Tuesday, April 25, 2017

What PIANO Players Should Know About WOODWINDS

Woodwinds (clarinet, oboe, bassoon, etc.) are different from piano in that they require wind (created by the player) to create a tone (using a reed or reeds to create the vibrations needed for sound). In addition to using different techniques to make the reeds vibrate in different ways, the player also changes the tone (creates the notes) by pressing and releasing (using their fingers) keys that are attached along the length of the instrument, or by covering up, then opening, various holes on the instrument.

Oaxaca-2
Photo by usarmyband
Saxophones are not considered woodwinds by some as they are made of brass. However, a saxophone is played very much in the same way as most woodwinds. Flutes and piccolos, though made of metal, are often thought of as part of the woodwind family.

As for piano, the type of wood used to make the instrument has a great effect on the quality of sound produced. Certain woods resonate better than others and thus create a better tone. In fact, many lower-priced clarinets are made of plastic and although they provide a serviceable tone, it is not the rich, "wooden" tone coveted by professionals.

Woodwinds are most often found in orchestras and smaller ensembles (although the clarinet can be found in Dixieland or jazz groups). Instruments like the English horn can be found in popular music, while the bassoon may only be found in traditional and ensemble music. There are, however, composers and musicians who explore the use of these instruments in esoteric and unconventional ways. One way to think of the woodwind family is the various instruments mimicking (representing) the human voice such as a clarinet for an alto singer, or a bassoon for a baritone singer. Many modern composer look at this group of instruments in exactly that way.

Woodwinds are tuned by adjusting their length. This is done by repositioning single components of the instrument. The musician often has to twist different sections of the instrument to make these adjustments. The longer the instrument becomes, the lower in pitch a particular note. The intonation of a woodwind is ultimately the responsibility of the player and techniques must be learned to keep the instrument in tune as it is played.



The challenge for the pianist is the fact the some woodwinds play in a different key (a Bb clarinet for example). In order for the two players to play together and communicate, both have to be aware of this and be able to transpose the two parts. For example, when the Bb clarinet plays the note Bb, that note is actually the note C on piano.

Most pianists are used to reading music in a number of different octaves and this is very important when playing with woodwinds because as a group, the cover a wide range of tones. The piano is often chosen as the accompanying instrument of a solo woodwind player or a small ensemble of woodwind instruments. One reason for this is the pianist can easily rehearse each instrument, or easily and accurately play the chords created by the ensemble.



Sunday, April 23, 2017

ART BLAKEY

The beginning  career of jazz music legend Art Blakey was amazing. He took piano lessons at school. When he was in the seventh grade he played music full-time and was leading a popular band. Not too long after, he started playing drums in the style of such players as Ray Bauduc, Chick Webb and Sid Catlett. He taught himself how to play.

Le batteur américain de jazz Art Blakey en con...
Art Blakey (Photo credit: Wikipedia)

He played with Mary Lou Williams at Kelly's Stable in 1942. Next, with Fletcher Henderson for the next two years, and he toured with. Art then went to Boston to lead a big band, then joined Billy Eckstine's band in St. Louis. Art stayed with that band from 1944-1947.

Art was considered to be among jazz music's finest musicians such as Fats Navarro, Miles Davis and Dexter Gordon. In 1947 when Eckstine's band broke up, Art started the Seventeen Messengers. He would go on to have several other groups with this same name. He then went to Africa to learn all about Islamic people for over a year. By the 1950's he performed with Clifford Brown, Miles Davis, Charlie Parker and Horace Silver.

After they performed together many times, he started another group with Horace which included Kenny Dorham, Hank Mobley with the name Jazz Messengers. Horace left a year later.  He was the known leader of the band. The Jazz Messengers played hard-bop jazz music. The roots of which were blues music. Hard bop is a mixture of bebop with gospel and soul music. An example of this is his album Moanin' recorded on Blue Note Records in 1958. They fought hard to keep black people interested in jazz, when the ballroom  jazz music disappeared. Many young musicians during the years have been influenced by this style. Jazz musicians such as Keith Jarrett, JoAnne Brackcen, Woody Shaw , Donald Byrd, Delfeayo, Branford  and Wynton Marsalis.

In 1971 to 1972, Art world toured with the biggest names in jazz music such as Kai Winding, Dizzy Gillespie and Thelonious Monk. He also performed a lot at the Newport Jazz Festival. The best performance was when he was in a battling performance with Buddy Rich, Max Roach and Elvin Jones in 1974. Art continued to tour nonstop with help from Donald Harrison and Terence Blanchard, along with younger musicians such as Benny Green.

Art never thought of his music as similar to African style, although he did use some of their techniques such as using his elbow on the tom-tom to alter pitch. His trademark, the forced closing of the hi-hat on each second and fourth beat was created in 1950-1951, which many jazz musicians copied.



A major jazz musician and innovative in his drum style, he was unique and performed with power. The way he played was loud and aggressive. The jazz critics basically ignored what he did in the 1960's. American audiences  left him behind in the 1970's when rock music took over the scene.

He always made time for young jazz musicians, listening to them, and helping them with their jazz music careers.



