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 professionals 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 finger board it may be necessary to have your frets leveled 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 fret board, to see the nut slot's height in relation to the fret board 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 sting 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 case's is very hard to setup and maintain without fret buzzing somewhere on the finger board.
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.
Baroque music is formed in large part from contrapuntal textures (having two or more independent but harmonically related melodic parts sounding together). Written for the harpsichord, these textures aren't as well suited to the modern piano's thicker tone and rich, low harmonies. So, special care has to be taken when you interpret Baroque period music on the piano.
An upright pedal piano by Challen (Photo credit: Wikipedia)
In contrapuntal music, the individual parts are of equal importance, even though their inter-relationship is continually shifting. To reproduce this type of texture well, you need to train your mind, ears and fingers to follow the course of individual contrapuntal lines, as well as their combined texture, so the pianist presents a picture of an ever-changing whole.
Pianist H. Ferguson gives this analogy: You can think of the music as a kind of conversation, in which the voice shifts continually from person to person, as each person makes a contribution without unduly raising his tone. The dynamic range shouldn't be too great (a true fortissimo is rare, since several people shouting different things at the same time will never make themselves understood); and touch and tone should be lighter than in homophonic music typical of the later 19th century.
A semi-legato is more usual than a legatissimo, especially if the notes are quick-moving, since it promotes clarity. It also allows freer play for the subtle kaleidoscopic changes of thought and mood particularly characteristic of Bach. The sustaining pedal should be used sparingly; it should never be allowed to obscure the line, or produce the kind of impressionistic haze that is only heard in modern music such as Debussy.
So, when you interpret Baroque music during piano instruction, try to avoid the thickness of sound that is characteristic of the piano, yet was foreign to the harpsichord. This is especially important with close-position chords in the bass. These sound clear and transparent on the early instrument, but on the thicker-toned piano of today they should be played carefully to avoid a muddy sound. One solution is to lighten the middle notes of the chord, so they are less prominent than the octave played by the fifth finger and thumb. Sometimes it helps to break the chord slightly and play it as a quick arpeggio.
Occasionally in Baroque music there are passages that would have been comparatively easy with the light and shallow touch of earlier instruments, but now are extremely difficult, or impossible, with the deeper and heavier key-action of today. For instance, the repeated triplet octaves in the right hand part of Schubert's song 'Der Erlkonig' were originally not terribly hard to play, but for the modern pianist they have become a virtuoso athletic feat.
In playing fugal music, then, you might find the following points helpful:
Characterize all parts of fugue with carefully defined articulation.
Make sure that the articulation for the main part is contrasted with that required by the counterpoint, and by parts 2 and 3 if the fugue happens to be double or triple. This ensures that each part remains distinct when several occur together.
Characterize the episodes of the fugue in the same sort of way.
Keep the texture as light as possible, particularly the top and bottom lines.
Don't feel that the part must always stand out as though it were played on a solo blaring horn. The other parts are equally important.
If you do want to bring out a particular part, stress it only very slightly. Its characterization, coupled with the generally light texture, will do the rest.
A moving part will always stand out more clearly than a static one; if an even balance is required, the part that moves most needs the least stress.
Always aim for clarity.
By Barbara A. Ehrlich
Barbara Ehrlich is a private piano teacher based in Bedminster, NJ with a roster of current young piano students that includes a broad array of student ages, cultures and backgrounds. New Jersey Piano Lessons works closely with parents to oversee and coordinate music activities in a variety of areas, including piano lessons, technique, theory, ear training, and sight-reading.
Article Source: EzineArticles
Barbara Katharina Bach, Johann Sebastian Bach's second cousin and elder sister of Maria Barbara Bach, Johann Sebastian Bach's future wife
Maria Barbara, did you hear who is coming to town? It is Johann Sebastian, our dear cousin Ambrosius' son. He has been away from Eisenach so long I am not sure I would recognize him. When his parents died he was sent to live with his brother Christoph in Ohrdruf for a few years, then I believe he was sent all the way to Luneburg for school. Lately, though I heard that Johann Sebastian had been playing the violin for the Duke's court in Weimar.
