance policy! (And, how about adopting a couple of those cute stray cats, dogs or hedgehogs for inclusion in your health care coverage?)

Pay Nothing Or Little For Office Visits -- Let Health Insurance Take Care Of The Rest

Many health insurance policies require little or no payment up front for medical office visits or prescription drugs. At most, you may owe a $10 or $15 co-pay along with your health insurance identification card for all your doctors' appointments -- including specialists. And in some instances, even the co-pay can be billed for later payment. So, there's never a need to worry that you won't be able to afford your doctor's fee.

Buy Prescription Drugs For Nearly Nothing -- Your Health Insurance Plan Will Pick Up The Balance

You won't have to fret about pharmacy fees, for with current-day health insurance, most prescriptions cost a mere fraction of their worth. And you can go home feeling well cared for and wealthy. And generic drugs cost even less than their brand names do -- even more savings from your health insurance "investment fund."

And There Is Even Holistic Or Alternative Health Insurance

Can you believe it -- there is finally health coverage for many holistic and alternative health treatments to make your insurance wants and needs complete. Even herbal cures and natural health massage are included, in many cases! So, artists all, call your nearest health insurance broker today, and make that guaranteed investment of your lifetime!

Ellen Gilmer

Copywriter, Article Writer, copyright 2005

Ellen Gilmer is a writer-composer and artist who lives in New York City. Her business, Crystal Clear Artforms, is dedicated to the development and promotion of Thematic Arts (creative expression in multiple art forms). Ellen's work includes copywriting and article writing, and she is a member of the Agora International Press Corps / AWAI Travel Writers Group. She has published two books: La Belle Famille (a novel), and Free Style Run of the Heart (a book of dramatic monologues with songs). (Publisher: The Pentland Press, Ltd.; Carnegie Publishing, in England) The Web Site address for Crystal Clear Artforms is: <a target="_new" href="http://www.home.earthlink.net/~elgilmer">http://www.home.earthlink.net/~elgilmer</a>

วันจันทร์ที่ 24 พฤศจิกายน พ.ศ. 2551

How to Create Interesting Textures

A lot of new age piano music consists of repeating patterns, or textures in the left hand while the right hand improvises a melody. This approach is really a good one! It frees you up to create in the moment. First you decide what chord or chords you'll be using in the left hand. You then create an ostinato or arpeggio that lays the foundation for the entire piece.

It's like the background a painter uses before the foreground is drawn in. In the case of music, the background would be the textural patterns in the left hand. Then the right hand comes in "to paint" in the rest of the picture - in this case, the improvised melody.

George Winston used this approach in the piece "Rain." First you get this beautiful textural background created exclusively by the left hand. He covers more than an octave with the left hand using the thumb to reach past and make the music sound fuller. Now, in this piece he uses only a few chords, but interest is maintained through the improvised melody. In my piece, Flashflood, from Anza-Borrego Desert Suite, I use the same technique.

I start by playing an ostinato in the left, than add in the melody in the right. I keep playing the ostinato for as long as my intuition says, "this sounds good," then add in some contrast, either by changing chords, or by adding in new material.

It's important to realize that complete textural backgrounds can be created using the left hand alone. In fact, entire pieces of music can and have been created using this very versatile approach. It's especially suited for new age music. So, here's a step-by-step procedure for creating textures:

1. Choose your chords - These can be triads, or Open Position Chords, or any chord structure

2. Create a pattern for your left hand

3. Improvise a melody with your right hand

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!

วันอาทิตย์ที่ 23 พฤศจิกายน พ.ศ. 2551

CD Review: Amber - My Kind of World

Pop/Rock Recording Artist Amber, who has scored seven #1 Billboard Hits (and 3 more Top Tens) in her Career, including "If You Could Read My Mind", "This is Your Night" and "Sexual (Li Da Di)", is back! And she does not disappoint! "My Kind of World" marks the beginning of a new stage in Amber's career. Like Janet Jackson before her, Amber has taken complete creative "control" on this new project and the result is an artistic triumph with huge commercial appeal!

The first Single "You Move Me" hit #1 on Satellite Radio Stateside and went Top Ten on the Billboard Dance Club Play Chart. The follow up Single "Voodoo" is ascending the Billboard Chart with a BULLET!

Despite her success, Amber and this new CD are perhaps the Music Industry's best kept secrets. But not for long.

The Artist is a fantastic vocalist and the new CD is packed with tracks that are destined to become the biggest hits of her career! Fan favorite "Sacrificial Lamb" is a wholely original take on the familiar "Declaration of Independence" theme made popular by Gloria Gaynor's "I Will Survive", Whitney Houston's "It's Not Right, But It's OK", Deborah Cox's "Mr. Lonely" and, more recently Alicia Keys' "Karmastition".

And the Pat Benatar-esque "Just Like That" is a perfect Pop Tune that, in a perfect World, would propel the Artist back into the Grammy Spotlight for Songwriting (Cher's remake of Amber's "Love One Another" was nominated in 2004). "Just Like That" was a Billboard Magazine pick as the CD's "secret weapon".

In a time when music is increasing "disposable", this CD is a keeper. It gets better and better with multiple listens and it will sound as fresh and original 5 Years from now as it does today. Amber and "My Kind of World" deserve a place in the mainstream! HIGHLY RECOMMENDED.