Saturday, April 22, 2017

Types of SYNTHESIZER DESIGNS

now what do all those patch cables do again?
Now what do all those patch cables do again?
(Photo credit: 
Wikipedia)
There are three main synthesizer types. They are:

Analog synthesizers
Digital synthesizers

Each synthesizer is classified according to the method of sound creation. Synthesizers that use a mixture of all these three are also available in modern market. These types are called hybrid synthesizers. Modern synthesizers vary significantly in their working method, potential, dimension and outlook. In the majority of the synthesizers the output is required to be passed through the speaker, or an external amplifier and loudspeakers to convert it into sound.

Format and Types of Synthesizers Designs.

Analog Soft Synths:

When a harmonically rich waveform (Saw, Rectangle, Square, and Triangle) is generated by an oscillator, then the filters or cuts away part of the sound is outputted in a thorough fashion with filters and envelopes. This is the mechanism of Soft Synths.

FM Synths:

Frequency Modulation works in a way where instead of subtracting from a large waveform, the synthesis is started by using several Sine Waves (operators and carriers) at user selectable frequencies and then patched them in various ways to come up with tones.

Apart from these there are others like:

Wavetable and Linear Algorithmic Synths

Sample Playback Soft Synths

Hybrid Physical Modeling Soft Synths

Hybrid and Abstract Synths

Emulator is one common type. There used to be quite a variety but manufacturers have stopped making them in a lot. Purchasing old and second hand stuff is a viable option as the unused first hand products can be expensive and unpredictable. The emulation or the copy exact types offer having graphics that model the exact user interface of controls. Popular synthesizers, for example, the Minimoog and Yamaha DX 7 have emulators.

Some software synthesizers are more of sample based. Computers, generally, have fewer restrictions on its memory or RAM than dedicated hardware synthesizers. Some of these sample based synthesizers come with sample libraries, which can weight up to GBs or giga bytes. Some of these are exclusively drafted to imitate real world instruments such as pianos. Many sample libraries are available in a Windows, IBM common format like WAV or Waveform audio format files, and can be worked with almost any sampler based softsynth.



The newer and recent versions of softsynths are designed to be compatible with technology such as Virtual Studio Technology (VST), which allow other music programs to interface with the softsynth. Plug in technologies include DXi, VST, Motu Audio System (MAS), Real Time AudioSuite (RTAS), Audio Units (AU).

Common Types of Synthesizers Designs

Most of the professional software synthesizers come with a high price tag, but given the works they can put up in real time or 1.5x real time with good hardware. These prices can be termed justified. Reality(TM) Professional Music Synthesis Software, VirSyn Software Synthesizer, Reaktor, Generator are to name a few mid range Software Synthesizers. However some free to try and freeware are out there also. Adder, Crusher X Live 3.42, Drums, Digitonix Element, Ethereal, FlexiMusic Composer, FlexiMusic Generator, SequBeat, Space Station Pro are also there. There are a number of Demos or Demonstration programs available in the market. The manufacturers give the users chance to get acquainted with the programs before they try.


    Victor Epand is an expert consultant for guitars, drums, and synthesizers.

    Article Directory: EzineArticles


Friday, April 21, 2017

Do You Know What the Parts of a VIOLIN Are Called? Learn Them Here

English: Violin made in about 1770. Legend add...Violin made in about 1770. (1) Chinrest (2) Tailpiece (3) Bridge (4) Strings (5) Fingerboard (6) Fine-Tuner (7) Sound hole (8) Corner (9) Purfling (10) Body (11) Rib (12) End Button 

(Photo credit: Wikipedia)



In order to correctly play the violin you will need to know what all the parts are. In this article I will teach you the names of the major ones from the top of the violin to the bottom (not in the order of the picture).

  1. Scroll - This is the decorative part located at the very top of the violin they are mostly hand carved.
  2. Tuning pegs - These are used to tune the violin, by adjusting them up or down you can tune your violin.
  3. The Nut - This supports the strings and keeps them away from the fret board.
  4. Fingerboard - This is the strip of wood on the neck of the violin where the strings are this is also the area where you play or finger the notes.
  5. The Strings - The violin has four strings tuned a fifth apart from thickest to thinnest they are G, D, A and E.
  6. The Bridge - This holds the strings in place it is essential as its placement affect the quality of the sound produced by the violin.
  7. F Holes - These are on either side of the bridge and allow the sound of the vibrating strings to resonate. They are called f holes because they are shaped like an f in italics. Altering the F hole can affect the sound of the violin.
  8. Tail piece - This is the part that anchors the strings to the violin.
  9. Chin Rest - This helps the violinist hold the instrument in place while playing the violinist can use their chin to hold the violin freeing up their hands.


    Eric B. Hill is an professional violin player and teacher with over 20 years experience.

    Article Directory: EzineArticles


Wednesday, April 19, 2017

FLUGELHORN Guide

History of the Flugelhorn

It is widely accepted that the flugelhorn was derived from the bugle design by Michael Saurle in the early 1800's. Flugelhorns were named from the German word Flügel which means wing or flank in English. In the beginning, flugelhorn was primarily used on the battlefield to organize the flanks in an army.

