MARIO LANZA 1921-1959

Image of Mario Lanza used for promotional purposes for the film Serenade. (Photo credit: Wikipedia)

Mario Lanza was undoubtedly one of the most loved Tenors of all time, his emotional renditions of famous arias and ballads have left a lasting legacy for all time. Born Arnold Alfredo Cocozza in 1921 (The year Enrico Caruso died), he inspired so many modern tenors to have a career in the opera houses of the world.

He had a meteoric rise to fame, and his career went the way of films, where he soon became a matinee idol. Here is a list of his films.

That Midnight Kiss (1949) with Kathryn Grayson

The Toast of New Orleans (1950) with Kathryn Grayson

The Great Caruso (1951) with Ann Blyth. Many consider this to be Lanza,s finest role.

Because Your Mine (1952) with Dorretta Morrow

The Student Prince (1954) Although Mario Lanza,s voice was used in this film, he did not appear in it personally.

Serenade (1956) All about a rising opera star! with Joan Fontaine.

Seven Hills of Rome (1957) with Renato Rascel and Marisa allasio.

For The First Time (1959) with Johanna Van Kozian and Zsa Zsa Gabor.

He truly had a gift that is only granted once or twice in one or two centuries, Mario could take a simple Neapolitan love song and turn it into an aria. Once you heard him perform it is often said that he made it his own, and no other could sing it like him with so much excitement and feeling. One such song is Core N Grato.

There are many stories abound about why he did not appear in "The Student Prince", I have in the past heard that he would disappear and binge on food, and his weight would balloon up and down. Another angle is a disagreement on the music, all conjecture and I wonder if anyone outside of his family really knows the truth, about this and his untimely death in 1959. (Another can of worms).

With that said let's just marvel at his talent and be thankful for a career (although brief), that has and continues to bring a lot of pleasure to all that hear him.

Whether you are a fan of Mario Lanza or not, you cannot help but be moved by at least one of his aria,s or ballads. It is like a fine wine "Once tasted never forgotten" and the world will never forget Mario Lanza's rendition of the "Drinking Song" amongst a host of others to take pleasure in.

By Steve Thorn - Article Source: EzineArticles

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An Alternative Way To Adjust Your GUITAR Nut

Truss rod adjustment bolt visible from the side of the headstock
(Photo credit: Wikipedia)

Most new guitars arrive from the factory with the nut just barely playable. Older guitars may have the nut filed or worn down so much that fret buzz cannot be eliminated by neck or string height adjustment. If you have a new guitar, or you are replacing the nut with a new one, here is an alternative method to file and adjust the nut material to make your guitar play like the professional's guitars play.

Before adjusting anything, make sure your guitar is strung up correctly and that your neck is straight and not bowed or warped. If your neck is bowed you first need to adjust the truss rod. If your neck is warped it will require a more extensive repair. For the lowest possible action or to avoid fret buzz all across your fingerboard, it may be necessary to have your frets levelled and crowned first.

You will need a set of nut files (available from Stewart MacDonald), and a good set of feeler gauges as well. Different grades of sandpaper are very useful too.

Fret each string individually, starting with the High E, between the second and third fret, use your feeler gauge to check the amount of space between the bottom of the string and the first fret. You should have approximately .005" of space between each one, with the string barely touching the second fret. If this measurement is close or dead on then move on to the next string right up to the Low E string. You may want to record the gap on a scrap piece of paper as you move across the fretboard, to see the nut slot's height in relation to the fretboard as you do so.

For most players, a string height (also known in guitar slang as “action”) of 3/64" of an inch is considered normal. Some players choose a higher string height such as 4/64" of an inch while players which tend to have a light touch and want the fastest action possible strive to lower the action as close as possible to 2/64" which in many cases's is very hard to setup and maintain without fret buzzing somewhere on the fingerboard.

Of course, you can use the traditional method to set your string height in relation to the nut, by using multiple feeler gauges below the nut and filing down to the factory depth and width. However, I have found this method to provide a better and more consistent feel while playing near the nut.

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"Practice, Practice, Practice," Your Way to CARNEGIE HALL

Carnegie Hall, New York City. (Photo credit: Wikipedia)

The Carnegie Hall is New York's premier concert hall and is located at the corner of 57th Street and 7th Avenue in Manhattan. It is considered as one of the most prestigious locations to host events of an artistic nature, such as musicals, concerts, and dance performances etc.