Visit Amber's Official Listening Station and Worldwide Merchandise Center at <a target="_new" href="http://www.Amber-MCC.com">http://www.Amber-MCC.com</a>

Kevin Snook is the Editor of Most Music (<a target="_new" href="http://www.MostMusic.BlogSpot.com">http://www.MostMusic.BlogSpot.com</a>), an internet Music site focusing on Popular Music and Artists.

How to Stop Thinking and Start Playing

Learning how to improvise is confusing for most. The sheer number of choices becomes a burden. Should I play this note? What chord next? Where do I go from here? All valid questions newbies (and oldbies) at improvisation sometimes ask themselves.

The number one reason people have problems creating in the moment is that they won't let up on themselves and just play. They knew how to do it once as children but now that memory is gone and with it, a void has taken its place.

Fortunately, there is a solution. It's really a two-pronged solution because once we do learn how to ease up and just play, we are left with another problem and that is, what game are we playing.

The game of improvisation is a game like any other. We have a few rules, some guidelines, and then the game is played. You see, we must have some kind of structure to play the game of improvisation. Why? Because without it there would be way too many choices and this would prevent most people from even beginning.

Here's a perfect example. In Lesson 5, "Winter Scene," we have 2 chords, a scale, and a way to play these chords. With these choices out of the way, we can now focus on and enjoy the act of improvisation. We can play around with the music and feel good about our play.

Some think working within a set of limitations is uncreative. I thought so too once until I realized that until I learned how to do this by following the examples of others, I couldn't be free to create my own set of limitations.

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!

How Many Chords Are There, Anyway?

Since chords (the main component of harmony) are one of the three most vital elements of music ? the others being melody and rhythm ? it would be useful to know how many chords there are. And it doesn't matter whether you play piano or guitar or some other instrument ? chords are chords.

It's certainly not necessary to learn all the chords in the whole wide world, but it is necessary to learn some of them ? at least enough to allow you to harmonize the songs you would like to play.

But meanwhile, there are 3 chords -- just 3 -- that you absolutely, positively have to know. If you don't know these three, there's hardly a song in the whole world that you could play. But by knowing just 3 chords, you can play hundreds, if not thousands of songs! And those chords are simply the primary chords in any given key:

?The I chord (the chord built on the 1st degree of the scale)

?The IV chord (the chord built on the 4th degree of the scale)

?The V chord (the chord built on the 5th degree of the scale)

For example, if you were playing in the Key of C, the I chord would be C (c, e, g), the IV chord would be F (f, a, c), and the V chord would be G (g, b, d).

But as you probably know, there are thousands of other chords, so it would be helpful to at least know of their existence and maybe someday learn them.

So here goes:

Since there are 12 major keys one can play in (not counting enharmonic keys ? keys that sound the same but are written differently), there are:

*12 major triads (a triad is a 3 note chord)

*12 minor triads

*12 diminished triads

*12 augmented triads

*12 diminished 7th chords (4 note chords)

*12 major 6th chords

*12 minor 6th chords

*12 dominant 7th chords

*12 major 7th chords

*12 minor 7th chords

*12 half-diminished chords

*12 9th chords

*12 flat 9th chords

*12 9th/major 7th chords

*12 9th/minor 7th chords

*12 11th chords

*12 13th chords

*12 suspensions

*12 flat 5th chords

*12 flat 5th maj 7th chords

If that's not enough chords for you, remember that each chord can be inverted ? turned upside down. So multiply all the triad chords by 3, and all the 4 note chords by 4, and all the 5 note chords by 5?.

Then there are:

? poly-chords ? chords that combine two or more other chords, and

? voicings ? the way chords are positioned on the piano keyboard

And that's just in one octave. A standard piano has 7 octaves, so multiply all that by 7 and you get the answer to how many chords there really are:

More than you can count.

But again, you don't need to know them all. Just master enough so that you can play the songs you want to play, then gradually over time learn more and more chords. Your musical world will continue to grow and maturity as a musician will become obvious to others.

Duane Shinn is the author of over 500 music courses for adults. His low-cost CD ROM software titled <a target="_new" href="http://www.keyboardchords.com/">"Duane Shinn's Instant Piano Chord Finder Chart!"</a> is used by musicians around the world. He is also 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 60,000 current subscribers.

วันศุกร์ที่ 21 พฤศจิกายน พ.ศ. 2551

Polychords and the Jazz Improviser: How to Practice & Apply Polychords to Improv

In the world of music, many Jazz improvisers and Classical composers eventually venture into exploring poly-harmony within their respective art form. Poly harmony is the simultaneous sounding of more than one harmonic concept. The preponderance with poly-harmony began the late 19th-early 20th centuries with classical composers as Stravinsky and Debussy. About sixty years later, jazz musicians as John Coltrane and Richie Bierach incorporated such ideas into their music. The benefits of learning poly-chords will enhance an improviser's repertoire of harmonic concepts. Thus they can create harmonic colorings that can influence a listener's outlook. This article will focus on how once can practice and incorporate tertian polychords into their improvisational styles. Many of the examples and references within this article will make use of the seventh chord and triad. One should to explore other tertian harmonies such as ninths, elevenths, and all other similar formulations.

Tertian harmony is harmony that spaces its notes a third a part from other notes. Additionally, tertian harmony includes the harmonic inversion of thirds. Before one begins their exploration into poly-chords, one should be familiar with tertian harmony in its simplest terms of inversions and through a few applied patterns. From this understanding of tertian harmony through inversions and patterns and after one has accomplished or, in the least, feels comfortable with tertian harmony, one should then attempt to combine more than one chord.