Now, Johann Sebastian has just been appointed the organist at the Neukirche right here in Arnstadt where that incredible new organ was just built! I was told that the concert Johann Sebastian gave when he came to try out the new organ was simply astounding and the committee just had to appoint him organist! I think I also heard, though, that he has to conduct the boy choir at the Neukirche. I wonder if he knows about that? I really do hope Johan Sebastian is up to the task of working with those ornery boys at the school. They sing so badly and can just be so awful!
However, the best news of all is that Sebastian is coming to visit his relatives next week when he gets to Arnstadt. That means us! We will be seeing our dear cousin Johann Sebastian very soon. You know he will be living at the Mayor's house, don't you? I can hardly wait to see him again!
Maria Barbara, have you heard? Johann Sebastian was just in a fight. I happened to be walking down the street near the Neukirche when this brawl erupted and that awful bassoonist Gegenbach and our dear JS had come to blows. I think our cousin Johann got the best of that little bassoon player, though, as Johann drew his sword and just cut to tatters Gegenbach's clothing! I was there! I saw it! And more than that, I am going to testify to the city authorities that the fight was not Johann Sebastian's fault! Poor Johann Sebastian is just so bothered by those awful no-count untalented boys at that school. It is too bad he can't just compose his beautiful organ music and be left alone.
The organ music dear Johann is composing now is so interesting. He tells me a wonderful composer named Georg Bohm that he met while he lived in Luneburg influenced him greatly. He just loves to compose variations on our wonderful hymns. Why sometimes just to be different, he puts the melody in the pedal in many of the pieces he is composing right now. He really is a genius that cousin of mine.
This story is one of a dozen vignettes from the organ and media event, "Bach and Sons" performed by Dr. Jeannine Jordan, concert organist.
Dr. Jeannine Jordan has a doctorate degree in organ performance with an emphasis in Baroque repertoire. She studied with renown Swiss organist, Guy Bovet, has performed throughout the world, and presents the organ music of Bach in a creative program, "Bach and Sons," utilizing visual media and narration. https://promotionmusic.org/Listening_Media.html
She has also recorded organ music of Johann Sebastian Bach https://promotionmusic.org/Bach___Sons_PNQ5.html and his sons on historic 17th and 18th century organs in the Bach region of Saxony, Germany. Visit Bach and Sons to schedule a free consultation with Dr. Jordan to discover how you can bring Bach to your community.
As violin players we very often fall into bad habits which hamper playing and delay our progress by years. It is very important that you correct these problems as soon as you can remember the longer you ignore them the worse they will get and longer they will take to get rid of.
Stuffed bear on violin (exercise for good violin hold + correct contact point) (Photo credit: Wikipedia)
To begin correcting bad habits you must first begin to identify them you must be like a detective seeking out the root causes of the issues and difficulties you face in your playing. To do this play through the passages that are giving you difficulty extremely slowly without a metronome. Pay extreme attention all the while you are doing this be very relaxed and watch what your fingers and body are doing as you play.
There will be a cause and effect relationship behind every mistake that you make. The cause will be something you are doing wrong with your fingers and body that you haven't noticed before and the effect will be mistakes. It is your job to seek out these causes and correct them. Remember the reason behind almost all bad playing and mistakes is usually because you are holding tension in your body.
Concentrate on being very relaxed and tension free while you are playing and remember to breathe deeply in and out. You would not believe the amount of people who hold their breath while playing.
This is a very bad habit which will cause you to lock up and make endless mistakes
Once you have identified the causes of your mistakes and bad habits you must correct them. You do this by playing slowly through the problems passages using a metronome. You must pay extreme attention while doing this and stay relaxed playing the problem part correctly. You will have to do this over and over until the new way of playing is conditioned.
Do not ignore problems areas and bad habits trust me I did and I can tell you from experience that they soon grow into huge monsters that can cripple your playing for years. Remember it is always best to kill the monster while it is small.
Eric B. Hill is an professional violin player and teacher with over 20 years experience.
It's funny, being a songwriter myself, I always find that writing songs can sometimes be a chore. But why does it feel this way? Isn't this supposed to be my passion? Isn't this supposed to be something that I never get bored of?
… well, not exactly. Everything gets boring once in a while, even the things that you’re most passionate about. So every so often I like to take the lazy man's route to doing things. And surprisingly, I often produce some very good results!
So listen up. If you newbie at songwriting, or even if you have been at it for a while -- I'm going to a couple of simple tricks that will help you start the writing process within minutes.