The Hall built in 1891 is one of last big New York buildings, which has been built entirely out of masonry which basically means that it has no steel frame, unlike the more modern buildings. The building was designed by architect William Burnet Tuthill and was sponsored and built by Andrew Carnegie who was at one time considered the 2nd richest man in the United States behind John D Rockefeller.

Andrew Carnegie was born in Scotland and as a child migrated to the United States with his parents. He was a self-made man who is the very essence of a self-made man with a genuine 'rags to riches' story. He has gifted many free public libraries to around 2500 communities. Carnegie was a prolific writer and in his work 'The Gospel of Wealth' he articulated his view that, 'The man who dies thus rich dies disgraced'. He lived by this belief and gave away his fortune to various charities at the time of his death.

A post-concert photo of the main hall's stage inside of Carnegie Hall. (Photo credit: Wikipedia)

Another such legacy of Carnegie is indeed the Carnegie Hall which is one of four such concert halls around the States. It has an artistic programme plus a development and marketing department. During the season it has about 250 performances though since the New York Philharmonic moved in 1962 the Hall has not had a resident company.

For many going to Carnegie Hall is an entire event, from taking in the production to the after a meal. There are many places around the Hall where people can enjoy some good food such as the Seasonal, the Europa Café or the Carnegie Deli. Also, there are a number of garages located around which ease the parking problem somewhat in this densely populated city. However, it may not be cheap so always check out the rates before opting for parking.

The famous joke for this music and performance hall is that one day a visitor to New York has asked a local, "Pardon me, how do you get to Carnegie Hall?', to which the reply had been 'Practice, Practice, Practice", which explains the importance of the Hall as a performance venue. While the performances do not come cheap, it is always worth saving up to enjoy an event as it will be one of those 'once in a lifetime' experiences, which will be money well spent.

There is an abundance of hotels near Carnegie Hall New York such as the Hotel Pennsylvania, Park Central Hotel, Warwick New York Hotel and the Hudson Hotel just to mention a very few of the available options. With a little research, it is easy to find a hotel or accommodation to suit individual budgets. So make sure to include the Carnegie Hall as a must see when you visit New York.

By Larry Austin Larry Austin is a freelance journalist who writes on travel related topics such as on Hotels near Carnegie Hall New York and worldwide destination reviews etc. He is currently working for roomsnet.com which offers visitors the option of worldwide hotel bookings. Article Source: EzineArticles

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3 Steps to PLAYING Comfortably for a Crowd

Batsheva Dance Company theatre crowd in Tel Aviv, Israel. (Photo credit: Wikipedia)

Most people are not comfortable performing in front people. When I say of performing, such as an instrument, or singing, or acting, I mean more than just knowing how to do well at your chosen craft, I mean doing it well and in front of people. It’s the “in front of people” part that gets us every time. How many of us sing like a bird in the shower but then when people are watching we can’t carry a note. Here are three steps to start you on the road to comfort (never complete) when called on to shine.

1. Don’t neglect to practice. Whether you sing or play an instrument practice is a key to being relaxed. The more familiar you are with what you are performing, the less anxiety you will have about messing up.

2. Don’t back up. Piano teaches pass this on all the time. If you mess up in the middle, or any place in your piece, don’t back up and repeat the offending passage. Keep going. Chances are your audience didn’t even notice.

3. Try not to be critical of your technical skill. Focus more on your overall performance. How does it sound as a whole? If you’re a pianist and you worry during your piece about your fingering then you’re ignoring the song and how it sounds. Worry about technicalities when you practice. Which should be often.

With time playing in front of and for other people will come much easier. You'll be a natural. So use every opportunity to show your stuff!

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CHOPIN - Piano Sonata No. 2 'Funeral March'

Arthur Rubinstein  (Photo credit: Wikipedia)

Arthur Rubinstein (1887 - 1982) was a Polish pianist and one of the great virtuosos of the 20th century. He was declared a child prodigy at the age of four and had perfect pitch. By the age of thirteen, he had already made his debut with the Berlin Philharmonic.

He toured all over the world during his long life. There may have been other pianists that could play a certain piece or composer with more insight, but everything Rubinstein played was rock-solid in interpretation and technique. His tone was golden, he was incapable of producing a harsh tone from the piano. His repertoire was huge. For example, he could perform in short notice 27 different piano concertos. He was also an excellent chamber music musician.