The first step in gaining an understanding tertian ploychords is to write triads and 7th chords in a formulaic fashion. For example, begin by writing each major chord a major second apart (i.e. Cmaj-Dmaj, Ebmaj-Fmaj, etc.) After writing these series of chords, write out triads that are minor third apart. For example: Ebmaj-Gbmaj, Amaj-Cmaj, and all other similar progressions. As one can see from the two previous examples, one should continue this process until one has exhausted all the permutations of the triad progression. In a similar fashion, one should continue this writing exercise with seventh chords. The purpose to this writing exercise is for the musician/composer to develop a visual and intellectual connection to the concepts that they will use in a open/free musical environment.

To continue with this process of learning tertian polychords, the next step, after one has learned by rote and memorized the permutations, is to apply their understanding of poly chords to an improvisation setting. Before one begins improvising with other musicians, one should improvise alone. This will familiarize oneself with the polychords without the aid of written materials. One should strive, during this stage, to improvise with polychords without much thought. Other permutations on this stage include the improvising within a strict harmonic setting. For example, one can improvise on chords that are a minor third apart. Similarly, one can improvise on a series of polychords.

In the last stage of development, one should perform with other musicians and observe how polychords affect other musicians playing and one's performance. During this stage, one should apply their polychord knowledge towards Jazz standards, modal tunes, or atonal standards. Each form of Jazz standard offers its own rewards and challenges. Due to the pros and cons of each form of standard, the outcome will greatly differ. In addition to performing Jazz standards, one should attempt create their original composition with polychords. Furthermore, one should attempt to re-harmonize a Jazz standard with their new understanding of polychords.

In the end, this article focused primarily on the practicing and application seventh chords and triads in a polychordal environment. One can venture into larger tertian harmonies or into other harmonic formulations, such as segundel, quartal, quintal, and all other similar formulations. During one's venture into other tertian or non-tertian formulations, one should observe the impact polychords have on one's and other performances. As a reminder to one's practicing of polychords, for one to be successful at polychords, one should remain diligent in their practice and application of tertian polychords. The process of learning polychords can be tedious, but in the long run, the rewards are greater than not learning this harmonic concept. In the next article on polychords, polychord progressions and its application to composition will be discussed.

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

วันพฤหัสบดีที่ 20 พฤศจิกายน พ.ศ. 2551

3 Secrets To Understanding What Makes Music Tick

It's no secret that virtually everyone loves music in some form or other. After all, music is the universal language. In one way or another we all participate in it from our cradle song to our wedding song to our funeral song, with thousands of other s stops along the way.

The country-western fan may not like jazz, but he or she sure loves the sound of pickin' & grinnin'.

And that's as it should be. If we all liked the same kind of music, there just wouldn't be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children's songs to Broadway musicals to gospel music to the blues.

Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is &quot;on the surface.&quot; But beneath the surface of all music is a commonality that is organic to all forms and styles of music.

So what does all music have in common? What makes music tick?

At least 3 things ? sometimes more, but never less:

1. Melody

2. Rhythm

3. Harmony

The melody is the part of a song or composition that you whistle or hum ? in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.

In musical notation, the melody is almost always written in the treble clef ? also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.

Rhythm is the beat ? the swing ? the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals. A waltz, for example, basically consists of a heavy beat followed by two lighter beats. So we say that a waltz is in triple meter ? one strong beat followed by two weak beats, then repeated.

A march, on the other hand, generally consists of a heavy beat followed by a light beat, then another heavy beat followed by another light beat. (I'm simplifying, of course ? there are many varieties?) So a march is in duple meter ? as you might expect since we have two feet and we march in left-right-left-right patterns.

All rhythms are some combination of triple meter and/or duple meter, and the possibilities are endless ? from boogie to R&B to mambos and sambas and bossa novas and?.on and on.

Harmony, the 3rd aspect of music, is the musical background of a song ? the chords, or intervals &quot;behind&quot; the melody. Without harmony, a song sounds empty ? like a vocalist singing without an accompanist ? or accapella. Music doesn't HAVE to have harmony to function, but in actual practice it almost always does, even if it is just the interplay of two melodies, as in counterpoint.

You could spend a lifetime learning all the nuances of music, but it its most basic form, it is these 3 elements combined together; melody, rhythm, and harmony that comprise music.

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 both children & adults. His book & DVD course titled <a target="_new" href="http://www.pianoplaying.com/">"How To Dress Up 'Naked Music' On The Piano!"</a> is used by adults 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 59,700 current subscribers.

Piano Chords and New Age Music

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!

The Revolution of Electric Guitars

Sometime during the 1930's electric guitars were introduced onto the music scene, which began a revolution in sound and technology that continues to this day. After Rock and Roll was born in the 1950's, it didn't take very long for electric guitars to grow in popularity and become one of the most coveted instruments of all time. Things really began to take off when the Beatles turned the world on its ear in 1964 by "invading America". Soon to follow were groups like the Rolling Stones, Cream, and the The Jimi Hendrix Experience. Music was forever changed and today electric guitars dominate the scene.

