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

Why jazz piano improvisation?

Why not gospel piano improvisation?

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

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

The answer is access.

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

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

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

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

Of course.

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

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

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

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

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

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>

Beginning Clarinet: The Very Start

Like starting with any instrument, beginning clarinet is a process of learning that involves both great achievement and the occasional setback. However, if the beginning clarinetist follows a few tips relating to clarinet care and clarinet playing, the success is sure to outweigh the setbacks.

The first thing that a new clarinet player should learn is to put together their instrument properly, and how to hold it. One of the important things when putting a clarinet together is not to force any part into another, and that the side lever is up when the lower and upper parts are put together, otherwise bent keys could be the result.

This type of care should be extended to all parts of the clarinet ? while it is inevitable that reeds will eventually split, they will last longer with careful care. The clarinet itself will last longer and have less need for repair if it is looked after properly, which includes cleaning after each time it is played and being put in its case properly.

One of the most difficult things for the beginning clarinetist is getting the embouchure correct. The embouchure is how the lips are shaped to hold the mouthpiece and create the correct vibration of the reed. Make sure that the bottom teeth are covered by the bottom lip and that the top teeth are touching the mouthpiece, but not clamping down too tight. It is normal for beginner clarinet players to have a lot of squeaking! As you continue to learn and practice, this annoying part of beginner clarinet playing should disappear.

Find hundreds of articles about the clarinet at <a target="_new" href="http://www.1st-clarinet-music.com/Articles/articles.htm">1st-clarinet-music</a>

Worldcopyright Marc Hofkens and Cosblad Publications NV. You can use and publish this article on the condition that you don't change anything and you add this resource box at any time.

<a target="_new" href="http://www.1st-clarinet-music.com">1st-clarinet-music.com</a>

Learning How To Improvise

Those of you who have been reading my articles for some time now know that I believe improvisation to be the cornerstone of musical creativity. Why? Because without the ability to just play, we become stifled and the "real" music that is within each of us withers and dies.

Now, if you're a writer, you have lots of support in this area. There are books, (many, many books) that explore the topic of freewriting to its fullest. There are plenty of exercises and advice from professionals in the field. There are even classes designed to "free the writer within."

But what about music? Where can the aspiring piano improviser go to get help and advice on this topic? Traditionally, they would turn to Jazz - a word synonymous with improvisation. Jazz is a big believer in learning scales and chords. In fact, there are 1000's of scales and 1000's of chords to learn. This can be a turn-off for the beginning student who simply wants to dive in and express through music.

Learning how to improvise need not be difficult. There are only 2 things required:

1. The ability to trust your intuition

2. Knowledge of a few chords

Learning a few chords is the easy part. The part that gives more students problems than anything else is getting over perfectionism and the fear of making "mistakes."

I remember when I first started playing the piano. I wanted very badly to "create" something. Little did I know that by wanting so badly to create, I was blocking the creative impulse. You see, we must learn to play first!! Very hard for many adults because they want to make something "worthy" of performance. If they only would ease up a little and relax and not worry so much about what was coming out of them, then they would begin to experience the joy of improvisation.

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!

Getting Rhythm - Three Tips for Guitar Beginners

If you are just starting out learning guitar one of the hardest things can be getting a good rhythm and keeping that rhythm going while you change chords with your left hand.

When I first started learning guitar I would strum along happily until the chord change and then my right hand would stop while I changed the position of the left.

This makes your playing sound terrible. In fact if you can keep that right hand strumming or picking the sequence, you will sound good. If you are a bit slow with your chord changes and strum some open strings in between you will still sound good. But lose that rhythm and everybody knows that you are messing up.

Here are my top three tips for getting past this learning stage.

#1 Play open strings for the last beat in the bar so you have time to change chord shape. For example if your are to play | G G G G | D D D D | C C C C | instead play | G G G O | D D D O | C C C O | where O is a strum of the open strings. Listen carefully and you will notice a lot of guitar players do this. And it sounds just fine.

#2 Move your body to the rhythm. When I started out I was told to tap my foot to the rhythm.