Here we go…
1) Review a particular situation in your day. It could be at work, during your travels, or at home. It could be with your workmates, your family or your friends. Just any situation that affected you in either a positive or negative way.
An example of this would be "when you're at work, your boss just keeps hounding you. But, the only thing that keeps you going throughout the day is that you know that somebody in the office has a crush on you"
(the above is a very dry example… but try to work with me here!)
2) Write down as many words as you can think of that relate to your situation.
Let's follow the example from earlier on:
anger, pain, sad, happy, excitement, nervousness, anxious, misery, impatience, relaxation, goofy, sophisticated, annoying, frustrating, antagonising, fancy, sexy, cool, pretty, smile, etc, etc… you get the point :-)
3) Write down random short sentences about your situation including the words that you mentioned him step 2. So let's continue in our little experiment…
“ the way he talked to me really angers me”
“ if only he knew the pain I suffered inside”
“ when I see her pretty eyes light up it makes me smile”
“ I have to act cool and sophisticated -- don't want to get frustrated”
“ he doesn't know what makes my day go by”
“ don't want to be in this misery for much longer”
Etc, etc. at this point it's important to note that you don't have to use all the words that you mentioned earlier in step two. As you can see I’ve even started to make up my own lines *without* any of the words too! Sometimes, I'm rhyming the words without even realizing. And this is exactly where the magic starts to happen…
You can easily turn this idea into a full-fledged song. Use rhymezone.com to help you find words that rhyme… and also other related words as well.
My example was very average and simplified -- but you can use an example that's a little more dramatic. You should really get wild with your ideas! Really, just let loose.
4) Listen to a ‘backing track’ (an instrumental of a song) that you have NO CLUE about. While it’s playing, make up a melody. Doesn’t have to be perfect, just create a melody on the fly. You don’t have to sing any lyrics either. Just ‘humm’ or ‘laaa’ a tune out until you’re hearts content.
Why do this? This is an exercise that will subconsciously preparing you to create melodies for you’re own chord sequences in the next step.
5) Create a SIMPLE chord progression on the guitar or keyboard. When I say simple, I mean *simple*. Maybe TWO chords for the verse and TWO chords for the chorus. Now create a melody on top of that chord progression. Record the song on tape. There you have it.
NOTE: if you don’t play an instrument, then hook up with someone who does. After all, you pretty much have half the song now :-)
Still think it’s difficult conceiving an idea? Want to know more? I have *plenty more* that I want to share with you…
Have you felt being carried to faraway places as you listen to the great music that comes from an orchestra? Yes, practically nothing could beat the way that an orchestra creates music. It makes you feel like you’re in the clouds listening to angelic voices. Since Ancient Egypt, the orchestra has evolved to the modern orchestra that we have now. But what comprises the modern orchestra?
Philharmonic Orchestra of Jalisco (Guadalajara, Jalisco, Mexico) (Photo credit: Wikipedia)
Basically, an orchestra is composed of different instruments that blend harmoniously together to create an enchanting music. There are different classifications of musical instruments that are used in the modern orchestra. These are the woodwinds, the brass, the percussion, the keyboards and the strings. These classifications are further subdivided into different instruments.
The woodwinds is composed of the piccolo, bassoons, contrabassoon, flutes, oboes, English horn, clarinets in B-flat, and bass clarinets in E-flat. The brass classification includes French Horns in F, tuba, trumpets in B-flat, Euphonium, and trombones. The keyboards are the celesta and piano. The strings are violins I & II, cellos, violas, and double basses. Lastly, the percussion instruments include the snare drum, bass drum and tenor drum. It also includes the timpani, cymbals, tam-tam, tambourine, xylophone, and triangle.
Take the case of Oakville chamber orchestra. You can find that there is a hierarchy between the instruments. In every group, there is a recognized leader that usually plays the solo. The principal first violin is usually considered as the leader of the orchestra. The only one that is higher than the violin is the conductor himself.
In the low brass section, it is the principal trombone that is considered as the leader. However, for the entire brass section, it is the principal trumpet. The principal oboe is for the woodwind section. With the different instrument groups, there are also those that are considered as the co-principals. This hierarchy between the instruments at the Oakville chamber orchestra actually provide for a great musical effect.