Originally these guitars were made with only a single pick-up. Now they usually come with two or three, thus creating a more versatile instrument. One is placed near the bridge, the other toward the base of the neck, and a middle, or third, is often added between the other two. Having these additional pickups provides the guitarist with more options for producing various dimensions of tonal quality. They can be used independently or in combination with each other and adjusted to achieve just the right volume or effect for either lead or rhythm guitar playing. Pickups are strategically set on electric guitars in order to "pickup" and produce the best sound. There are generally two basic types of electric guitar: hollow-bodied and solid-bodied. Hollow-bodied guitars are often used by Jazz enthusiasts. Rock guitarists tend to prefer the solid-bodied guitars overall.

If you are in the market for an electric guitar there are a few things you should keep in mind. First of all, take into consideration the kind of music you want to play. Are you looking for a smooth, mellow sound, or do you prefer more of a raunchy sound with an edge? If the former is true, then you'll gravitate toward the hollow-bodied guitars; if the later, then the solid-bodied is your best bet. Now, you could compromise and go for a "semi-solid" electric guitar, which combines the characteristics of both. These have a solid center block which creates the sustain of a solid body along with the "f" hole design which allows for the acoustic quality too.

One other thing to keep in mind. When you purchase an electric guitar you will also need to have other equipment, most importantly, an amplifier and a chord! If you're on a tight budget you might consider buying a package deal. These usually include the guitar, a small amp and a chord. Some also include picks, strap and a case. If you have money to blow, then do some research on amps and effects ahead of time so that you can be sure to have the equipment that will produce the sound you're after. You can also ask the store management for permission to test their different amps and effects while your in the store looking around. If you don't know how to play the guitar yet, ask if they have someone who could play a demonstration for you.

My final advise, before you buy your electric guitar, is to take your time and shop around. Ask a lot of questions. When you listen to music, take mental notes of the sounds you like and share your thoughts, ideas and questions with other guitar players. Then, go for it!

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">http://www.abclearnguitar.com</a>

วันพุธที่ 19 พฤศจิกายน พ.ศ. 2551

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>

วันอังคารที่ 18 พฤศจิกายน พ.ศ. 2551

Music & Emotions: Can Music Really Make You a Happier Person?

How many times have you turned to music to uplift you even further in happy times, or sought the comfort of music when melancholy strikes?

Music affects us all. But only in recent times have scientists sought to explain and quantify the way music impacts us at an emotional level. Researching the links between melody and the mind indicates that listening to and playing music actually can alter how our brains, and therefore our bodies, function.

It seems that the healing power of music, over body and spirit, is only just starting to be understood, even though music therapy is not new. For many years therapists have been advocating the use of music - both listening and study - for the reduction of anxiety and stress, the relief of pain. And music has also been recommended as an aid for positive change in mood and emotional states.

Michael DeBakey, who in 1966 became the first surgeon to successfully implant an artificial heart, is on record saying: "Creating and performing music promotes self-expression and provides self-gratification while giving pleasure to others. In medicine, increasing published reports demonstrate that music has a healing effect on patients."

Doctors now believe using music therapy in hospitals and nursing homes not only makes people feel better, but also makes them heal faster. And across the nation, medical experts are beginning to apply the new revelations about music's impact on the brain to treating patients.

In one study, researcher Michael Thaut and his team detailed how victims of stroke, cerebral palsy and Parkinson's disease who worked to music took bigger, more balanced strides than those whose therapy had no accompaniment.

Other researchers have found the sound of drums may influence how bodies work. Quoted in a 2001 article in USA Today, Suzanne Hasner, chairwoman of the music therapy department at Berklee College of Music in Boston, says even those with dementia or head injuries retain musical ability.

The article reported results of an experiment in which researchers from the Mind-Body Wellness Center in Meadville, Pa., tracked 111 cancer patients who played drums for 30 minutes a day. They found strengthened immune systems and increased levels of cancer-fighting cells in many of the patients.

"Deep in our long-term memory is this rehearsed music,&quot; Hasner says. &quot;It is processed in the emotional part of the brain, the amygdala. Here's where you remember the music played at your wedding, the music of your first love, that first dance. Such things can still be remembered even in people with progressive diseases. It can be a window, a way to reach them?"

The American Music Therapy Organization claims music therapy may allow for "emotional intimacy with families and caregivers, relaxation for the entire family, and meaningful time spent together in a positive, creative way".

Scientists have been making progress in its exploration into why music should have this effect. In 2001 Dr. Anne Blood and Robert Zatorre of McGill University in Montreal, used positron emission tomography, or PET scans, to find out if particular brain structures were stimulated by music.

In their study, Blood and Zatorre asked 10 musicians, five men and five women, to choose stirring music. The subjects were then given PET scans as they listened to four types of audio stimuli - the selected music, other music, general noise or silence. Each sequence was repeated three times in random order.

Blood said when the subjects heard the music that gave them "chills," the PET scans detected activity in the portions of the brain that are also stimulated by food and sex.

Just why humans developed such a biologically based appreciation of music is still not clear. The appreciation of food and the drive for sex evolved to help the survival of the species, but "music did not develop strictly for survival purposes," Blood told Associated Press at the time.

She also believes that because music activates the parts of the brain that make us happy, this suggests it can benefit our physical and mental well being.

This is good news for patients undergoing surgical operations who experience anxiety in anticipation of those procedures.

