|CELTIC HARP - Music-Instruments of the World - Photo: Wikipedia|
Sunday, October 22, 2017
Saturday, October 21, 2017
|A wooden music stand. |
(Photo credit: Wikipedia)
Make sure you buy the right one!
Shopping for a music stand is easy. Deciding which music stand will fit your needs might not be as easy.
To shop for a music stand all you have to do is go to a music store or do an online search. If you walk into a music store you’ll see the music stands the prices for each. If you do an online search, you can see pictures of the music stands that are out there and again find out how much each one is. That is the easy part.
The hard part is figuring out which music stand you need. There are several different music stands that are designed very differently.
The opera stand is an illuminated music stand for the opera singer. The stem on it is designed so that it does not interfere with the opera singer’s feet if they sit down. The opera stands can be nested together for easy storage.
The wooden stand is made to match a modern or historic concert hall. These stands are made of polished metal stems and natural wood trays. These stands nest together for compact storage also.
The jazz stand is a music stand that folds. It will fold down to the size of the tray. It is an adjustable stand for sitting or standing to play or sing. To store them, they will stand right next to each other or you can store them folded. If they are folded, they store one right on top of another.
The school music stand is designed for students. It is unbreakable. It does not have knobs, but rather raises and lowers easily. It has an extra lip on the tray for pencils and erasers. These also nest together for easy storage.
The studio stand is a modern looking stand for all types of musicians. It is like the opera stand, except it does not have the light attached to it. It is designed so that if the musician swings their legs, they will not knock the stand over. Like many of the other music stands, they are designed to be nested together for storage.
The scherzo stand is a foldable stand. It is made of aluminum. The aluminum makes it very lightweight for easy transportation.
Now that you know how each music stand is designed, you can decide which music stand will work best for your music needs.
Friday, October 20, 2017
|Photo by Christophe ALARY|
Such giants as Maynard Ferguson, Wayne Bergeron, Bill Watrous, Slide Hampton? It's not that these individuals were born with great skills and never had to practice, yet more over, they were driven by the desire to play. Along with that desire comes support. Support from family, friends, peers, and authority figures such as band directors.
What is essential for all beginning players young and old is a strong support system. Family, friends and teachers must all rally around the student to help them believe in themselves and in what they're doing! Statements such as... ya, ya, that's good but can you do that somewhere else is not exactly a supportive frame of mind.
If you could go back in time and interview the greatest players, you would find that they were strongly supported by family and cohorts. Maynard Ferguson is a prime example of this! His parents were both school principals in Montreal Quebec Canada, and as he and his brother Percy were growing up, they were strongly supported in everything they did. Whether it was sports or music, they were rallying to their kids support.
As Maynard grew into his early teen years and showed a knack for trumpet playing, his parents nourished this talent by not only buying him the recordings, but taking him to the performances that came through. From Duke Ellington to Dizzy Gillespie, they were there.
The next thing a young player needs is the right tools. Teachers who don't really know what they're teaching can be a serious detriment to a young player and his growth. The right approach and the right books as well as specific instruction on how to perform each exercise is vital!
If you are a player who did not exactly experience either of the above, it's not too late. Trumpet players are most likely looking for that Maynard type range and power. The high notes that make the audience just sit back in total amazement and wonder - does that hurt? Is that some freak trick?
High notes are nothing more than just really fast air being forced through a very small hole. NOT large volumes of air, but rather extremely compressed air moving rapidly through a small hole between your lips.
Sounds easy, doesn't it? It is once you gain the right concept.
Keith Fiala / Anna Romano - Article Directory: EzineArticles
Thursday, October 19, 2017
|Photo by MuseScore|
This is, needless to say, planets independent of the incisive, razor-sharp resolution that Glenn Gould, as well as Mehmet Okonsar, brought to these works. As opposed to concentrating on offering the spectacular complexity as well as the polyphonic aspect of those compositions, Barenboim is without a doubt more happy putting together an abundant harmonic texture to each piece, magnificently experienced on a contemporary Steinway.
I'm a tremendous fan of Bach. He was simply a fabulous genius and far in advance of his time period and the Well-Tempered Clavier is just mind-blowing. As a recreational piano player, I discover his music a genuine treasure. The complexity and beauty of his music continue to be so incredibly inspiring.
There are considerable records to support Bach's claim that he employed the Well-Tempered Clavier as part of his lessons, nevertheless, the work accomplishes so many purposes that it must be an easy task to overlook its part as a teaching tool. Obviously, the most crucial feature of the Well-Tempered Clavier is that its full of sublime music from cover to cover.
The fact that it illustrates Werckmeister's "well-tuned" technique pertaining to keyboard instruments seems incidental to us all right now, however, it was outstanding in Bach's day. We still wonder at the genius which expended each prelude and fugue using a unique musical style, drawing on a multitude of compositional processes to shed light on his students. The idea sounds dry, having a piece in every key in ascending arrangement from C major, however, the result could not end up being closer to excellence.