1 2 3 4 | 1 2 3 4 | 1 2 3 4

I just couldn't do it. It seemed like one more thing to remember and overloaded my system. Then I learned to move my head to the rhythm and immediately my timing improved. I would nod to the beat and move side to side a bit as well. I guess it's just horses for courses. You need to find what works best for you but if you can't tap your foot try nodding your head or even bouncing the whole of the top half of your body. Get the beat rattling through your bones!

*** Increase your tempo gradually one beat at a time. You can use a metronome to keep time but I prefer a drum machine. I need to really hear that beat in order to know that I'm with it. You can get Metronomes and Drum Machines to download to your PC. For an excellent free drum machine visit www.just-jammin.com.

Once you have your drum machine, set it up so that there is a heavier beat on the first beat in the bar. Then set a nice easy tempo. If need be start as low as 70 beats per minute. When you can play your piece smoothly at this speed play it again at 71, then 72 etc. You'll be surprised at just how quickly you can get up to full speed.

Darren Power is the webmaster at <a target="_new" href="http://www.just-jammin.com">http://www.just-jammin.com</a> where you will find the best price on your new guitar, reviews of the latest training products along with guitar news & freebies

New Age Piano Playing and the Sustain Pedal

There are 3 pedals on most pianos. The one on the left dampens the strings and makes the sound come out softer. The one in the middle - I have no idea what that one does, but the one on the right - the sustain pedal - this one is the pedal I have my foot on when I play the piano.

I like to let the tones ring out, but if I keep the sustain pedal depressed for too long, the music turns into a mud puddle - hundreds of overtones coming out everywhere. Don't let anyone tell you that there is a proper way to pedal the piano.

Each style of music uses the sustain pedal differently. New age music, fortunately for us, is much more liberal with its use. Why? Because we usually throw the pedal "rules" out the window. The key to pedaling is to listen for the sound YOU WANT then pedal accordingly.

How do you think the great pianists and composers of the past did it? Do you think they asked themselves, "well maybe I should pedal here?" Of course not. They put pedal marks down where they themselves used it in a piece. You should do the same.

There's nothing like the ringing sound of overtones you get when you let the notes hang in mid-air. In fact, this is one of the charms of the piano - that mysterious echo barely discernible to the untrained ear, but there nevertheless providing warmth and realism to the music.

It's all accomplished through the use of the sustain pedal. When you want your music to breathe, use it. Experiment with it. Don't be afraid to keep it depressed for as long as you want to.

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!

Songwriting - The Art of Writing a Good Song

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Learning How To Improvise

Those of you who have been reading my articles for some time now know that I believe improvisation to be the cornerstone of musical creativity. Why? Because without the ability to just play, we become stifled and the "real" music that is within each of us withers and dies.

Now, if you're a writer, you have lots of support in this area. There are books, (many, many books) that explore the topic of freewriting to its fullest. There are plenty of exercises and advice from professionals in the field. There are even classes designed to "free the writer within."

But what about music? Where can the aspiring piano improviser go to get help and advice on this topic? Traditionally, they would turn to Jazz - a word synonymous with improvisation. Jazz is a big believer in learning scales and chords. In fact, there are 1000's of scales and 1000's of chords to learn. This can be a turn-off for the beginning student who simply wants to dive in and express through music.

Learning how to improvise need not be difficult. There are only 2 things required:

1. The ability to trust your intuition

2. Knowledge of a few chords

Learning a few chords is the easy part. The part that gives more students problems than anything else is getting over perfectionism and the fear of making "mistakes."

I remember when I first started playing the piano. I wanted very badly to "create" something. Little did I know that by wanting so badly to create, I was blocking the creative impulse. You see, we must learn to play first!! Very hard for many adults because they want to make something "worthy" of performance. If they only would ease up a little and relax and not worry so much about what was coming out of them, then they would begin to experience the joy of improvisation.

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!

Dont Censor the Music and Artistic Expression

Ann Powers said:
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"Don't censor the music and artistic expression.