Polish researcher, Zbigniew Kucharski, at the Medical Academy of Warsaw, studied the effect of acoustic therapy for fear management in dental patients. During the period from October 2001 to May 2002, 38 dental patients aged between 16 and 60 years were observed. The patients received variations of acoustic therapy, a practice where music is received via headphones and also vibrators.

Dr Kucharski discovered the negative feelings decreased five-fold for patients who received 30 minutes of acoustic therapy both before and after their dental procedure. For the group that heard and felt music only prior to the operation, the fearful feelings reduced by a factor of 1.6 only.

For the last group (the control), which received acoustic therapy only during the operation, there was no change in the degree of fear felt.

A 1992 study identified music listening and relaxation instruction as an effective way to reduce pain and anxiety in women undergoing painful gynecological procedures. And other studies have proved music can reduce other 'negative' human emotions like fear, distress and depression.

Sheri Robb and a team of researchers published a report in the Journal of Music Therapy in 1992, outlining their findings that music assisted relaxation procedures (music listening, deep breathing and other exercises) effectively reduced anxiety in pediatric surgical patients on a burn unit.

"Music," says Esther Mok in the AORN Journal in February 2003, "is an easily administered, non-threatening, non-invasive, and inexpensive tool to calm preoperative anxiety."

So far, according to the same report, researchers cannot be certain why music has a calming affect on many medical patients. One school of thought believes music may reduce stress because it can help patients to relax and also lower blood pressure. Another researcher claims music allows the body's vibrations to synchronize with the rhythms of those around it. For instance, if an anxious patient with a racing heartbeat listens to slow music, his heart rate will slow down and synchronize with the music's rhythm.

Such results are still something of a mystery. The incredible ability that music has to affect and manipulate emotions and the brain is undeniable, and yet still largely inexplicable.

Aside from brain activity, the affect of music on hormone levels in the human body can also be quantified, and there is definite evidence that music can lower levels of cortisol in the body (associated with arousal and stress), and raise levels of melatonin (which can induce sleep). It can also precipitate the release of endorphins, the body's natural painkiller.

But how does music succeed in prompting emotions within us? And why are these emotions often so powerful? The simple answer is that no one knows? yet. So far we can quantify some of the emotional responses caused by music, but we cannot yet explain them. But that's OK. I don't have to understand electricity to benefit from light when I switch on a lamp when I come into a room, and I don't have to understand why music can make me feel better emotionally. It just does - our Creator made us that way.

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. Previous to that he worked as an assistant music therapist at DeWitt State Hospital in Auburn, California. 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 Exciting Piano Chords & Sizzling Chord Progressions" with over 55,000 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>

Music & Citizenship: Can Playing a Musical Instrument Help Your Child Become a Better Citizen?

Disregard the popular image of rappers with their ghetto blasters, terrorizing neighborhoods with eardrum-splitting cacophony. Consider instead our delightful school bands and orchestras? and ponder on whether those students might be becoming our best future citizens.

Unlikely as it may seem, recent scientific research suggests this hypothesis might actually be true. It appears studying music can, in fact, impact the development of the human personality, especially in the area of socialization. In particular, music education encourages self-discipline and diligence, traits which carry over into other areas.

According to statistics compiled by the National Data Resource Center, students who can be classified as 'disruptive' (based on factors such as frequent skipping of classes, times in trouble, in-school suspensions, disciplinary reasons given, arrests, and drop-outs) total 12.14 percent of the total school population. In contrast, only 8.08 percent of students involved in music classes meet the same criteria as 'disruptive'.

Neurobiologist Norman Weinberger reports on another research study by Martin Gardiner of Brown University. According to Weinberger, writing in the Winter 2000 Issue of MuSICA Research Notes, Gardiner's study checked the relationship between arrest records of teenagers and their degree of involvement in music. He analyzed a large-scale data base that included information gathered over a period of many years for more than a thousand residents of Rhode Island.

Gardiner tracked people from birth through the age of thirty, and found that the greater the involvement in music, the lower the arrest record. Teens who had music education were less likely to get into trouble than students who didn't. However, those who were also involved in playing a musical instrument had even fewer brushes with the law. Those who had the most experience, including good sight-reading ability, had a negligible arrest record.

Gardiner's study, which took place in 2000, is backed by others. The National Association for Music Education publishes a fact sheet on its website which quotes the Texas Commission on Drug and Alcohol Abuse Report. According to the January 1998 report, secondary students who participated in band or orchestra reported the lowest lifetime - and current - use of all substances (alcohol, tobacco and illicit drugs).

And a 1990 study at the National Arts Education Research Center, concluded that students who participated in arts programs in selected elementary and middle schools in New York City showed significant increases in self-esteem and thinking skills.

The results of studies such as these are promising for the future of our society, especially in the light of a 2003 Gallup Poll Survey showing record numbers of Americans now play musical instruments.

This survey - conducted by the Gallup Organization (commissioned by NAMM, the National Association of Music Merchants) - found that Americans are playing musical instruments at the highest levels since 1978.

Just over half, (54 percent), of households surveyed had a member who plays a musical instrument. And in 48 percent of households where at least one person played an instrument, there were two or more additional members who also played.

Ninety-seven percent of respondents agreed that playing a musical instrument provides a sense of accomplishment and encourages expression, and 85 percent believe it makes someone smarter. An equal number regretted not learning to play an instrument and 67 percent said they would still like to learn.