IMG_0361
Flugelhorn - Photo by aaltonen 


Appearance and Use


Flugelhorns are a member of the horn family and a brass instrument that resemble trumpets but with a wider bore. The appearance of the flugelhorn has also been compared to a cornet, although the trumpet is probably a closer comparison. The flugelhorn traditionally has three valves and uses the same piston valve system of other brass instruments. Four valve and rotary valve version exist but they are not the norm. Some modern flugelhorns include a fourth valve as this is becoming more popular. Today the flugelhorn is used in jazz, brass band, and popular music applications. The tone is considered to be fat and mellow compared to a trumpet. The actual sound probably falls somewhere in between a trumpet and a horn.

Choosing a Flugelhorn

Resources about the flugel horn are hard to find as this is a truly unique brass instrument. If you have a local music instrument store that happens to sell flugelhorns you are lucky and probably want to try one out there. For most people, the best option for locating a flugelhorn will be on the internet. Flugel horns are expensive compared to other brass instruments but you will find that they are worth the price for the true brass instrument player due to the unique sound and playing qualities. It is possible to find good deals on the flugelhorn if you use the proper resources on the Web.






Tuesday, April 18, 2017

SAXOPHONE and its Types

Music has always been an inevitable part of human life and many of you may love to hear good music or play music for your own satisfaction and contentment. There are different types of music instruments such as saxophones, trumpets, guitar, piano that are used by people to fulfill their music love. Of these saxophones is still the most rare and appreciable music instrument by the people.

saxophone
Saxophones - Photo by kadorin 

Saxophone was invented by Adolph Sax in the 1840's and is not really an instrument but a group of instruments. Sax has invented about fourteen saxophones out of which eight still exists. However, only four of them are commonly available - the soprano, alto, tenor and baritone saxophones. Out of these, the alto saxophone is most commonly found which most people think of.

Other saxophone that still exists include E-flat soprano, B-flat soprano, E-flat alto, true tone alto, B-flat tenor, E-flat baritone, B-flat Bass and contrabass. The early saxophones were made in F and C and not E-flat and B-flat whereas others were invented but were possibly too radical to remain in the creation.

The soprano saxophone is one of the straight saxophones in the whole family because it looks like a clarinet but it is made up of brass. It can be classified as a woodwind as it is a single reed instrument. The alto saxophone is curved around and has one bend in its neck whereas the tenor has a more curved neck and is larger. The baritone's neck is a full circle and is the largest of all the saxophones. Its case is around four feet long and when it is played, it doubles the brass section.



The soprano saxophone is not a common in most of the band but it is used sometimes and when it is played, it plays a part similar to a clarinet or even as another clarinet. It has a higher sound and often doubles the higher woodwind parts.

    Olivia Andrews, writer of music-future.com is a freelance journalist and has written many reviews on subjects such as finance, education, health, entertainment, music, gifts, crafts, travel, apparels and mobile phones.

    Article Directory: EzineArticles


Monday, April 17, 2017

Tips For The SOLO MUSICIAN

Here are some tips for the solo wind musician. If you play, woodwinds, brass, strings, or any single line instrument. You can make a substantial amount of money using your play-a-long library.That's right!...Your play-a-long library can be a goldmind of income.

I know it works because I've done it. If I can do it, anybody should be able to do it. Here's the plan.

First: You have all of these wonderful play-a-longs that you use to practice with. You have spent many, many hours learning these songs, and perfecting your talent. A lot of these play-a-longs are really great accompaniment, and some are recorded by professional musicians.

Trumpet player
Trumpet player (Photo credit: Wikipedia)

Well!...Why not put together a nice sounding PA, or sound system, (what ever you can afford)use all of those wonderful play-a-longs you've had for years, put some song sets together, go out and target all the venues in your area that would be great for a solo musician as yourself to perform in, and make some easy money. Sound crazy?...think again, you will be surprised to find out just how many places want live entertainment, but dont have the room, or the budget to hire a full band.

Here's an example from my real experiences. I have played a restaurant in early afternoon, a coffee shop after work hours, and played with my regular band that night. The result,...Three times the income that I would have normally made that day.

I charge $50-$100 for small venues, $100-$200 for larger establishments, and parties, $200 and up for high dollar fundtions. You have to be the judge as to how much you need to charge per gig. Also keep in mind your expenses.

Oh!...I forgot to mention the tips. That's extra bravy , or icing on the cake.

So go ahead!...Make that money! Put those old dusty play-a-longs to work.

Since I play mostly jazz, I use this source for my play-a-longs:

http://www.jajazz.com

THE SOLO MUSICIANS TOOLBOX

If you are a solo musician, there are tools that you should know about, and have in your tool box. It is best to be prepared for whatever comes your way in the form of gigs, and musical opportunities. In this article I will go over some of the general things in the form of gear, hardware, and software, that will give you an edge in this competetive, and demanding world. Keep in mind that these are all suggestions, and it depends on your personal circumstances as to what you are, and are not able to obtain.