Most modern orchestras of today are led by the conductor and usually play Oakville classical music. You would be amazed at how the music that they create touches your heart and soul.
Learn about our services at www.oakvillechamber.com.
I think anyone and everyone that likes music, or who has a particular musical genre preference, can admit that sometimes the same music gets stale. You hear the same songs over and over again and begin to feel your passion slowly slip away. For me, this means that it is time to search for new avenues. So, the question that is presented to you here is do you need to update your jazz selection?
Erykah Badu (Photo credit: Wikipedia)
Many people may not realize how much jazz has to offer. There are so many branches that your search may possibly be endless. An excellent contemporary category of jazz is acid jazz. Do not underestimate the awesome power that acid jazz possesses.
Now, you may be wondering, “What exactly is acid jazz?” Acid jazz combines different musical elements and instruments to create a unique blend of jazz, electronic and even hip hop at times. This does not mean that the genre lacks the same soul you would find in traditional jazz tunes. Just the opposite! In fact, Roy Ayers and Donald Byrd are credited as precursors to the acid jazz movement.
Even though the genre possesses a variety of instruments, including many that are electronic, artists still play live shows. This allows more room for creativity and free flowing sound since the songs are easy to manipulate while performing. Traditional jazz instruments are still incorporated in this genre.
One accredited artist that fits this category and is held in high esteem is Jamiroquai. As a prominent figure in the acid jazz community, Jamiroquai began their journey as artists in the early 1990s in the United Kingdom. The most famous of their songs, “Virtual Insanity,” hit the charts and was a number one across the globe. Other notable artists that fit into this category that can be mentioned are Erik Truffaz, Erykah Badu, Incognito, and Groove Collection.
While this genre is thought by many to be genius, it is difficult for traditional jazz listeners to dig into these futuristic sounds. The argument is that acid jazz does not possess the same soul and groove that traditional jazz offers. Others dare to say that acid jazz offers just the same things as classic jazz since its forerunners were one in the same. Instead of debating, just let your ears settle the argument for arguments’ sake. Of course we are all allowed to have our own opinions, but it never hurts to keep an open mind and consider new avenues. If you were or are a fan of jazz-funk, jazz-house, and jazz-fusion, you will love exploring this genre further. Take a look at different artists to explore the variety of sounds that is this wonderful musical creation.
For more information or for questions on buying or selling used Jazz, Acid Jazz and any other genre of music CDs, visit www.used-jazz.com. If you have any questions please email at customerservice@secondspin.com.
The magical moments of a Bruce Springsteen concert begin seconds after the lights in the arena, club or theatre go out, you're staring at the stage knowing that in the next few seconds Bruce will arrive ready to pour out his heart, sharing his soul night after night, city after city, concert after concert tour after tour. The stage lights begin to shine and within a minute or so the sounds of The Rising,
Bruce Springsteen at Barack Obama rally in Cleveland, Ohio. (Photo credit: Wikipedia)
Thunder Road, Badlands or Devils and Dust are all around you and once again Bruce and each of us are heading on that special journey that is so special each night. It's magic in the night, each and every night.
"Experiencing" Bruce Springsteen in concert is part religious rock and roll, part revival meeting, a journey of joy, passion and excitement. Be it at Fenway Park with Bruce trying to end the Curse of the Bambino, the lone spotlight on Bruce singing Thunder Road simply with Roy Bittan on the piano in 1975 on the Born to Run tour, the Boss and the Big Man hitting/creating perfect synergy during Badlands - Bruce Springsteen on the 1978 Darkness Tour, the sheer force of Born in the USA on the 1984-1985 BIUSA Tour, the carnival like start of the 1988 Tunnel of Love Tour or that unforgettable moment during the Reunion tour when faith was restored - Bruce was back where he always belonged - on stage with the E Street Band, Bruce has thrilled so many of us.
Each of us has our own Bruce experiences, stories that we've often wanted the opportunity to share with fellow Bruce fans. Chance encounters with Bruce, traveling to the Holy Mecca Asbury Park, taking your children/parents to their first Springsteen concert, meeting strangers who have become lifelong friends or even marrying fellow Bruce fans - there are countless stories that can only be told by each of us and we've never had that chance.Undoubtedly Bruce has moved you. Emotionally, politically or from a humanitarian perspective.