Interestingly, the survey also showed that an increasing number of young people are becoming involved in music, with the percentage of people ages of 5 to 17 who play an instrument at 31 percent, up from 25 percent in 1985.

Of the total respondents a further 27 percent were between the ages of 18 to 24.

Most of those questioned began their music education before their teens with 64 percent saying they started music study between the ages of 5 to 11 and 18 percent between the ages of 12 to 14.

In his highly acclaimed book, A Users Guide to the Brain, Ratey John J, MD notes: "The musician is constantly adjusting decisions on tempo, style, rhythm, phrasing and feeling - training the brain to become incredibly good at organizing and conducting numerous activities at once. Dedicated practice of this orchestration can have a great payoff for lifelong attention skills, intelligence and an ability for self-knowledge and expression."

Good citizens require many of these same skills in order to live harmoniously with other human beings. So as you move to a new town or take up a new job, it could just be worth enquiring if your neighbors and colleagues are musicians.

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 "How To Play Chord Piano" (<a target="_new" href="http://www.chordpiano.com">http://www.chordpiano.com</a>) has sold over 100,000 copies around the world. He holds an advanced degree from Southern Oregon University and was the founder of Piano University in Southern Oregon. Previous to that he worked as an assistant music therapist at DeWitt State Hospital in Auburn, California. 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 Exciting Piano Chords & Sizzling Chord Progressions" with over 55,000 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>

Five Great Practice Ideas I Learned From My Piano Students!

Sometimes the teacher learns more from the student than the student does from the teacher. Hopefully, not too often, but today I would like to share with you some great practicing ideas that have come from my piano students over the years:

1. A Colonel in Virginia that I taught for several years got up at 4AM every weekday morning and practiced on an electronic keyboard with headphones so he wouldn't disturb anyone at that time of the morning. "I love the early morning", he said, "because it's so quiet and peaceful and I'm fresh and raring to go. No phones are ringing, no people walking into the room, no disturbances at all. I practice for a half-hour, have breakfast, and then hit it for another half-hour -- all before I have to show up for work. When I get home in the evening, if I'm too tired to practice, I don't feel guilty because I've already got my licks in for the day. And if I'm up to practicing some more -- well, it's a bonus!"

2. An elementary school teacher in Indiana told me she took each piece I assigned her and transposed it into all 12 keys -- not written out, but at the piano -- in her head. She said "It doesn't always sound so hot, but I find that if I keep at it day after day, I can at least get by in the most difficult keys, and it makes the easier keys seem real simple. And it gives me a perspective that I just wouldn't get it I just played it in one key -- the key it is written in. I've learned that each key has it's own "feel", and some keys are bright (like "D") and some keys are mellow (like "Db").

3. Another piano student with a similar idea, who was the Minister of Music in a Catholic church, said he took one whole month of the year and devoted it to mastering just one key. Since there are 12 months in the year and 12 Major keys, that works out perfectly. So in January he played everything he could find in the key of C, and transposed anything that wasn't in C into C. In February he went up 1/2 step to the key of C# (also known as Db enharmonically) and played everything in Db and searched for pieces written in the key of Db, and so on. By the time the year was up, he had a pretty fair grasp on the 12 Major keys. I suggested that he devote the next year to the 12 minor keys, and the next year to the modes, and the next year to polytonality, etc., etc. -- but as I recall he decided to just recycle through the 12 major keys, since he used them so much more than the ones I suggested.

4. Still another piano student took an idea from me and twisted it a bit. I suggested that she play along with pieces she liked on tapes and CD's, so she would get a feel for the motion of the song. (I used to do that by the hour when I was a teen-ager, and it paid off big time for me!). She took the idea and tried it and liked it so much that she started getting videos of people playing the piano. She arranged her TV and video player so that she could be at her piano while the video was playing, and she would play along with the pianist on the screen, following her/his hand motions and arm motions and finger position and thereby getting a feeling for the flow of the music. (Patterning). Her creativity is paying off for her -- she is advancing rapidly. (And by the way, don't think she is "copying" the person she is watching -- not at all. It's the same principle as watching Michael Jordan moving toward the basket, or watching Sammy Sosa swing a bat -- it just gets you in the right groove before you apply your own style to it.)

5. A doctor I have taught for years makes a idea file of things he has learned about piano playing over the years. He notes where in a given book or tape or video I discuss such and such a topic, and files that alphabetically. Then later when he needs to refer to that idea, he simply looks up the idea in his file, locates the video or cassette or book, and presto -- he can review that idea or concept almost instantly. It's like a card catalog in the library -- makes finding things so much faster than flipping through endless books trying to find that idea you saw long ago. With the advent of the computer a person could store and categorize ideas such as this very quickly.

Hope this gives you some ideas of your own!

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 instant piano chord finder software titled <a target="_new" href="http://www.keyboardchords.com/">"How To Find Any Piano Chord Instantly!"</a> has been used 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 58,600 current subscribers.

วันจันทร์ที่ 17 พฤศจิกายน พ.ศ. 2551

Shut Up And Sing

What is it with these performers and their politics? Do they really think that people who pay $100 or more to hear them sing want to hear them utter political opinions? The audience pays hundreds of thousands of dollars to see and hear a performer PERFORM. You want to spout politics, run for freakin office, you moron! When performers use a paid venue to play politics they are abusing the paying audience, the venue, the sponsors and everyone connected to their artistic performance. It's an inappropriate venue and inapproprite behavior to voice your political viewpoint, you jerk! And they wonder why people boo.