I will asume that you already have the musical instrument of your choice, and that you have already spent the thousands of hours that it takes to perfect your talent. There is no way around it!...You get out of it what you put into it. If you spend the time to perfect your talent, you will definatly reap the benefits.

So,...Lets get started. I will list all of the items that I have in mind for this article, and where to obtain them. In some cases, a brief discription on what to do with them.

1. PA equipment: You will need some kind of PA equipment, preferably something small and compact, but of efficient sound quality

2. Microphone: You will need a microphone for the times when you are showing off that great voice of yours. You will also need a microphone stand.

3. Speaker Stands: I recommend speaker stands for your speakers, to raise your speakers up above peoples heads when playing in restaurants, and coffee shops, ect... You dont want to drive people away, or blow anybodys ear drum.

4. Promo Stand: You will need a promo stand that you can use to place your promo material, your CD's, and any of your contact material for people to see, purchase, and take as they come, and go. This can be something that is portable, small and compact, but looks presentable.

5. Tip Jar: I recommend a tip jar, something that, again, looks presentable.

6. Play-a-Long Library: I recommend a play-a-long library for all musicians, especially for solo musicians. As I have stated in my previous article, "Tips for the solo musician", you can make a living just playing solo gigs, and targeting small establishments.

7. CD, or, Cassette player: You should have a CD, or cassette player with a pitch control to play your play-a-longs through your PA.



8. Computer: If at all possible, you should have a powerful enough computer to record your own CD's. You can also make your own Play-a-longs with your own style of music.

9. Recording Software: You will need some kind of recording software for your computer. I recommend, Cakewalk.

10. Soundcard: You will need, in some cases, a sound card for your computer. I recommend, Sound Blaster Live.

11. Keyboard: I think all musicians should have some kind of keyboard. There are hundreds to choose from, according to your budget.

12. CD Burning Software: You should have some kind of CD burning software. Again, there are hundreds of choices. Microsoft Media Player is free.

13. Business Card Software: I recommend some kind of business card software for your computer. "Parabim Business Card Builder", is a very efficient one.

14. Musicians Website: Every musician should have a website. I recommend, "Host Baby", everything you need in a musicians website is here.

15. Internet Promotion Program: A program to help promote your music, and yourself on the internet. I recommend, "Musicians Power Promotion System".

These are just some of the things that will help you on your quest to be a successful solo musician. One thing to remember is,...Always Act...Look...and Dress proffessionally. That first impression can make, or break you.

Just click on the links provided in this article where indicated, and you will be taken to the particular website, were you can find the item.



Sunday, April 16, 2017

Memories Are Made Of This : The Golden Years of The SIXTIES Music Revolution

Notes from an era of true free expression where we were "spoilt for choice" with the newest musical innovators. Before the onslaught of the digital age and the polarisation of modern music we experienced a cultural revolution which, in my humble opinion, has yet to be equalled in successive generations ...

Cropped screenshot of Bing Crosby from the tra...
Cropped screenshot of Bing Crosby from the trailer for the film Road to Singapore. (Photo credit: Wikipedia)
I suppose my first realisation that music was something more relevant than learning the words to carols for the school Christmas concert was appreciating my Dad's collection of 78s'. He was a man with unusual tastes in music. My contemporys' parents listened to American crooners, like Bing Crosby, Dean Martin and the like, or the big band sounds of the day.

But my Dad had individual tastes which included Eastern European folk music, Scottish bagpipe ballads and Welsh miners choirs; plus my first introduction to classical such as exciting pieces like Aram Khachaturian's "Sabre Dance".

My Mother, a dedicated Crosby fan, disliked these strange sounds to the extent that she banished any playing of the 'caterwauling' to our barn, a large wooden structure at the back of the house. This suited my Dad, and me, just fine.

He would mend bikes and tinker with machinery in one corner, while I would curl up on a battered leather sofa looking at pictures in old movie magazines, giggling at jokes in back copies of Lilliput and reading girlie type books (Little Women, Black Beauty etc.) while the haunting strains of Bulgarian womens' voices, Highland airs or the overwhelming sound of Welshmen giving it their all emanated from the old wind up gramaphone; memories are made of this.

Musically I've come full circle. with the increasing popularity of 'world music' I am, once again, enjoying Bulgarian women's harmonies and Welsh folk songs along with the exciting newcomers from African and Latin American roots.

Every generation, mostly, think that they have experienced the 'best' period of topical music, but I do feel that the sixties were a special case. Consider this; any weekend my friends and I had a difficult decision to make. Did we go 'up town' to Ken Colliers to see American blues stars like Big Bill Broonzy or jazz giants like Dizzy Gillespie; or perhaps to the Marquee or 100 Club to listen to the up and coming Britishers like Paul Weller in the Jam, Eric Clapton and the Yardbirds and Georgie Fame with the All Stars.

Or did we stay closer to home and go to the Riki Tik in Windsor and risk asphyxiation in the tiny room listening to an exciting new group called the Rolling Stones. And that was only the start; what about Osterley where you could hear John Lee Hooker, Sonny Terry and Brownie McGee and any number of other Southern American blues stars; or Windsor Drill hall where, on a Friday night you could enjoy the best of Cyril Davies and the All Stars, which usually featured one of my favourites, Long John Baldry.