We are calling out to Bruce from the Jersey Shore, Philly, the backstreets of Boston, Bruce fans in the UK, Sweden, Spain, Italy, Germany, Holland, Japan, Brazil, Canada - everywhere and anywhere where Bruce fans call home.
Olive Fremstad (1871 - 1951) ,Swedish-American mezzo-soprano and soprano opera singer (Photo credit: Wikipedia)
Voice type is a particular system for classifying opera and classical singers. The system allows composers, singers, and listeners to easily and quickly categorize voices. Here's a simple breakdown of the different types of singing voices.
Female Soprano: The female soprano voice typically ranges from middle C to at least the “soprano C,” that is two octaves higher. The voice is high-pitched and will vary from a light and sweet soubrette style to a rich and powerful dramatic soprano.
Female Mezzo-Soprano: The mezzo-soprano is more often used for choral voices. The mezzo-soprano range is often lower than the soprano and the tessitura, or comfortable timbre, is lower as well.
Female Contralto/Alto: The Contralto, or Alto, is the lowest female voice, usually deep and dark. The term alto is usually used in choral and popular music.
Male Sopranist: The sopranist is a man capable of reaching the levels of a female soprano. It is the highest range for male voices, and often sung in falsetto or by young men. Technically, part of the tenor range.
Male Tenor: Though there are a number of sub-classifications, tenor generally refers to simply a higher pitched male voice.
Male Baritone: This is the level that falls between a tenor and a bass. Deep and rich, but still with movement. The lyric baritone is a touch higher and lighter than the dramatic baritone, which calls for a fuller voice.
Male Bass: The bass is very low, in fact it is the lowest segment of the musical vocal. When a bass male sings, the room should rumble. The basso profundo is the deepest and darkest of the singing voices, one often used for dramatic and scary events. Meanwhile, the Basso cantante still retains a touch of agility.
Next time you're listening to your favorite singer, see if you can tell which class they are in.
Without a doubt one of the true giants of jazz tenor saxophone is Sonny Rollins. Born in Harlem, New York in 1930 Sonny began studying piano and alto saxophone at age 11. When Sonny turned 16 he switched to tenor saxophone in order to emulate one of his idols, the great Coleman Hawkins, who lived in his neighborhood. Thus began the development of one of the most unique and influential voices in jazz saxophone history.
Sonny Rollins at Stockholm Jazz Fest 2009. (Photo credit: Wikipedia)
Sonny grew up in the Sugar Hill neighborhood of Harlem surrounded by many jazz greats. Thelonius Monk took an interest in this young saxophonist and became his mentor. In 1948 at the age of 18 Sonny made his recording debut with Babs Gonzalez. Because of his immense talent he soon began working with jazz greats such as Charlie Parker, Bud Powell, Max Roach, Art Blakey, Fats Navarro, Miles Davis and the Modern Jazz Quartet.
Way Out West
In 1957 Sonny became the first known jazz musician to feature a trio without a piano. The trio which consisted of tenor saxophone, bass and drums displayed Sonny's ability to outline the harmony of a song while using his varied rhythmic lines. The first album recorded with this format was Way Out West which was recorded when Sonny made his first trip out west with the Max Roach Quintet.
Both the bassist, Ray Brown and the drummer, Shelly Manne were also in Los Angeles with the groups they were currently working with. Because of the busy schedule of all three musicians the recording session for this fantastic album started at 3 a.m. These three musicians had never worked with one another before but managed to record a classic jazz album in one session.
The Bridge
In the summer of 1959, at the height of his popularity, Sonny began his first and most famous sabbatical from performing and recording music. He had become dissatisfied with his own playing and with the hype surrounding his place among the jazz giants. During this 2 year period Sonny would spend his nights practicing on the Williamsburg Bridge on the Lower East Side of Manhattan so as not to disturb his neighbors. In the winter of 1962 he returned to the studio to his next album entitled The Bridge.
80 Years and Counting
On September 7, 2010 Sonny turned 80 years old and is still blowing strong. On December 2, 2009 I had the pleasure of seeing this saxophone giant perform once again at the Kennedy center in Washington D.C. I had seen him many times before, but on this night on truly magical connection was made between the artist and the audience. If you are a jazz fan and have never seen Sonny play live then you owe it to yourself even if you have to travel to do it.