Eminem's music, in particular the songs "Kim" and "Stan," is a continuation of a tradition in music and American art in general: the Gothic murder ballad, which has been with us ever since the blues or Appalachian folk music. "Stan" is just like an Edgar Allan Poe tale, if you think about it. Johnny Cash shot a man just to watch him die. This is something that's had a very solid, longstanding role in culture. <BR>Self-styled moralists are getting up in arms about something that has always been part of the literature of development. If you're a kid, you have to learn about violence, about hate, about death, about fear. That's part of becoming an adult. And if it's not fed to you by Eminem, you're going to get it from your own nightmares. The illusion that kids need to be protected from that is connected to a kind of fetishizing of innocence, which is unrealistic."<BR>Ann Powers

Music critic, the New York Times

We live in a society where we are taught to hide our true feelings and emotions. When I look back at the way I have been educated at school and and home, I now know how hypocritical it was. Teachers and parents tried to hide some reality.We were pictured a safe world with nice people. Religion ( particularly the way it was taught) increased that wrong impression.<BR>Eminem's work appears to be progressive for conservative people. But the same conservative people would also have rejected Baudelaire or any other controversial poet or writer centuries before. Conservatism is a form of intolerance in general.

I have felt insecure a great part of my life and I didn't know how to act the right way with people, being too much afraid to speak my mind.<BR>There is something I will probably never get: why are references to suicide so taboo in people's mind? Many people also blamed Goethe for his work &quot;Die Leiden des Jungen Werthers&quot; (&quot;The Sorrows of Young Werther&quot;) because a lot of young people committed suicide after reading his book. Not Goethe is to blame, but rather those young people's decision...but do we really need somebody to blame? Anybody has the right to end his life if he feels like his pain is unbearable. My cousin committed suicicide when I was 15. I was shocked, but I don't judge her for that. It was her decision to stop her immense sorrow.

MTV also censors notions that have to do with suicide.

The &quot;Tatu&quot; video &quot;Not Gonna Get Us&quot; was considered as shocking and would be censored not because it pictured two lesbian girls, but because they seem to commit suicide at the end of the video.<BR>I was very surprised to discover that the word &quot;die&quot; in the sentence <BR>&quot;I'm so sick and tired of bein admired/<BR>that I wish that I would just die or get fired ? from Eminem's song ? The Way I Am ?. How is that possible ? How could MTV censor a word like ? die ? as if death didn't belong to our every day reality ?

They allow sentences such as ? People killin', people dyin'/Children hurt and you hear them cryin'? from sugar sweet songs such as ? Where is the love ? ? from Black Eyed Peas and they dare censoring ? die ? in ? The Way I Am ? video ? <BR>How far should we push hypocrisy ?

So many writers and poets such as Fran?ois Villon in the 15th century in France have been considered as shocking for their use of vulgar language. Many people want to do as if vulgar and popular language didn't exist (I'm sure the same people use it in their privacy as well). Popular and vulgar words are part of our culture too, there is no reason to ignore it.

Why should we censor notions such as suicide, murder and death that are present in the music when our kids already play violent games on their playstation and watch &quot;Hannibal&quot; and &quot;Scary Movie&quot; on Tv? A little bit of violence helps kids to get rid of their own agressivity and shouldn't be viewed as necessarly dangerous and negative.

The best way to protect our kids is not to hide reality. The closer they are to reality, the better they are armed to face real battles in life.

I do teach English and German at public schools. I am an Eminem biographer and a freelance music journalist.

Its Jewish Music, But Is The Music Jewish?

A while back I was driving along the Jerusalem highway scanning the radio stations. On one frequency, a very intense dance beat was exploding out of the speakers. I was about to move the dial some more in search of a Jewish tune when the vocalist started in. Shock of shocks, he was a heavily Hassidic singer, complete with eastern European pronunciation. And what was he singing? "Kumee oy'ree ki va oy-reich.." from 16th century Rabbi Shlomo Alkavetz' classic Sabbath poem, L'cha Dodi. Before he had began his rendition I had been expecting something like "Oh baby, the way you move with me ..."!