And, if you were willing to risk parental wrath, it had to be Eel Pie Island in Twickenham, a den of iniquity where you could hear the best of new rhythm and blues; smell strange substances burning in the air and where I first encountered psychadelia in the shape of Pink Floyd whose innovative light shows of coloured lava lamp blobs popping and forming ever different shapes were the precursor of the giant video screens of today. To say we were spoilt for choice is not to overwork a phrase.

I haven't even mentioned the many folk clubs sprinkled about which I visited with my friend Lucy as a guest singing duo, where we shared stages with the likes of Bert Jantz, Duster Bennett, Cat Stevens . . We would travel to isolated venues in the heart of the Berkshire countryside and find ourselves in a barn somewhere, with people sitting on hay bales and listening to the stirring voices and lyrics of Sandy Denny, Davy Graham and John Remborne, or even the Wurzels (bring your own cider!).

If you wanted to dance, but strictly not ballroom, you could stomp the night away at a selection of 'trad jazz' clubs. Bands of various styles were always on tap; Dick Morrisey, the aforementioned Ken Collier, Acker Bilk; It really was a golden age for live music of every kind. And it didn't cost an arm and a leg to indulge yourself. If we paid more than a couple of quid to get in we felt hard done by. Even special occasions, like seeing the Who or Cream at the Hammersmith Odeon were cheap at the price.
Wherever we hung out with our mates there was music. This was the age of the coffee bar, always with a juke box in the corner belting out such classics as 'Dock on the Bay', or Buddy Holly's latest or Aretha Franklin, Jimi Hendrix, Joan Biaz; where to stop! Before the fashion for 'personalised music' (catered for firstly by the Walkman and now in it's newest incarnation, the ipod) the latest tunes brought like minds together. A normal Saturday outing was to the local record shop where friends would crowd into a booth together to hear the latest in the 'charts'.



Maybe it was all just 'fashion' but, as the years race by, that sixties music has stood the test of time. Many of our heroes are still household names. Our children still appreciate such giants as Bob Marley, Jimi Hendrix and Otis Redding. The likes of Paul Weller, Rod Stewart, the Rolling Stones still tour all over the world. Am I showing my age when I find it hard to appreciate modern day offerings? Of course I am but no more than any other person who has let music into their life.

From the moment the first cave man (or woman) discovered how to make musical 'sounds' from reeds or rocks, water or wood, we have enjoyed the privilege of a great gift. How to explain the catch at the back of the throat when we hear a familiar song or melody? How to describe the pure feeling of exhilaration and joy as many human voices come together to sing some particularly uplifting work. I dare anyone to say they have never felt that. And if some hardened souls insist that is the case; well I feel very sorry for them.

Author:Fabio Marcell

Saturday, April 15, 2017

Getzen TRUMPETS Have Visual and Sound Appeal For Marching

When marching band season rolls around, it's not enough just to sound good, band members are putting on a visual show, too and most marching band musicians take pride in the look of their band instrument. Getzen trumpets not only sound great, they look great, too! For those trumpet players who switch to a flugelhorn or baritone horn for marching season, Getzen has them covered as well.


Getzen offers an extensive selection of trumpets. Student trumpets fall into the 300 and 400 series. One of the more popular student trumpets is the 390. They're workhorses, are sturdy, and most importantly, make great music. For the more advanced student, the 490 has a red brass bell, and its distinctive look will draw plenty of attention at parades or football games. The Getzen Capri 590 is an intermediate level trumpet that is available in silver plated finish, as are all Getzen instrument.

Getzen doesn't leave the committed trumpet player behind who goes professional, either. The Renaissance line is based on the prestigious Bach Stradivarius trumpet line. This has a more symphonic sound. Another line of professional Getzen trumpets is the Eterna series: the Eterna I, Eterna II, the 700, the 900, and the 1200. The Eterna was the instrument played byTonight Show bandleader Doc Severinson for years. The Eterna 700 is the most affordable Eterna model - suitable for the amateur who wants to get his or her hands on the best trumpet without breaking the budget. The Eterna 700S is a silver plated option. For those who turn pro or those who only want the very best, Getzen makes custom C and B-flat trumpets as part of their Edwards handcrafted line of instruments.

Trumpet players know that having a great sounding, great looking trumpet like a Getzen is a confidence boost that helps them play their very best.



Friday, April 14, 2017

How To Front Your Own Band As A LEAD SINGER

Fronting their own band is a dream of every beginner singer. So how can you front a band and develop your own band's own distinctive style of music and performance? How to at the same time developing your own individually unique singing style? How are you going to be distinguished and get noticed from those thousands of bands playing only cover versions of popular music and imitating their favourite bands and lead singers?

Sheryl Crow and Mick Jagger during the Licks Tour
Sheryl Crow and Mick Jagger during the Licks Tour
(Photo credit: 
Wikipedia)
First thing to do is to view as many DVD performances of famous singers fronting their bands from the musical genre you have chosen as the forte of your band's music. Examine how distinctive and different they are from each other. Notice each band playing with their own style and song delivery. Take note of everyone's body language and what signals and vibes the famous bands and singers are sending out.