I've been in rock and roll all my life and I'm well aware that The Rolling Stones have been called the best rock and roll band. Don't get me wrong because I love Mick and the Stones, and the Beatles were my major musical influence, but here's why I think that Led Zeppelin is the best rock and roll band of all time:
Jimmy Page; Robert Plant; John Bonham and John Paul Jones of Led Zeppelin. (Photo credit: Wikipedia)
1.BEST PLAYERS
First of all, John Bonham was the best rock and roll drummer ever to walk the face of this planet, and that's an informed opinion coming from a former professional drummer. John played drums unlike anyone else ever did, still does, or ever will, and that fact is continually demonstrated in the astounding breadth and depth of his recorded work. He had complete independence in all four limbs, he slammed his drums harder than anyone else, and he did it with speed and total precision, never once dropping the beat. His beats were were innovative and creative, and John was never stuck in simple grooves. His fills were innovative, creative, complex, and technically brilliant, he knew when to keep it relatively simple (i.e. Kashmir), but he was always in the stratosphere of drumming. And to top that all off, John created a giant drum sound which is unique. It inspired a host of imitators who were able to imitate the sound of his snare drum, but only with a simple backbeat. At the time that Led Zep was formed, Jimmy Page could have gotten any drummer in the world to play with him, and he chose John. There's not one single drummer alive or dead who can begin to touch John's power, creativity, speed, precision, and technical brilliance. I've heard that Jimmy still feels the same way about John as I do.
Secondly, Jimmy Page has always been one of the best rock guitarists ever, right from his earliest days as a session player and the beginning of his real public stardom in the Yardbirds. I believe that Jimmy is the most brilliantly prolific of all the great rock and roll guitarists. I suspect that Jimmy would agree with me that Jimi Hendrix was the one true genius of guitar because he came from another galaxy in terms of his sound and his use of feedback. But unfortunately, Jimi died and we will never know how much further he would have progressed. When I listen to Jimmy's solos using the violin bow, I get the urge to put him on the same pedestal as Hendrix and wonder which galaxy they both came from. As a songwriter, Jimmy used his superior ability to play lead guitar to create actual song structure. Led Zep's songs use not one or two of Jimmy's incredibly powerful, complicated and unbelievably SEXY riffs in each song, but there are four, five or more riffs in some songs. Jimmy's riffs differ from each other within each song, and also from song to song. His lead guitar playing can be HARD and sexy, he can be sensitive and beautiful, and he can be technically brilliant, all in the very same song.
Thirdly, John Paul Jones is a bass player who attained a level of brilliance comparable to Paul McCartney. Just like McCartney, John could play beautiful "melodic" bass (i.e. "Ramble On"), he could play as fast as it gets, but he also knew when to keep it simple and just hold down the bottom although I think he was incapable of doing that without utter sophistication. No one at all can touch those two on bass, and John also played consistently brilliant keyboards - piano, organ and synthesizer. The intricate way in which he wove his bass guitar playing into, through, and underneath Jimmy's guitar playing is nothing short of perfection itself.
And last but not at all least, Robert Plant had an incredibly high vocal range, emotionally as well as in terms of octaves. Just like Dylan was for his own music, Robert's voice was perfect for Led Zep's music and there's no other singer who could possibly have fit in. As a professional singer, I'm knocked out by Robert's vocals on both a technical and an emotional level. Robert understood the concept of using his voice like a musical instrument, creating fascinating sounds without using lyrics. And Robert co-wrote with Jimmy too. A lot of the time you can't understand his lyrics and I've heard that was Robert's intent because just like Mick Jagger, all he cared about at that time was that you connect with the emotion and the energy in the totality of the music. But when you can get the lyrics (like in Stairway to Heaven, their tribute to Janis Joplin), you find a great piece of poetry. And on top of all that, Robert had the best "oooh yeahs" in the business!