He made recordings from 1928 to about 1976, with most of his recordings being done for RCA. all of his RCA recordings have been issued on music CD, the entire set contains 94 CD's and runs to 106 hours. He concertized until his eyesight failed him and he retired in 1976 at age eighty-nine. His last concert was in Wigmore Hall in London where he had first played nearly seventy years previously.

Portrait of Fryderyk Chopin. (Photo credit: Wikipedia)

Rubinstein is most well known for his Chopin performances. Rubinstein was one of the first pianists early in the 20th century to play Chopin as the music was written. That's not to say he played it coldly and analytically, but Rubinstein purposefully rids himself of the excesses in performance and interpretation that had become somewhat of a tradition in Chopin's music. There is no better player of Chopin's 2nd sonata than Rubinstein. He plays with expression and passion that totally serves the music.

Chopin's 2nd sonata confused music lovers when it was first published in 1837. Schumann said it lacked cohesion and Chopin "simply bound together four of his most unruly children." The sonata is in 4 movements and follows the layout of Beethoven's Piano Sonata #12, which was one of Chopin's favorite Beethoven sonatas. The sonata opens with what some have called a tribute to Beethoven, as it is very similar to Beethoven's opening of his final piano sonata, Opus 111 in C minor, another favorite of Chopin. 

The second movement is a scherzo, the third movement is the famous Funeral March. The enigmatic final Presto movement has been subject to many interpretations. In the preface to the American edition of the sonatas, James Huneker quotes from Karol Mikuli, the editor of the sonatas and one of Chopin's pupils, that Chopin said of this movement, "The left hand and right hand are gossiping after the March". Arthur Rubinstein himself said of the movement that, "One hears the winds of night sweeping over churchyard graves, the dust blowing and the dust that remains."

By Alan Beggerow Visit Musical Musings for thoughts and impressions about musicians, composers, and their music. http://muswrite.blogspot.com/ Article Source: EzineArticles

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7 Tips for Effective MUSICAL PRACTICE

A piano player who lives only for it. (Photo credit: Wikipedia)

The quality of your practice is much more important than the quantity. The old saying "practice makes perfect" is only true if the practice itself is perfect. Here are 7 tips to help make your practice more effective and efficient. 

Practice motions slowly 

The muscular memory of our bodies allows us to physically carry out patterns of motion with little or no conscious involvement. Examples of muscular memory include walking, riding a bicycle, typing, and of course playing a musical instrument. 

In order to develop this memory, the muscles require training in the form of repeated conscious guidance from the mind. First, the mind must learn the pattern. Then the mind must "teach" the pattern to the muscles. 

The mind initially must control all the motions of the muscles. The more controlled and precise the motions, the more quickly the muscles will develop muscle memory. 

Slow practice also allows the mind to teach "antagonistic muscles" to relax. Antagonistic muscles are those that move in opposite directions. By relaxing antagonistic muscles you can reduce tension and facilitate faster and easier performance and avoid potential injury. 

Practice in small cells 

A "practice cell" is simply a finite series of motions. Musical cells can correspond to anything from a few notes to an entire work. When practicing, it is important to practice small cells of just a few notes. Practicing small cells limits the amount of information the muscles have to learn at one time. It also facilitates the mind's focus and concentration. 

Link the end of one cell to the beginning of the next 

To help the muscles develop a sense of continuum throughout the piece of music, the last motion in a cell should be the first motion of the following cell. 

Practice each cell in bursts 

Once the muscles have learned a pattern, they will be capable of executing it without conscious control. Initiate the pattern through a conscious command and allow the muscles to execute it in a burst. 

Don't practice mistakes 

For every repetition required to learn a pattern of motion, it takes 7 times the number of repetitions to change the pattern. If in the course of your practice you make an error, stop. Review in your mind the pattern. And further, reduce the speed of your motions. 

Pause between repetitions 

When dealing with repetitive activities, the mind is better able to focus when the repetitions are broken up by short pauses. After two or three repetitions, pause for about 30 seconds to regain focus. 

Take frequent breaks and don't "over-practice" 

B.F. Skinner and other experts have found that the mind's ability to learn drops significantly after prolonged intense concentration. Research shows that studying too long (i.e. more than four hours) can deplete chemicals in the brain necessary for learning. Therefore, it is best to take frequent breaks (a 5-minute break about every 20-25 minutes) and practice no more than 4 hours consecutively. 