I had to ask the old question, "Is this good for the Jews?" And I had to give the old answer, "Does hair grow on the palm of your hand?"

Of course it's not good for the Jews, I felt. Poor, unfortunate L'cha Dodi, dragged from the fields of Tsfat on the Sabbath eve and infected with Saturday Night Fever! Lovingly done by a Hassid, no less!

Speaking of Tsfat, I recall meandering about their Klezmer festival once and hearing a contemporary setting of Psalm 126. It was to a funk rhythm, and the words did not fit. The singer had to split words in two, which rendered them more or less meaningless. Good for the Jews? Nah.

What bothered me about this so-called Jewish music? To put it briefly, besides the words, it just wasn't. It was dance, trance, shmantz. It was hip, driving, suggestive. If this music was asked where it wanted to play, the synagogue or the sin-skin club, the answer was clear. If Jewish music is to be defined as such, it must have authentic Jewish roots. And so much contemporary music simply does not. Where was the source of this tradition? Nowhere. That's what bothered me.

But, as Tevye reminds us, there's another hand. After all, go listen to classic Hassidic nigunim (melodies). Then go listen to Russian folk songs. Eerie, no? Weren't those folk songs the "dance" of their day?

Even stronger, go watch the religious kids. They love contemporary popular music and all its villains. What these new Jewish groups do is take what's hip and put Jewish content into it. Isn't that what the original Hassidic nigunim were all about? If we don't want to lose our young people in the culture war, we have to compete. Didn't Rabbi Samson Raphael Hirsch bring the choral works of Lewandowsky and Japhet in to the synagogue service, even though they were completely in the style of the German composers of the age, such as Schubert and Mendelssohn (he needs an asterisk because he was halakhically Jewish)? So maybe I should not only calm down, I should applaud this phenomenon.

Hold on. We're both right, I believe. Here's how I reconcile the difference, and my earnest appeal to all who create Jewish music. The most important thing is to ask, "To be or not to be?" That is the question.

Every song has a purpose, a message. It can be joy, faith, pensiveness, determination, anything. The message is in the melody and rhythm, which create the atmosphere. It's in the text, which gives articulation to the message. And it's in the performance, which makes the message personal between the performer and the listener. If the message is congruent, if the music and the lyrics are a perfect union that inspires the performer, then you have a great piece of music. If the message is mixed, if there's a battle going on between the rhythm and the words, then we are troubled. That was why that "kumee oy'ree" was so absolutely awful. It was a mixed message of licentious music with holy texts.

We love to set verses from the liturgy to music, and that's wonderful. Composers have a special responsibility to make sure that the music conveys the message and colors the words with deeper meanings. Do that, and I'm fascinated, I'm inspired, even if it's a contemporary style.

But be very, very careful with verses. We tend to ask, "Do you think Adon Olam goes to this?", when we would do better to ask, "What is this melody saying?". If it says Adon Olam, good. If it does not, then WRITE YOUR OWN WORDS. To keep with the idea of message, if you have a great tune that can say something worthwhile (something human and real, not negative or immodest), say it your way. That satisfies.

The foundation of Jewish music has always been expressing what's in our hearts as a prayer to God. That expression must be congruent, pure, sincere. There is room in the Jewish music world for great innovation, if it comes from our hearts, not from the charts.

Seth Yisra'el Lutnick is a singer and composer who has performed on stage and screen. His CD is called Gesharim, and he is also a trained cantor. Visit his website, <a target="_new" href="http://www.greatjewishmusic.com">http://www.greatjewishmusic.com</a> for music and more.

Interview With Josh Epstein of Vision Music USA

Vision Music USA is a proactive and progressive music service firm with the interest of their clients the driving force that makes them successful. President Josh Epstein and CEO Nick Stamoulis are focused on helping the Independent artists to maintain control of their career by saving them time and their hard-earned dollars. Josh took some time from his busy day to talk to me about their growing company.