Let us take a look at some of these singers and bands. Take Mick Jagger of The Rolling Stones for example. See how he pouts his lips and struts on stage cockily exuding sensual visuals and confident charisma at the same time. Those body language became his characteristics and singing charisma. In the advertisement world,it is called image branding.

If someone were to name you some popular singers, you will immediately associate a clear mental picture of that singer during a performance. That is how powerful your body language and distinctive branding can be. In otherwords, be different from the crowd by developing your own style of singing and performance.

Just try it. Close your eyes and when someone mentions to you these names, what do you see in your mental picture? Elvis Presley, Boy George, Bono of U2, Kate Bush, Cindy Lauper, Michael Jackson and even The Village People. Get the picture? (pun not intended, grin)

So, you must develop your own distinctive style of singing and stage performance to get noticed and create a brand for your band.

Learn from those excellent singers fronting their own bands. Learn from them how they keep time and rythym when they move on stage? Which action and movement during their performances that drew audience reactions? How do these singers whip their fans into a frenzy? What are the facial expressions at every stage of a song? How do they tell an emotional story from the lyrics of the songs that get people moved?

Learn and borrow some traits from these singers, and then develop them further with your own unique singing style blended in.

Once you have developed your personal distinctive singing style, the next step is to rehearse with your band. Your band must know what you want and this must be communicated before every rehearsal and reinforced. Things like when you want to bring the song into a climax, when to bring it down to tug at audience heartstrings, when to pause to create a dramatic impact...etc

Invest a little moeny in your band by buying some good music sheets so that the band can play together as a team with the same music sheets and scores.If you leave your band members to play by ear, all the band members will interpret the songs in their own way and you would have lost alot of time and energy to get the band to play tightly together.



Therefore you need to work closely with your band members since as a lead singer, you are probably the band leader as well. You then must insist that the band play the keys that you are comfortable to sing in, stick to the musical arrangements and follow the effects of the songs you want to portray.

Once this is done, rehearse until the band and you are inseparable components of the song, then you are there! You are now ready to front a good band as a lead singer, get recognized as a singer and band leader of distinction.



Thursday, April 13, 2017

Play SAXOPHONE Like the Pros

English: A Selmer Bundy II Alto Saxophone. By ...
A Selmer Bundy II Alto Saxophone.
(Photo credit: 
Wikipedia)
Although it's one of the quickest instruments to initially pick up, learning to play saxophone like a pro - or even a highly developed student - is a whole other matter.

Developing Your Saxophone Tone
Ask just about any awesome sax player, and they'll tell you that the most crucial area that a saxophone player must pay attention to is the quality of their sound. Of all the wind instruments around, the saxophone brings with it the greatest variety of sonic options. Take Stan Getz in contrast to Lenny Pickett, for example.

Here are three things that you can do to boost the quality of your saxophone tone:

* Practice overtones. If you finger a low Bb but blow into the horn as though you were going to play a middle Bb, you'll see that the middle Bb comes out sounding much larger and louder. Try to make the middle Bb fingering sound as large as the low Bb fingering. Take the exercise up in half steps as far as you can go, using palm key fingerings once you get to middle D as your bottom note. Don't move your embouchure to get the overtone notes to come out. Take into consideration how your throat would be if you were singing those overtone notes, and have your ear guide your throat to the proper position.
* Keep the bottom lip rolled out enough so that the fleshiest part is touching the reed.
* Play with the "EE" vowel sound on your mind. This will keep your throat unobstructed.

Developing Great Saxophone Technique
Though the term "technique" can apply to any aspect of playing an instrument, for the majority of musicians, technique signifies the capability to play high-speed successions of notes cleanly and clearly.

To play with excellent technique, here are several things you can do:

* Focus on scales and arpeggios in one key at a time. It's more effective to perfect a scale in one key than it is to be able to play through all twelve keys ungracefully.
* Work on hearing the music you're playing, and not what your fingers are doing.
* Make certain that there's no stiffness in your neck. Stiffness in your neck triggers stiffness in your shoulders, which leads to stiffness in the arms, hands, and fingers.

Working on Saxophone Articulation
Articulation denotes the method in which we start and stop notes. We use articulation to give the melody shape and texture,. Without it, you end up with what sounds like "robot music."



Here are some tips to help you better your articulation on the saxophone:

* Don't tongue the very tip of the reed, but rather touch with the tip of your tongue the point just past the tip of the reed. You can also go about half an inch to an inch back on your tongue if that's more intuitive for you.
* Move the tongue up towards the reed and down away from the reed. Articulating by moving the tongue back and forth should be avoided.

Putting it All Together
Learning how to play like a pro is not something that automatically happens merely because you have a great saxophone teacher or because you read a great saxophone book.

Ultimately, the end goal is to cultivate a keen ear so that, in your mind, you develop a very clear picture of what you'd like to sound like. This means listening to the best saxophone players throughout history, and practicing with focus. Remember, when it comes to practicing, it's not about the quantity of hours you practice, but really, it's about the quality of your practice time.