By applying these techniques, you can dramatically improve the quality of your practice. You'll be able to use your time more efficiently and increase the effectiveness of your practice.

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VIOLIN Vibrato

Violin Player - Flickr - aldenchadwick CC

Gaze at and Genuinely Hear Nature's Vibrato as you Learn to Master the Violin

Late twentieth century psychologists described a "split" between the look and the gaze, describing how looking at a person or object equips you with factual, empirical data about what you see, but gazing involves studying the object with "the eyes of the heart," learning to read the soul of all you behold. All fine artists must perfect their gaze. Their art demands no less. Similarly, psychologists describe radical differences between listening and hearing, valorizing hearing. When you can detect a stone's heartbeat, you have mastered the fine art of hearing. Follow your imagination to the nucleus of your most cherished possession and hear the sub-molecular music the atoms play as they draw their orbits around their common center-little different from drawing your bow across your strings, and certainly rich with vibrato.

In order to master any musical instrument, and especially in order to master the violin, you must learn to hear. And your ability to hear the world all around you will have the most profound effect on your violin vibrato-the sounds of nature and feeling represented on your four strings.

In the late eighteenth and early nineteenth centuries, Romantic composers used their music to recreate and intensify Nature's sublimity-Her overwhelming power and her breathtaking beauty. The greater the sublimity, the most intense the vibrato, because nothing in nature sustains one single and pitch-perfect note. Nature tends to warble, babble, trill, and sigh, all of which require vibrato. How would you ever set the music to the butterfly's wings without vibrato? How would you ever score the sunbeams glancing from the rippling brook without this technique? Lightning's flash demands staccato, and then thunder's gathering roar absolutely requires rolling vibrato from the furthest reaches of the bass clef. No vibrato, no romance.

Fast forward to the early twentieth century and the birth of the "modern" era. In all of the fine arts, "modern" works intend to represent man's domination of his environment and the rise of automation. In music, Gershwin's Rhapsody in Blue sets the paradigm, because it lives and thrives at the intersection of the urban landscape and human emotion-both of which demand vibrato. A "rhapsody," by definition, recreates a mood or series of emotions. As Rhapsody in Blue moves from serene-little vibrato-to reflective and vaguely melancholy-slow -to manic as traffic around the Eiffel Tower-speedy, the notes and harmonies recreate feelings and sensations, but the changes in vibrato subliminally determine the audience's different moods. Even in its disciplined, precisely noted triumphal passages, Gershwin's masterpiece includes violin and oboe descants that quiver like a nervous lover's "Will you...?" The counterpoint captures the contrast between industrial mechanism and human need. No vibrato, no mood. And the vibrato's speed determines the mood.

Just about everything in the modern world vibrates, and few things perfectly sustain a single note. The water pump in your Land Rover, for example, spins against its belt playing approximately a "high-C" accentuated with an incredibly fast vibrato. With a little practice, you can match your own to your water pump's speed, recreating post-modern nature, matching the mood of your play to the frenzy that drives your life. But make sure you include the tremulous descant set in a minor key and calling for slow, mellifluous vibrato, so that you leave ample room for post-modern human nature, too.

Hailey Alton is a violin performer, music lover, and enthusiast. -  Article Directory: EzineArticles

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Everything You Need to Know About VIOLIN From A-Z - ROSIN

Rosin (Photo credit: Wikipedia)

Hello, today I am continuing with my series everything you need to know about violin from A-Z. Today we are on R for rosin. Rosin is the soft sticky reddish substance that you coat your violin bow with. The purpose of rosin is to allow your violin bow hair to grip the strings causing them to vibrate and produce sound. Without rosin we wouldn't be able to play the violin, the bow would just glide smoothly over the strings producing no sound.

Rosin is made from the resin of pine trees collected throughout the world. It is taken from the tree in the same way that maple is taken from maple trees. First, a hole is punched into the tree a drip channel and collection bucket is fitted. Several grooves are cut above this bucket and resin runs out of the tree and into the container.

Other tree saps will be added to this resin the mixture is then heated purified and poured into molds. After the rosin sets it is cut into blocks smoothed polished and packed into containers. Furthermore, there are two kinds of rosin. The first kind is the darker stickier rosin which is more suited to cooler climates the second is the lighter harder less sticky rosin. Both will work equally well on any violin and you should try out as many different brands as you can in order to find the one that best suits your needs. Be very careful when applying rosin to your violin if you use too much it will drip onto the violin and cause permanent staining.