MuzikMan: How did you and Nick meet? What interest and goals did you share that brought you together? What are your backgrounds and what qualifies you to provide all of these services to Independent artists?

Josh: Nick and I met in Boston. I was working as the Publicist at the Mama Kin Music Hall co-owned by Aerosmith. Nick and I care very much about music and musicians. Both Nick and I have always wanted to work in music. Specifically, we want to work on our own terms. Individually we have worked with people who care more about money then actually helping artists. We have seen hard working musician's be deceived by manipulators posing as true professionals. Our goal is to own and run a company that is a true resource for independent musicians. We both bring very specific talents to our company. Vision Music USA is Nick and Josh. A major prerequisite to gaining employment with Vision is to share not only our beliefs but our work ethic.

What qualifies Nick and I to assist others with their careers is our ability to relate to the artist. We have both spent several years in the trenches, similar to hard working musicians. Nick and I have worked in several key aspects of the music industry (booking, radio, marketing, artist development, promotions, management, etc). As the Showcase Coordinator for the NEMO Music Showcase and Conference I evaluated over 2,000 bands and musicians. I credit my ear for music and my eye for critiquing press kits to that conference. We chose to work with independent musicians for many reasons. One, with our assistance they might not be independent for long. Two, we have always wanted to provide the resources independent bands need to take their career's to the next level. This is what is so exciting. This is what makes going to work a pleasure. It's knowing that you are making an immediate impact in someone's career.

MuzikMan: Where did you get the name Vision Music USA? How long have you been in business and how does an artist know that you are the real deal and really a &quot;No Bullshit Firm&quot; that you profess to be? Do you have actual testimony from customers that supports that statement?

Josh: Vision is simply the artists own vision. It is where they perceive their career is headed. This is all before we start with them. Once we start with an artist we take their vision to the next level. Vision Music USA has been in business for about two years. &quot;No bullshit firm&quot; is Nick's idea. It is very true. It means that we don't give the artist the runaround. We know how important their time is. We see it as a privilege to be working with the people we do. An artist sees this when the two owners of the company are constantly involved or supervising their project. We are very proud of our testimonials. When our customers take the time to express their happiness with our work it truly makes our day. All of our customer testimonials are on our website.

MuzikMan: What happens if a particular artist is not satisfied with something you have done, what is your recourse?

Josh: The customer is always right. I learned that at an early age from my father who owned a clothing store. We make our clients feel like family. If there is a problem with a portion of a service we do our best to appease the situation. Nick and I will always find an amicable solution for both parties.

MuzikMan: Are you both available to communicate with on the phone or by e-mail during normal business hours? How long does it take you to respond to a clients query?

Josh:e are very busy. However, we are very accessible. Nick and both give our email addresses out freely. If we are busy, our procedure is to return all calls in 24 hours. For the most part, most people contact us and our employees via email.

MuzikMan: What made you decide to take the chance, quit your day jobs, and make this a full time gig? Most people are not willing to take that chance, what makes you different?

Josh: We both knew it was going to work. We have put countless hours of time into Vision Music USA. We feel that we have an innovative idea. We provide services to those who need it. Additionally, our services are very cost effective. This isn't a get rich quick scheme. Nick and I are interested in making money long term while helping musician's attain their individual goals.

MuzikMan: What can an artist expect to get in return for all of your services? What is the goal for each specific client?

Josh: First and foremost, we are consultants. It is our job to customize a client's service to fit their needs. With our assistance, the artist will have a far greater understanding of where they stand and where they need to go. For example,if an artist purchases a Press Kit Development package we completely critique their original work. After this critique we give them the recommend suggestions they need. We point the artist in a direction they are comfortable with. The goal is to bring them more recognition and make the press kit more effective for the artist. Each client's goals are assessed on a customized basis. This is our philosophy.

MuzikMan: Where does Vision Music USA want to go from here?

Josh: We would like to maintain our growth. We will be developing more products and services for our customers. It is important to Vision Music USA to maintain and continually develop relationships with other companies. We have a few other ideas but that's another interview.