Somebody pays a small fortune for their ticket to see them perform and ends up being subjected to a political opinion from someone who makes millions of dollars a year but doesn't have a real job, doesn't have to live in reality and doesn't have a clue about the real world! Yeah, right, tell me about your political views while I'm sitting here waiting to be entertained by you. That's why I came here and that's what I paid for isn't it, you ungrateful clueless idiot. You want to spout off, do it for free. Yes, free. Why don't you perform for free then you can say anything you want to your audience. Then it's fair and balanced. Then the audience gets what it pays for.

And what about the incident in Orange County, CA where the performer makes a comment about Linda Ronstadt and audience starts booing and the performer responds with how America used to be a place where you could openly discuss your views. Ha! Twenty thousand people and he's the only one with a microphone! Open discussion, my ass.

So, a word to the wise. You want to keep performing, keep making millions, keep living in your fantasy world? Shut up and sing.

Maya Pinion is a freelance writer and contributing editor for News4Net. Article inspired by radio talk show host, Dennis Prager, who has a brain in his head and a heart in his chest.

วันอาทิตย์ที่ 16 พฤศจิกายน พ.ศ. 2551

Irish Fiddle Ornaments

When I started playing jigs, my default bowing pattern made a groove like Pop Goes the Weasel: "Long-short, long-short, muberry bush, the long-short, long-short weasel."

And that still works for me without having to think about it. The one rule to keep in mind is: Do not slur from one string to another. This is unlike Irish reels. There, you can and do slur from one string to another. But not in jigs. Getting the hang of ornaments

I think of the Irish fiddle ornaments as falling into melodic and percussive categories.

The three most common melodic moves are, the grace note, the triplet, the roll. These moves all use "neighbor notes." Any note within one step of the main melody note can be a neighbor note. In Irish fiddling, the neighbor note can be two steps away.

Grace notes are typically the upper neighbor, one whole step or half step higher. The grace note is usually played just before the beat.

In standard music notation it is shown as a very small note. In my tab charts I follow this convention by making the tab grace note much smaller than the main melody notes.

Triplets start with the melody note, go up to the neighbor note, and return to the melody note. The rhythm of this is a substitution of three internal beats for two.

Think of a shuffle pattern: dah-duh-duh. Now go: diddally-duh-duh. This ornament is very popular in Texas Contest style also.

The roll starts on the melody note, goes to the upper neighbor, back to the melody note, then to the lower neighbor, then back to the melody note. When the melodic note is played with the first finger, the upper neighbor is usually the third above, and is played with the third finger. In the roll, the neighbor notes are very light and quick, almost ghost notes.

Percussive finger and bow tricks

These next two moves are a lot of fun. They imitate the bodhran drum. I think of them as being rhythmic ornaments, not melodic.

The bow shake, (my term), is not intended to make three distinct notes. You should hear an interruption of the melodic sound when you do it. Yes, it is a triplet pattern, but done so quickly that you just hear the sound of the bow digging into the string.

Finally, the cut, which you execute by dragging your finger across the (usually) open string without changing the bow direction. This also creates an interruption of the melodic sound. The violin as a percussion instrument!

Slidin' and Squawkin'

The first collection I found of Irish and Celtic tunes, way back in the day,was English, Welsh, Scottish & Irish Fiddle Tunes by Robin Williamson.

This was published in 1976 and came with a vinyl recording of the author playing his tunes up to speed. I still play Carolan's Concerto and Off to California, which came from this book originally.

Williamson writes about slides as being squawks and smears. A squawk is a quick slide and a smear is a lazy slide. The lazy slide has become a favorite of mine, often replacing several notes of a melody.

In slides the object is to start the slide flat to the target note. It can be a half step low or, sometimes, even more. When you slide up the neck, be sure to stop at the desired pitch.

Many times in my studio I coach students to do this correctly. The common mistake is to start at the target pitch and slide up. Be very careful to avoid this error. It just doesn't sound right.

Quick slides, or squawks, can be done often. You will find some notes are better than others for a quick slide. The third note of the scale you are in, for example, is almost always good. The note attracts a slide, especially if it does not go by too fast.

The slower slide, the smear, will often take more time than the usual note allows. So you just steal time from another note. Then you take that note out back and shoot it. (Just kidding. You let the note back in later, when you don't play the smear.)

You can find more fiddle tab charts for Irish tunes in the archive at <a target="_new" href="http://fiddleguru.com/Archive">Fiddle Tunes in Tab</a>. Included are: O'Keefe's Slide, Drowsey Maggie, Road to Lisdoonvarna and Tommy People's Reel.

Elan Chalford, MM.--Fiddle Coach
<a target="_new" href="http://fiddleguru.com">Learn to Play Fiddle without Reading Music</a>

Avoiding Injuries When Playing Guitar

To avoid any sort of injuries when playing guitar a common sense approach is recommended. Just what do I mean by that?

Well, there are many simple and obvious precautions you can take that will prevent most injuries.

To start with you can adopt the proper technique, posture and hand position.

A good book like Scott Tenant's Pumping Nylon or David Braid's Play Classical Guitar can give you sound basic fundamentals in this area.

With technique keep your movements simple or, as my teacher used to say... "Employ an economy of movement."

If you have less movement you will naturally have less friction and tension and therefore less chance of injury.