By Eric B Hill Eric B. Hill is a professional violin player and teacher with over 20 years experience. Article Source: EzineArticles

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DIZZY GILLESPIE

Dizzy Gillespie in a Concert, 1988,  (Photo credit: Wikipedia)

There is not one person around who knows jazz music that did not hear the name Dizzy Gillespie. Dizzy Gillespie was a composer, singer, jazz trumpet player and bandleader. He along with Charlie Parker was the creator of modern jazz music and bebop. Dizzy also started Afro-Cuban jazz. He had the gift of making new harmonies that were layered and complex. At the time, it was not done in jazz before. He was most remembered for the trumpet he played that was bent. It was accidentally ruined when he was on a job in 1953. Surprisingly, Dizzy liked it  because of the way it changed the tone of the instrument.

Dizzy was born John Birks on October 21, 1917 in South Carolina. He was the youngest in the family of nine children. His father was a horrible man who beat his children all the time, and died when dizzy was 10 years old. He taught himself how to play trumpet when he was twelve years old. He won a scholarship to Laurinburg Institute but, dropped out of school and went to Philadelphia to pursue music full-time. He played with Frankie Fairfax and recorded for the very first time in 1937. He then was a part of Cab Calloway's band, but was criticized for his solos, calling them "Chinese music". He was thrown out because Cab said that he sent a spitball at him, and Dizzy, angrily stabbed him in the leg with a knife.

Dizzy was a part of Duke Ellington's, Woody Herman and many other bands. It was with Billy Eckstine's band where his unique playing fit better than anywhere else. He met again with Charlie Parker. Together they played famous clubs such as Monroe's Uptown House, and Minton's Playhouse. This is where jazz music progressed again and bebop was created. In the beginning a lot of people didn't like bebop. They were used to the old jazz music, and thought the new sound of bebop was a threat and were afraid of it. Dizzy's style had an effect on trumpeters and the younger musicians that he was able to mentor. Examples of bebop music are "Groovin' High", "Salt Peanuts" and "A Night In Tunisia". Musicians that he taught bebop to were Miles Davis and Max Roach.

Eventually, the band departed, as the audience grew wary of the new jazz music. Dizzy wanted to go big, and tried to create his own big band in 1945 but was not successful with it. He started other small groups and finally put a big band together that was a success. He soloed many times with Jazz at the Philharmonic.

Dizzy proved himself overseas in France when he began his third big band, and did several concerts and albums.

During the 1940's Dizzy was composing Afro-Cuban music. Afro-Cuban music is a combination of Latin and African music, pop and salsa. The work that is the most well known are "Tin Tin Deo" and "Manteca". Dizzy was responsible for finding musician Arturo Sandoval while he was on a tour in Cuba researching music.

Dizzy continued to reach people with his music even on television and film. He was on Sesame Street and The Cosby Show. He died in 1993 from Pancreatic Cancer, he was 75 years old. He had two funerals, one was for friends and family and the other funeral was for the public in Cathedral of St. John the Divine. Dizzy Gillespie was a special innovator in jazz and is continually remembered at the New York Bahai Center.

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Dental Evaluation Necessary for a Child Playing a WIND or STRING INSTRUMENT

Photo  by Zdenko Zivkovic 

One particular orthodontist from New York is advising parents to first check with a dentist whether their child should or shouldn't start playing a wind instrument. This dentist explains that a number of dental problems are a result of the instruments that one plays. Not much thought is really given to the kind of musical instruments kids play, the orthodontist explained in a recent issue of the Journal of the American Dental Association.

Eventually, the children will discover that the instrument does not really fit them dentally or temperamentally. Many would wind up as handicapped musicians playing only on a mediocre level. Certain dental problems are caused by wind instruments, and so every good dentist must keep would be musicians, teachers, and parents about these things.

A child and his parents must seek out the dentist's advice before making the decision that is sure to cost time, money, and effort. A lot of dentists agree that many cases involving body tissue illnesses are because of the playing of single reed instruments by wind musicians. This is because you place much of the instrument's weight on your lower lip which gets its support from your teeth. Continuous pressure on the teeth prevents a constant flow of blood from entering into the affected bone area.