MuzikMan: Do you both feel that eventually labels will not exist and all artists will have complete control of their work in the aspects of production, distribution and promotion? A lot of that is happening on the Internet right now, do you think it's a good thing? Are there some drawbacks to this radical departure from the status quo?

Josh: If people can do things on their own that was never possible, then go for it. Artists should have more control over their own work in general. I think the internet is amazing. Considering what I do for a living. I feel there are too may artists who don't fully understand what a record deal is. Too many artists think getting signed is the goal. I think it should be the start.

Take your Career to YOUR next level with Vision Music USA!

Vision Music USA is a TRUE independent musician's resource!

Some services include: Artist Development, Booking, Merchandise, Graphic Design,Website Design, CD Duplication and much more!

About The Author

MuzikMan writes reviews, interviews and articles covering Independent and Major Artists

<a href="mailto:khannaleck@yahoo.com">khannaleck@yahoo.com</a>

Repetition is the Key to Learning Something Deeply

Repetition is the key to learning something deeply. It works most effectively when you are isolating a small amount of material, because the object of your focus will be more specific.

When you have the correct chord movement for part of an exercise or tune under you hands, repeat it continuously until is flows. You should notice a gradual increase in your comfort level as you continue repetitions, eventually remove your eyes from both the music and the keys, and keep repeating until the movements seem easy. This activity is especially important for problem spots in harmonic exercise or tunes.

Try to have your hands in position, actually touching the notes before you strike a chord. This will reinforce your "hand memory" of the chord's shape. When you are ready to play the chord, lift your hands an inch or two and drop the full weight of your hands on the keys, going to the bottom of the key bed.

At first, you probably will miss some notes, and that is OK; simply make the necessary corrections and continue with more repetitions, keeping that feeling of dropping. This will achieve a fuller sound, and your hands will learn the shape of the chords much more quickly and securely.

Recite the chord roots as you play an exercise or drill chords. This will keep you aware of what you are playing, especially when you work with rootless voicings. As you repeat a progression over and over, make a conscious note of the chord structure (i.e. root-7-3-5) which you are manipulating. This will reinforce your understanding and hearing of the harmony.

Whenever your hands need to leave the keys to start at a new location (i.e. practicing an individual voicing or ii-V7-I progression around the key circle), release the chord immediately, rather than sustaining it. This will give you extra time (metronome clicks/drum sounds) to reset your hands for the new key.

To your success,

Mr. Ron
<a target="_new" href="http://www.mrronsmusic.com">http://www.mrronsmusic.com</a>

Ron Worthy is a Music Educator and Performer. He provides an online piano instruction program for all ages. He offers proven tips, tools and tactics (that anyone can learn) to play Rock, Pop, Blues, R&B and Smooth Jazz Piano.

The Future for Independent Record Labels

Small independent record labels are facing a different fight today to obtain a share of the music industry. The best possible means in which small labels were able to get their CD's sold vanished in 2003 when Southwest Wholesale Records and Tapes closed the doors. The ability to have their music placed in a position to be sold along the same shelves as the major record labels is becoming increasingly more difficult. The absence of competition on the shelves has generated an increase in profits for the major labels. What can smaller more nimble labels do to compete with the major labels?

Promotion and Radio -

The major labels have a tight grip on the radio, for example, it is probably the means in which to promote and break in a new artist. (Maybe the hold is a little tight and illegal: Eliot Spitzer, New York's attorney general, is investigating whether the majors bribe radio stations to play their music.) The amount of money and influence that the majors have cannot be matched by a smaller record labels. They cannot fight this battle and often songs that are deservingly good enough to be played will not be played. Play lists are generated in a single office and downloaded to the station managers to every part of the country. The station managers have no choice but to play what the corporate headquarters have instructed them to play for the day. What then can smaller more nimble labels do to compete with the major labels?

The Future ? The Internet

Battle lines can be drawn in this vast market. Smaller labels can have attractive websites for their acts at a relatively cheap price. Hosting of these sites will not be an unmanageable expense either. The smaller labels can promote with banners and not have to absorb the cost of printing and manually distributing flyers and post cards to a smaller scope of potential buyers. The buyers on the Internet that can be reached are the same as that of the major labels.