Teachers of guitar vary in their interpretation of posture and hand position but in classical guitar at least, there is generally widely accepted agreement on this subject.

You do need to be aware of your posture and hand position when a beginner or intermediate as you are learning habits that will last a lifetime.

I remember my teacher constantly pushing my shoulder down as I played. As I became tense my shoulder would "ride" upwards as my body would tense up.

He was giving me vital feedback on leaning to relax as I was learning basic technique.

It pays to have a good, alert teacher who can short circuit any problems as they appear!

Another point of note is when you begin to play guitar you can often overdo it.

Indeed, Anthony Glise writing in Classical Guitar Pedagogy states...

"Virtually all guitarists injuries are from over-use (simply practicing too much) or misuse (not warming up properly), playing pieces that are too difficult, improper hand positions, overstress, etc."

These are all things that the beginner and intermediate player are prone to.

You must develop your capabilities in line with your common sense and resist the urge to go "too fast too soon."

To quote the clich?..."You gotta crawl before you walk!":)

While we're on the subject of common sense, you need to take breaks in your practice routine.

You know how time flies when you're engrossed in a new and exciting piece. We all have the tendency to play through the pain at times but you must learn to avoid this sort of practice if you want to avoid long term injury. It might be wiser to break your practice sessions into smaller blocks and spread it out over the day rather than all in one hit.

I know we're all "time-poor" these days but is it worth the risk?

Only you can answer that one.

Make sure you build strength and flexibility in your hands and indeed, your body.

You can do this via a healthy lifestyle that consists of diet, stretching (including yoga), meditation and just plain relaxing and taking a break.

If you do all of this and find your still in pain - STOP!

As they say on the advertisement for a prominent pain reliever... "Pain is nature's warning."

If you find you get long term pain, use your common sense again and seek proper medical advice. To play through pain is downright silly.

I hope this brief discussion can give you some direction in this area. :)

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>

Who?s Playing What? A Guide To The Guitars Of The Pros

Eric Clapton performs his slow-handed magic on his. Even with just nine fingers, Jerry Garcia kept countless Deadheads dancing as he played with his. At the mere sight of his, the King of Rock-n-Roll could make a grown woman faint. Of course, I'm talking about guitars. Professional musicians have been stroking and strumming, picking and playing the world's greatest guitars and making the world's greatest music. If you want to play like the pros, you're going to need to know what guitars are rocking their worlds.

Since 1946, Fender guitars have defined rock-n-roll. Fender's line of world-famous instruments, such as the Telecaster?, Stratocaster?, Precision Bass?, and Jazz Bass? guitars have rocked the world stage for decades. From the very beginning with Buddy Holly, Jimi Hendrix, and Muddy Waters to the modern maestros such as Stevie Ray Vaughn, Kurt Cobain, and Eric Clapton, Fender guitars are a must for the serious professional and aspiring amateur!

A Guitar Named After A World War I Battleship ? What Will They Thin Of Next?

The dreadnought guitar was made famous by the Martin Guitar Company. Since just about that same time, the best and brightest guitarists throughout the 20th and 21st centuries have shown why a Martin guitar means excellence. Martin musicians include a who's who of guitar greats from Jimmy Buffet, Neil Diamond, and Ben Harper to Tracy Chapman, Elvis Costello, and Jerry Garcia. When you throw in such rock icons and string virtuosos as Michael Hedges, Sheryl Crow, Bob Dylan, Willy Nelson, Tom Petty, and Neil Young, you'll begin to understand that you're in good company when you go with a Martin.

Gibson Supplies The Who's Who Of Stars

Starting making guitars way back in 1936, the Gibson Guitar Company has been making some of the world's finest guitars for nearly 70 years. Most famous for its Les Paul line of guitars, Gibson has been the guitar of choice for such musical legends as Earl Scruggs, B.B. King, and Elvis Presley. When you add two of the most talented Beatles to the mix, George Harrison and John Lennon, as well as Jeff Beck and Jimmy Page, you're talking a guitar that shines out as one of the best of the best.

For those of you who are looking for a less mainstream guitar choice, don't fret; Ibanez, maker of all manner of musical instruments, is known as the perfect guitar for the select. With such guitar icons as Joe Satriani, Steve Vai, Pat Metheny, and Boz Scaggs on board with Ibanez, you can rest assured that you'll be able to get your strum on just fine with this highest quality of guitars.

Yamaha Makes More Than MotorBikes

Beginning in 1887, Yamaha started making world-class instruments. Granted they didn't start producing their guitars for years to come, but nobody would argue with the fact that Yamaha guitars are some of the best in the world. With an attention to detail that is second to none, Yamaha is a guitar to watch. But, if you want to listen, don't take my word for it. Lee Ritenour, Edwin McCain, Keb Mo, and Richie Sambora will gladly show you how diverse Yamaha can be.

If you're ready to rock like the superstar, get strapped with a guitar of the pros. With so many great brands to choose from, be sure to ask your local guitar store expert for their recommendations to get the best guitar for your money. When you take into consideration your playing style, experience, and budget, you're sure to find the perfect guitar and start playing like the pros in no time at all! Rock on!

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 href=" a target="_new" href="http://www.the-musical-instruments-guide.com/guitars.html"http://www.the-musical-instruments-guide.com/guitars.html/a">Musical Instruments Guide</a> is packed full of informative articles, find top-rated musical instruments and online merchants