He said the strong muscles of the jaws also unintentionally increase the outward pressure against some upper teeth which can harm the current proper teeth alignment. The playing of brass instruments also causes the lips to press against the lower and upper teeth. He said extended periods of playing these instruments have caused some mobility or unnecessary movement of the teeth. Those with irregular or sharp front teeth may experience pain on their lips when they play the oboe while those with short upper lips would have a difficult time playing the flute.

There is also a possibility of acquiring dental problems through the playing of string instruments. He said previous studies have shown that continuous violin playing causes much pressure on the jaw, especially the part which holds the violin against the shoulder, and this may lead to a faulty bite in some people. Dental problems may be avoided if the would-be musician would have an oral examination, especially of his tongue and lips. Your handicap as a would-be musician would be solved through the proper recommendation of your dentist given early to ensure dental suitability and oral health.

The best way to avoid any major problems later on in life is to get checkups early on. This is truer when it comes to playing music with wind instruments. Whatever the activity, as long as your mouth and teeth are involved, go see your dentist.

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Who Was MOZART?

Drawing of Mozart in silverpoint, made by Dora Stock during Mozart's visit to Dresden, April 1789 (Photo credit: Wikipedia)

Mozarts Early Life

Mozart was famous as a child performer. His father was a renown musician and used to take Mozart around Europe performing. Aside from being a cute child performer, Mozart was also a great composer. He is famous for writing "Twinkle Twinkle Little Star" at the age of five.

Mozart was born in Salzburg, Austria but spent a lot of time traveling around Europe as part of his dad's way to display his son's prodigal talents.

Mozart's adulthood

Mozart died at the age of 35. He lived during what is termed as the "Classical Period" in music. Mozart lived at the height of this period during the late 1700's. He did die due to multiple illnesses which at the time were hard to pinpoint as the precise cause of death. He didn't die because of contemporary composer Salieri poising him. In fact, their rivalry was greatly exaggerated to sell movies.

Mozart could not secure long-term work throughout much of his adult life. When he moved to Vienna he especially had a hard time finding work. He was also paid poorly for his masterpieces.The location of his grave is unknown to this day because he died poor and had a poor mans burial.

He did live at the time of Beethoven and was older than Beethoven. However, historical records never confirmed if they met or not. Regardless, Beethoven looked upon Mozart's music in high regard and was greatly influenced by his works.

Mozart did get married and although he had 6 children, only 2 survived. One child became a composer, and the other child worked for the government.

The society and times of Mozart

During Mozart's life "public music" was just becoming allowed. It may be hard to believe, but in the era's gone by, music was reserved for the Church and nobility. However, musicians like Mozart still aspired to hold a "court position" preferably working for a royal family. This would enable them to hold a steady income.

Mozart worked at Salzburg court in his late teens the to early twenties but resigned in search of greater fame and travel. After a while of rejecting court position offers in his youth, he didn't get offered anything steady in his later years.

Mozart's social life

Mozart was a generous and social person. Despite his various illnesses and small appearance, he held great attention in social settings. There are rumors that his wife didn't take good care of Mozart during his illnesses and didn't help him manage his money which was something he needed help with. Mozart also owed many friends money at the time of his death.

Listening to Mozart's music

There have been recent studies suggesting that listening to Mozart's music increases a child's intelligence. In fact, any complex classical music has the ability to increase the intelligence of a child and I believe that all children have multiple intelligences anyway. Some kids just love the sport and won't really want to sit around listening to Mozart for long periods of time. Other kids, love music and love to listen to music. Some kids are inclined to do both. Scientific research cannot represent the whole population.

In terms of adult listeners, it is my goal that readers of this article appreciate the vast array of works that Mozart wrote in his short life and feel how these works encompass a variety of emotions and aspects of the Classical music style which Mozart contributed to. I hope you will be inspired to listen to Mozart's music via iTunes, CD's or YouTube and just let it flow over you. Then, to understand his music you must research about when that piece of music was written and what Mozart was going through in his life at the time he wrote that piece. At the time he wrote the piece of music Was he working for a court under luxury, or freelancing? Had he just experienced the death of another child or his parents? Was he in love or lonely? This is the KEY to feeling the expression and meaning beyond the sounds and understanding why certain Mozart pieces touch your soul the way they do.