What about radio over the Internet? It is still developing and today would be a great time to develop an artist over the Internet. Major labels have no control over the stations on the Internet yet!! Developing a radio station over the Internet is viable option for a small label. The cost associated again with doing so is not prohibitive.

Investigate and do your homework about the Internet and promoting on-line. The market is open for smaller companies as much as it is for the bigger companies.

Eugene Brooks has a Bachelor of Science Degree in Business Administration and a Juris Doctorate Degree that he earned from Thurgood Marshall School of Law. Mr. Brooks is the President and CEO of the Texas based, independent label &quot;KMJ Records.&quot; KMJ Records can be found on the web at <a target="_new" href="http://www.kmjrecords.us">http://www.kmjrecords.us</a> and features chopped and screwed CD's by Z-Ro and various other Dirty South Houston Rappers.

This article is copyright ? 2005 by Eugene Brooks and may be reprinted in it's entirety as long as this byline and copyright statement are included.

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.

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>

Guitar Practicing or Guitar Playing?

Just because you're holding your guitar doesn't mean that you're playing it, and just because you're playing your guitar doesn't mean that you're practicing. There is a real difference and it needs to be acknowledged if you want to improve your level of playing skill. Some people say they have spent the entire day practicing their guitar when in reality, all they've done was sit in front of the TV all day eating cheesy poofs. The sad thing is that they really do believe it was practicing since they had their guitar on their lap next to their cheesy poofs all day. Most of us know someone who does this and we may even be guilty ourselves.

In order to truly improve your skills you really need to avoid any distractions, no TV, no food, no friends and no phone. Just you, a guitar, an amp and maybe some reference materials. Speaking of amps, keep the distortion turned down. Remember, this is practice, not playing. The distortion will only hide your mistakes. You need to hear your mistakes clearly so you can correct them.

If you're a beginner you might want to practice basic <a target="_new" href="http://www.guitarmetal.com/guitar_scale_modes.html">guitar scales</a> or <a target="_new" href="http://www.guitarmetal.com/guitarchords.html">guitar chords</a>. Make sure you have the necessary reference material handy so you don't spend your time doing things wrong. Keep in mind that what you practice is reinforced so if you're practicing your scales wrong, then you've not only wasted your time; you've also reinforced your mistakes.

So what should you practice? Since I've never heard you play I can't tell you what you need to improve on, but I can make suggestions to make your practice more effective.

Don't turn your amp up to 11 and play every solo you know. This is playing the guitar not practicing the guitar. It might be fun and a great way to blow off some steam, but it won't improve your skills.

Don't let practice get stale. You need a variety of things to keep your mind from wondering. Practice your scales for an hour then work on chords or music theory. Mix it up. Just be sure not to over do any one area because you'll get bored and at that point your practice won't be as effective.

Don't just go through the motions. Part of a good practice session is finding problems and figuring out solutions. If you're having trouble fingering a particular chord, then analyze the problem and try to find a solution. You might think that your fingers are to small or weak, when the reality is that you only need to improve your technique. When I first learned to make barre chords I had a rough time making all six strings sound clear. Now I can make them all sound clear with very little effort. I would also add that I don't believe my hand strength has much to do with it at all.

Use a metronome when practicing. This will help you improve your timing and make everything sound better.

Learn the basics first. If your beginning guitar you should know and understand the basic relationship between chords and scales. This will help you to better understand the logic of the chord patterns when you learn songs and what scale you should use to solo over top of that particular chord pattern. Check out my lesson &quot;<a target="_new" href="http://www.guitarmetal.com/scalesandguitarchords.html">Guitar Scales and Chord Triads</a>&quot; at &quot;<a target="_new" href='http://www.guitarmetal.com'>www.guitarmetal.com</a>&quot; for a visual reference that might help.