    By Doron Orenstein
    Doron is the creater of Bulletproof Saxophone Playing - a program that helps you take your saxophone playing to a whole new level. If you take the actions recommended in this comprehensive and inspiring course, you'll play better than you over thought possible.
    Highly acclaimed by some of the top players in the saxophone world (including Rob Wilkerson, lead alto in the Michael Buble band), the program features a 70-page e-book and audio interviews with Rick Margitza, Walt Weiskopf, Dr. David Demsey, and others.
    http://www.bulletproofsaxophoneplaying.com
    Article Source: EzineArticles


Wednesday, April 12, 2017

THE BEATLES: History and Album Guide

The Beatles are almost universally regarded as the greatest act in the history of post-war popular music, and that claim is hard to deny when one considers their status as the biggest selling musical act in history, their universal critical acclaim, and the never duplicated hysteria that surrounded the band during the height of "Beatlemania" in the Sixties. The cult of the Beatles is alive and well around the world more than 40 years after the band's demise.

English: The Beatles wave to fans after arrivi...
The Beatles wave to fans after arriving at Kennedy Airport.
(Photo credit: 
Wikipedia)

The group got its start in Liverpool, in the Fifties, as a John Lennon-led skiffle band called the "Quarryman." Lennon was a rebellious Liverpool youth who had been introduced to rock and roll music from the recordings brought across the Atlantic and into Liverpool by English merchant sailors. It was from these recordings that Lennon and his generation in England were first introduced to the likes of Elvis Presley, Carl Perkins, Little Richard, Fats Domino, and other early fathers of the music. Eager to emulate his new heroes and make a name for himself, Lennon recruited some schoolmates to join him in his new band. Members would come and go until the band settled with a lineup of Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe, and Pete Best, a drummer.

The band changed their name to the Silver Beetles for a time and then finally settled on "The Beatles." The band acquired an avid local following in Liverpool and became a fixture at the Cavern Club, where they performed inspired sets on a regular basis. While the band was playing clubs in Hamburg, Germany, Sutcliffe fell in love with a German girl and decided to stay behind, leaving the Beatles a four man outfit. Sutcliffe would die of a brain hemorrhage at age 21 in 1962.

The group made its first recording as the backing band for singer Tony Sheridan on the single, "My Bonnie," which received airplay in Liverpool area. The popularity of this record inspired Liverpool record shop owner Brian Epstein to attend one of the Beatles' Cavern shows, and when Epstein witnessed the wild reaction of the audience, he convinced the group to take him on as their manager. Epstein convinced the band to drop drummer Pete Best from the group in favor of Ringo Starr from a rival Liverpool band, Rory Storm and the Hurricanes. The final roster of the Beatles was set with Lennon and Harrison on guitar, Paul McCartney on bass, and Ringo Starr on drums. The group would record the moderately successful single, "Love Me Do," before the end of 1962.

Epstein then began to search for a record label to sign his band. After numerous rejections, the band was finally signed by the Parlophone label. The Beatles recorded their first album for the label, "Please Please Me," in 1963. The album was recorded in a single day, apparently to capture as close as possible the immediacy of their live shows. Although Epstein had trouble finding a U.S. label to sign the band, he managed to get the Beatles booked on the Ed Sullivan TV Show in April, 1964. New York disc jockey, Murray the K, hyped the Beatles upcoming TV appearance, setting the stage for the birth of Beatlemania. The Beatles appearance on the Sullivan show was a sensation seen by millions of Americans, and the Beatles become international superstars overnight.

The Beatles thus began an exhausting two years of near constant recording and touring. The early Beatles records were released separately in the U.S. and U.K., sometimes with different titles. For example, "Please, Please Me," the band's first U.K. album was released in the U.S. as "Meet the Beatles." The names of the albums don't matter much as everything this band recorded is essential, and any collection of Beatles music is guaranteed to be of high quality. Titles to look for from the 1964 albums are:" With the Beatles," "Twist and Shout," "A Hard Days Night," "Beatles for Sale," and "Beatles 65." The Beatles' music would soon change from light poppy love songs to darker and more introspective fare as the group attempted to expand its musical horizons.

With the release of the album, "Help" (1965), the Beatles began the process of reinventing themselves. The title track, "Help," "Yesterday," and the very Dylanesque, "You've Got to Hide Your Love Away," saw the group moving into previously uncharted territory. Their songs were still just as catchy, the harmonies still as sweet, but the material had become darker and more intriguing.

This artistic growth continued on the next album, "Rubber Soul" (1965), and for the next five albums. This string of albums represents the Beatles' best work and some of the best albums of popular music ever recorded. On Rubber Soul, the band begins to experiment musically with the inclusion of sitar on "Norwegian Wood," and several songs such as "Michelle," "If I Needed Someone," and "In My Life" which could easily be classified as "folk rock."

The Beatles' following studio release, "Revolver" (1966), sees the Beatles at the peak of their powers. Revolver is an astonishing collection of songs representing a myriad of styles from the art rock of "Eleanor Rigby" and "Good Day Sunshine" to the hard rock of "Taxman" and full blown psychedelic experimentation in "Tomorrow Never Knows."