By Leisha K Henry - Article Source: EzineArticles

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Everything You Need to Know About VIOLIN From A-Z - STRING QUARTET

The Beethoven String Quartet from the USA; Gustav Dannreuther (violin), Adolf Hartdegen (cello), Otto K. Schill (viola), Ernest Thiele (violin). (Photo credit: Wikipedia)

Hello, today I am continuing with my series everything you need to know about violin from A-Z. Today we are on Q for string quartet. A string quartet is a group of musicians playing string instruments most often two violins a viola and a cello. This grouping is one of the most common groupings in classical music. It can also refer to a piece of music written for the above instruments.

It is seen as one of the most important forms in classical with most major composers writing music for this genre. Traditionally it will have four movements with a large structure similar to that of a symphony. The outer movements are fast while the inner movements consist of a slow movement and a dance movement like a minuet or scherzo. The twentieth century has seen this structure abandoned by most composers. Other chamber groups can be seen as a variation on the string quartet.

Historians have come to the conclusion that the string quartet arose by accident. Composer Joseph Haydn was working in Germany for a rich baron who wanted to hear music immediately and as it happened the only available players were two violinists, a violist, and a cellist.

The baron suggested that Haydn try his hand at composing something that these four musicians could perform and so the string quartet was born. This form of music proved to be so popular that Haydn continued writing pieces in this form and the style soon spread.

Quartet composition flourished in the classical era. Both Mozart and Beethoven wrote a series of famous quartets and to this day remains a popular form and are seen as a true test of the composer's art.

By Eric B Hill - Article Source: EzineArticles

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BALLROOM DANCING - The TANGO

Tango-ballroom-competition (Photo credit: Wikipedia)

Staccato steps and sharp head turns to set the Tango apart from the Fox Trot and the Waltz.  This dance is extremely sensual and provocative.  In general, the hold used by the dancers keeps the couple much closer together than in other dances.

At one time it was said that the Tango was a dance performed between a prostitute and her pimp in the brothels outside Buenos Aires Argentina.   Another explanation for the stance and movements of the dance is that the Argentinean cowboys (Gauchos) would show up at night clubs without the benefit of a shower so when a lady agreed to a dance she would dance in the crook of his right arm keeping her head back.  The knees bent stance of the dance was basically the way the Gauchos naturally walked as a result of wearing chaps that get soaked from the sweat of their horses then harden as they dry.

The Milonga is the forerunner of the Tango.  It also used the same sharp head and shoulder moves and the characteristic sudden stops of the Tango.  The Milonga, early in the 20th century was entertainment meant for the high society of Brazil and it was during that time that the name was changed to the Tango

There is the American Ballroom Tango, the International Ballroom Tango and the Argentinean Tango. 

Unlike the American and International style of Tango, the Argentinean Tango is danced in a close embrace utilizing intricate footwork and leg movements.  Because the Argentinean Tango doesn't require a great deal of movement it is well suited for nightclubs and other places with small dance floors.  Unlike the Waltz, the sway and the rise and fall motions are to be avoided at all costs.  The desired movements are very sharp and well defined.

The music for this ballroom dance is usually provided by an orchestra that has a piano, guitar, violin, flute and a bandoneon (an offshoot of a koncertina, which looks a little like a small accordion).  The bandoneon is essential to Tango music.

The Tango has always been a very popular dance with Hollywood moviemakers.  For example, Arnold Schwarzeneggar and Tia Carrere danced a sexy, sultry Tango in  True Lies , while Al Pacino showed Gabrielle Anwar the secrets of the Tango in  Scent of a Woman and in a much earlier movie Rudolph Valentino Tangoed in  The four Horsemen of the Apocalypse.

What the judges will be looking for are lots of clipped movements, sharp head turns and stops, staccato actions, knees slightly bent at all times.  They also expect the dancers to project the great emotion the dance needs to convey.

Although the Tango's moves are staccato you don't want your dance to look mechanical, but rather give the impression of feline grace.  The woman should project a haughty attitude while at the same time seeming to meld into the man's body.  Your Tango should be firm and convincing, with catlike flexibility, the moves crisp with clear switches to complete stillness.

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The Unusual Sounds Of The Vertical FLUTE

Photo   by DrBjorn 

The vertical flute is meant to be played in an upright position. There are three designs of a vertical flute, including the rim-blown flute, a transversely blown flute, and a tubular duct flute. While these three different types are referred to as a vertical flute, the rim-blown flute is more readily recognized as a vertical flute.