Pick a time of day to practice when you feel most alert. If you're groggy or unfocused, your practice efforts will be compromised. You might work better if you break up your practice session into several times throughout the day. For example, maybe practice an hour in the morning and a couple hours in the evening. You know when you feel the most alert so take advantage of those times.

Be prepared with things to work on. Don't just sit down and noodle around for a couple of hours. Before you sit down you should already know what you're going to work on. This will help maximize your time.

Edward D Cupler is the owner of <a target="_new" href="http://www.guitarmetal.com">guitar lessons website guitarmetal.com</A> Offering free guitar lessons to beginners and advanced students. Ed is also the owner of <a target="_new" href="http://www.digitalgreys.com">Digitalgreys.com</A>

To Record or Not To Record - At Home, That Is

I will be honest. I am addicted to music recording. I love moving faders, adjusting levels, panning, reverberating, sequencing, you name it. I especially love all that software, and the colorful ways that they show the music as a waveform. It is just cool.

And I'm not the only one. My cousin has just become hooked as well, and all around the globe many many songwriters are falling prey to the "Call of the Cubase." After all, what once upon a time could break the bank, is now easily accessible on our desktops. Every songwriter can record his/her songs for a pittance. So is this a good thing? And should we all be doing it?

On the surface, it's a no-brainer. Well, why not record? It stimulates creativity. It liberates more music from the brains of its creators. It puts more pleasure into the world. And yet, there is a downside or two to consider when you plan to record your stuff, at least at home.

Natural selection was Darwin's theory, and it applies equally to music as well. I'll be honest, I'm not the greatest songwriter. I tend to write stuff that is too long, overly cliched, and requiring the vocal range of Luciano Pavarotti mixed with Paul Robeson. Every so often, though, almost despite my best efforts, I'll crank out a beaut. When that happens, it deserves immediate posteritizing (recording for posterity), but, alas, there is a long line of "I-really-shouldn't-record-this-but-why-not-it's-cheap-to-do-it" material in front of it. Each of those will take a good week of work to arrange, record, overdub, mix, master, remix, remaster and burn. Add to that two days of regret after I've listened to the atrocious thing, you have 9 days. If I had to pay for a studio, I'd only have gone with the winner, and thos eother songs would have thankfully remained mere twinkles in my eye.

That's the first thing to consider. It's not for the betterment of the world to record everything just because you can. With the advent of the home studio, the natural selection process disappeared, and people don't have the same pressure to let their material grow, become refined, and be sure that they are going for the gold before they start laying down tracks. Always ask yourself if you can do better before you start. Don't let the technology cripple creativity with its instant allure.

Now let's say you really have an ace song on your hands. No reason not to record this, you're saying, and you're right. But. Is doing it at home the way to go? The answer is a resounding ... depends. Depends on what gear you have, sure. But even more, it depends on what you are capable of doing with that gear. If the ease with which one can record at home has limited creative quality, it may do the same to sonic quality when the creativity has been truly remarkable. I love those gadgets, but I will admit that I can never seem to get the sound I hear in my head when I write those songs. If I were properly trained, I'm sure I'd have a different take, but I'm not, and how many of us are?

So my compromise has been to have all the fun in the world with the songs I'm not staking my future on, while the keepers get a professional to make sure that I'll get that record deal. I would highly recommend, however, to record your songs at home as a prequel, if you will, to the studio. The benefits are knowing how your song will take to tape on a basic level, as well as seeing any weaknesses in your arrangements. It is a great scratch pad, and then, when you get into the studio, you'll have a great head start.

I hope everyone thrills to this wonderful world of songwriting, and whether your goal is simply to give CDs to your friends and family or to be a megastar (hope we make it), you'll use home studio technology to stimulate creativity, improve your craft and career and have a blast. Happy tunes!

Seth Lutnick is a singer, songwriter and arranger. Visit his website, <a target="_new" href="http://www.getitdone.biz">http://www.getitdone.biz</a>, for more on creating and using a <a target="_new" href="http://www.getitdone.biz/Music/studiointro.html">home recording studio</a>, and <a target="_new" href="http://www.getitdone.biz">personal action planning</a>.