The release of Revolver coincided with the band's retirement from live performances. Freed of life on the road, the Beatles would dedicate themselves to experimentation in the recording studio. With the able support of their producer, George Martin, the group would again reach new heights of creativity in the studio with "Sgt. Pepper's Lonely Hearts Club Band" (1967). This album's overt experimentation was an attempt by John Lennon and Paul McCartney to outdo the Beach Boys' Brian Wilson who had raised the studio bar with his work on the Beach Boys' classic recording, "Pet Sounds," during the previous year. "Sgt. Pepper," which is often cited as the Beatles' magnum opus, is every bit as thrilling as Revolver with epic songs such as "Lovely Rita," "For the Benefit of Mr. Kite," "She's Leaving Home," and 'A Day in the Life."

The Beatles kept rolling with the double album simply titled, "The Beatles" (1968). Its unadorned, solid white cover earned it the nickname, "The White Album," among fans. The album is amazingly eclectic and contains nary a bad tune amid its myriad of tracks. Among the album's classic tunes are, "Blackbird," "Mother Nature's Son," "Revolution," "Back in The USSR," and "While My Guitar Gently Weeps."

In 1969, The Beatles would release their last true studio album, "Abbey Road." Group in-fighting that had lasted for several years was becoming intolerable and Paul McCartney was tiring of holding things together. McCartney would later signal the demise of the band by releasing his first solo album in 1970. Abbey Road was another brilliant effort that contained classic tracks such as "Come Together," "Here Comes the Sun," and most impressively, the medley of short, connected songs that finishes the album.

"Let It Be," which was recorded prior to Abbey Road, would be released in 1970 with the title track, "Let it Be," and Lennon's "Across the Universe" as standout tracks.

Read also the Article on Wikipedia for the Last Information.




Tuesday, April 11, 2017

Do You Want Your PIANO PLAYING To Sound Terrific? Start By Reading The Menu

One of my piano students once told me that every time she begins a new piece of music, she starts by reading the menu.

Have you ever gone into an unfamiliar restaurant and simply ordered your food? Wouldn’t you first want to see what’s on the menu?

Mm Piano
Piano (Photo credit: Wikipedia)

Then why would you start playing a new song without paying attention to what’s on its bill of fare?

You are probably already aware of the musical ingredients (terms and expressions) but you may not be paying attention to them. If you want to sound terrific, you need to get beyond just playing the notes.

Playing the correct notes is essential for a great performance. But when you bring out the dynamics, get the tempo just right and follow the phrasing, Your piano playing will come to life!

Here is the musical menu to help you go from good to great.

• Beverages

o Clef: Normally the right hand reads treble clef and the left hand bass clef, but there are exceptions.
o Register: There is only one correct place on the keyboard for every note on the staff. Every octave on the piano has its own character.

• Appetizers

o Key Signature: You need to use this guide not only to remind you of which notes to play sharp or flat, but also so that you will know and hear the character of the scale of that key (sharp keys are usually bright; flat keys tend to be dark).

o Major or Minor Key: All key signatures can either identify major or minor keys. Be sure to know which it is. This makes a world of difference.

• Soup & Salad

o Time Signature: The biggest contrast is between duple (multiples of 2) and triple (multiples of 3). Decide which it is before you start playing.

o Tempo indication (metronome setting): Playing a song at just the right speed is essential. Too slow, it will be dull and sluggish. Too fast and it will sound rushed and can easily lead to sloppiness and mistakes.

• Entrée

o Dynamics: These are your guides for playing at just the right volume. Should this section be loud or soft? Somewhere in between? Or does the volume increase gradually (crescendo) or decrease (diminuendo)?

• Side Orders

o Expression marks: The phrase marks (curved lines) will show you where the music needs to breathe. Think of this as if you were singing or playing the clarinet. To get this effect on the piano, lift your hand off the keyboard at the end of each phrase.

o Articulation: The biggest difference is between legato (smooth & connected) and staccato (detached), but you will need to notice accented notes and much more.

• Desserts

o Lyrics, era, and genre: These can certainly help you uncover the stylistic secrets that will help you present the piece in the correct context. Whether it’s Bach or the Beatles, Scarlatti or Sinatra or something in between, you’ll know just what feeling the composition needs.

Action Exercises

Here are three things you can do immediately to put these ideas into action.

First, pick a new piece that you really want to learn. Before you start playing the notes, look for all of its menu items. Use the above list as a guide.



Second, every time you practice this piece, incorporate the first three menu ingredients as you learn the notes. Note: you’ll need to practice more slowly at the beginning as you’re learning the notes, but when you’re ready, select the most suitable speed.

Third, add polish to your playing by using the second half of the menu list as your guide to discovering the other essential musical elements.

If you want to play the piano with more expression, more expertise and more enthusiasm, always remember to start by reading the menu. You’ll have a guaranteed recipe for success, and…… You’ll be amazed at how quickly your piano playing will sound terrific!

    Copyright © 2007 by Ed Mascari ed@edmascari.com