Fugues are usually said to be in a number of voices or parts (the term voices may be used whether or not the fugue has not been written with regard to singers), which is, self-sufficient melodic lines. Fugues are generally in from three to five parts, however, eight and even ten parts are achievable in large choral or orchestral fugues. Fugues in fewer than 3 parts tend to be rare since with 2 parts the actual subject is only able to jump back and forth between the upper and lower part. The best-known illustration of a two-voice work is certainly the E minor fugue out of Book 1.
These forty-eight preludes and fugues in all the major and minor keys have got very little related to public virtuosos, stages or even audiences. Like a lot of Bach's work -- especially the music written, or at least put together when it comes to the ending of his existence -- the ''Well-Tempered'' makes statements, advances concepts, draws together bodies of expertise. Moreover, its lessons happen to be learned, and its particular messages attained, in the home.
The Bach preludes and fugues are actually, to utilize Schumann's well-known explanation, the keyboard player's "everyday bread." All musicians exercise however rarely perform them. Wrapping one's ears and fingers around these pieces amount to both an undergraduate and a postgraduate training: what things to make visible, what you should render as background, how to make the load of the finger interact to the control from the ear and so forth.
My commitment to the original issue of Gould's performance of the Well-Tempered Clavier was sizable however by the time Okonsar's recording emerged it had wanted to some degree.
There was (and still is) no doubt Gould's awesome proficiency to managing, varying as well as diverse touch in clarifying textures through 'orchestration', however Okonsar's reading of the work and the eschewing all forms of obvious pianism remained (and remains) a new testimony to his faithfulness to representing this kind of music, as he observed it, devoid of seeking back to the harpsichord or forward to the nineteenth-century piano.
As numerous reviewers at that time excited, Gould's was an impressive success, yet the cautiously calculated however communicative as well as packed with feelings playing of Okonsar, along with some idiosyncrasies added up to an analytical as well as a human performance of it.
The actual doubts began to find their way in, and retrospectively, with Prelude I of Book 1: the varying articulation of the last few notes of each group speaks of Gould as well as Okonsar, but what does it say of Bach? Echo answered as it did to other, subsequent concerns.
The actual harpsichord cannot provide more weight to any one line, nor is there any proof that players of Bach's period employed severe variations of articulation pertaining to such a function, notably in the ready-balanced texture and consistency of a fugue; such 'painting by way of numbers' is an anachronistic imposition.
Amongst the currently available piano versions of the 48 Schiff's on Decca remains, in my opinion, the most effective and the freest from excess; its pluses and minuses were broadly mentioned. Keith Jarrett's recording (ECM/New Note) is all that particular may well reasonably desire. That both occupy simply three discs may encourage a few readers to purchase Gould's and/or Okonsar's sets, both amaze as well as irritates by turns, and also over which controversy will certainly likely carry on for a long period in the future.
Although I am a literary person and a novel editor classical music is always there when I work for publishers. As a side effect, I started to provide some reviews and articles on a couple of classical music papers as well. My favorite Bach interpreters are Glenn Gould and Mehmet Okonsar.
Article Source: EzineArticles
Wednesday, October 18, 2017
|C major chord for guitar in open position. |
(Photo credit: Wikipedia)
One of the challenges for the novice guitarist is learning the basic chords. You will not only need to know where to put your fingers but also how to change from one chord to another. The technique of smooth transition between chords is a learning process we are never really finished with. Every time we learn something new on the guitar, that's another sequence of small movements our body learns, and these sets of movements must be executed smoothly through relaxed, calm practice.
Holding chords with your left hand is a new skill. It uses groups of muscles we do not normally use, so it takes time to learn the chord shapes without experiencing discomfort. There is light at the end of the tunnel, although sometimes the tunnel seems very, very long.
Another physical adaptation that has to be made when you learn your basic guitar chords is the left-hand fingers need to be toughened up. Callouses form on the tips of the fingers after a few weeks playing, but until they do you need to put up with the pain.
Fortunately learning the notes on the guitar is a job that does come to an end. As you learn more songs, chords, and scales you will feel your ease with musical theory and notation growing even if you didn't directly learn much theoretical stuff. If you learned in your own way the knowledge gets into you by way of constant practice and the enjoyment you bring to your guitar playing.
So the task at hand is to learn a basic group of chords. This is your toolbox you begin your guitar playing with.
|Picture taken from taking barre chord on a guitar. |
(Photo credit: Wikipedia)
Each chord is identified by a letter. If the letter is followed by the word, minor, it's a minor chord. If it is just the letter alone, it's a major chord.
Major chords contain the Root note, a major third above the Root plus a fifth above the Root.
Minor chords, which have a more "sad" sound, are the same except that they contain a minor third instead of a major third.
A basic rule of thumb for understanding major and minor chords is for a
major chord plays the (1) (3) and (5) of the major scale, and for a minor chord play the (1) (3) and (5) of the minor scale.
A handy thing to know once you start playing barre chords is that if you learn the major chord shape, you only need to lift one left-hand finger to play the minor chord.
The basic chords come from the keys of A G C and D. The chords themselves can be played at all positions on the fretboard, but beginners start with open chords at the first position. This means that at least one note is played on an open string.
We group the basic keys to families:
The A family contains the chords A, D and E.
The D family contains the chords D, E minor, G and A.
The G family contains the chords G, A minor, C, D and E minor.
The C family contains the chords C, D minor, E minor, F and G.