There does not appear to be any general date in the creation of this particular type of flute, and there does not appear to be any specific reason why these kinds of flutes were created. Most people are familiar with flutes that must be played when held in a horizontal position; the fact that this flute is meant to be played in an upright position makes it a unique flute.

While many will be unfamiliar with any of the terms mentioned above, such as the vertical flute, rim-blown flute, transversely blown flute or tubular duct flute, many are quite familiar with these kinds of flutes. Different kinds of flutes such as the recorder, or the tin whistle are examples of tubular duct flutes. They are, for the most part, played in an upright position, even if not completely vertical.

Some of the older versions of the vertical flutes have a tube that decreases in size from top to bottom, much like many of them still do today, and has six holes on the top. Unlike the recorder, though, there is no hole on the back of the flute for the thumb to cover. Like just about any type of flute, flutes that fall under the category of being a vertical flute have been around for a very long time. There is no specific period mentioned that would mark when the first vertical flute was created, but it is obvious that it has been around for hundreds of years by looking through the history books.

Today, they are relatively easy to acquire. Just about any kind of vertical flute can be purchased at a relatively inexpensive price, depending on the specific type of flute as some are more expensive than others. The sheet music is also fairly basic and easy to find. Used music stores also tend to have various types of vertical flutes that have been traded in by others who no longer had a use for them. These, of course, usually cost less than if someone were to purchase them new.

Some of these vertical flutes are taught to students at a young age who are attending grade school. The main reasons for this could easily be the cost, but also because the music is so basic and easy for young children to pick up. Some continue to play it on their own time after learning some of the basics in school because they enjoy playing it. It is not a complicated instrument and can be a perfect instrument to play for fun on one's own free time. These kinds of flutes can also be great for individuals who are new to playing a wind instrument because it gets them used to the basics of how to play such an instrument.

Victor Epand is an expert consultant for used CDs, autographed CDs, and used musical instruments. - Article Directory: EzineArticles

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Types of DRUMS

The talking drum is an instrument unique to the West African region. (Photo credit: Wikipedia)

Drums are percussive instruments built by stretching a membrane across an opening in a vessel. The most common property of various types of drums is their pitch. Drums are one of the oldest and the most omnipresent instruments. Even with the various types of drums present, the most common aspect is the origin of a sound. The sound in a drum originates from the vibration caused when you strike the membrane, called the head, with another object. Drumheads can be made from the skin of a goat, cow, antelope, or sheep, or even a synthetic material. The types of drums that exist vary as markedly as the people who use them for communication, ritual, or entertainment all over the world.

The common way of classifying drums into different types of drums is by their shape. Most drums fall into the following categories:

• cylindrical, barrel, conga, waisted, goblet, or bowl.

A frame drum, with its squat hoop, and a long drum, which is thin and tall, are both the cylindrical variety. A barrel such as a Tabla, goblet such as a Djembe, and bowl such as a Nakari, are named for their shapes so they are easily recognized. The conga tapers at its bottom, and the waisted drum tapers in the middle, as with a Changko's cinched waist.

A further classification of the types of a drum is made on the basis of which side the drum might have a head. A drum may have a head at either end of the body or only on one. Drums like congas and bowls have one head, but frame drums have two. Some drums can be carried while walking or dancing while some drums are stationary, such as the Djembe from Mali.

Besides the categorization of various drums into types of drums, one should be aware that not all drums are specifically tuned. The drums develop their tone due to body shape or head size. Pulling a cord or shifting a peg to stretch the head can adjust the pitch of a drum.

The bendir, a frame drum from North Africa (Photo credit: Wikipedia)

The western world of rock music listeners is more familiar with non-pitched drums, such as a bass or snare drum in a drum set. These can be used in combination with any harmony or key.

We can also differentiate drums in a drum kit as types of drum. A drum kit consists of a collection of various types of drums and cymbals. It can also be accompanied by various percussion instruments such as cowbell, wood block, chimes or tambourines arranged in a suitable manner for the convenience of the drummer.

Differing music styles implement the components of a drum kit in different manners. Ride cymbals and hi-hats are usually preferred more in a jazz set-up, whereas a bass drum and snare drum is preferred more for rock music.

With the onset of technology another type of drum that gained popularity is the electronic drum kit. It was in 1980 that electronic drums were introduced. Today they can be easily used as an easy replacement for other various types of drums in acoustic settings.

By Victor Epand - Article Source: EzineArticles

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