2.CREATIVE SONGWRITING
Hardly anybody has ever covered Led Zep songs for very good reasons. Their song structure is based on their vastly superior playing abilities and there's no one who can actually play what they played. I'm talking about songs that are not based on simple chords like all other rock and roll is. Jimmy and Robert based their songs on Jimmy's riffs and on his chordal tonalities that to this day stand alone as being unique. I'm also talking about length of songs that maintain a constant and intense high, up to 11 minutes in length without resorting to an overly repetitive chorus. I know from Robert's solo work after Led Zep that he also uses unusual tonalities in his writing, but even without actually knowing this I would have to assume that due to Jimmy Page being an erupting fountain of brilliant guitar work, the majority of the non-vocal music creation came from Jimmy. The Beatles certainly deserve abject worship for John and Paul's creative songwriting ability, no question about that. Certainly Mick and Keith wrote a slew of classic, historic and truly memorable rock songs, but the very nature of their comparatively simple rock and roll structure and basic similarity to each other in terms of using major and minor chord progressions, simple and basic rock and roll rhythms, and verse/chorus/bridge approach defines them as being less innovative when compared to Robert and Jimmy.
3.SUM TOTAL OF BRILLIANT WORK
Here they outdistance The Stones because most of the Stones' albums have "fillers", which are songs that do not hit the same intense high that got slammed in all their best ones. However, I'd like to say that I don't think either Mick or Robert is capable of recording anything short of a brilliant vocal. The Beatles actually exceed Led Zep in terms of numbers of great albums that constitute a greater body of brilliant and uniquely innovative work that literally broke new musical ground with every single song they recorded. The Beatles were simply The Beatles, and they were the most creative rock and roll band ever, from being the best singers and songwriters ever right down to their individual charm and charisma. But without denigrating their gorgeous, sensitive and original style of playing, what they recorded is not the heavy type of rock and roll that either the Stones or Led Zep played. George, Paul and John were all brilliant and creative guitarists, but because they did not improvise on stage, they were not really master guitarists. I love and respect Ringo as both a person and as a very creative drummer who mastered the art of drum sounds. He has his own unmistakable Ringo style for both, but he's not really a master drummer in the sense of being able to play with great speed and dexterity. I'm talking about 9 Led Zep albums chock full of brilliant and intensely high songs - I don't know how many hours of great rock and roll listening that is. There's not a single weak track among all that work, and there's simply no question that they consistently broke new ground musically. Their debut album is still the best one of all time (including Cream's), and Coda, their "swan song" is equally perfect.
4.STAGE PRESENCE
Led Zep was there when the concept of "rock and roll star" was still evolving. I will grant that the Stones at least deserve honorable mention as the best rock and roll band but it's mostly because of their impressive touring record and Mick's superstar stage presence with his ability to put on a great show every single time he appears. And he's still doing it at age 60 for goodness sake! My point isn't that Led Zep necessarily had the best stage presence, just that they did have a true rock star sexual aura.
I could go on about Jimmy Page's abilities as a producer, and there are other aspects to their greatness like the length of time they were together without a change of band members. And the life they actually led as archtypical wild rock and roll bad boys equals the life led by the Rolling Stones in intensity, if not length. Both bands are perfect examples on an artistic level of what I call FORM = CONTENT, which in this case means that these two rock and roll bands personified the rock and roll life.
In conclusion, the above four categories do enough to fully qualify Led Zeppelin for my not-so-humble award. There will never be another rock and roll band to approach the stratospheric musical heights that Led Zep reached. The Recording Industry Association of America, who has the correct statistics, lists Led Zeppelin as the third best selling musical act/artist in history. The Beatles are first, with 166.5 million albums sold in the USA alone, Elvis is second with 117.5 million, and Led Zep is third with 106 million. I think it's very significant that those statistics are becoming geometrically times greater than the number of albums that they sold during their performance lifetimes. What has happened and is happening is that the young people of today are discovering them in droves because they are coming of age sexually and they recognize and connect with the most powerful musical example of that sexual power. They are buying their CD's, shirts, posters and other memorabilia. And frankly, I'm thrilled.
Though the length of fingers differ from person to person, we all have thumbs that are shorter than the rest of our fingers.
As a rule (or rule of thumb), the thumb is the strongest finger of all. Thumb, index finger (2nd), and long finger (3rd) are the most used fingers for piano playing. The fourth finger and fifth finger are weaker fingers.
Below are four fingering tips that I have worked up as general rules:
1. Never use the thumb to play a black key. The exceptions are a) when you are playing a piece that has all black notes.
b) when you are playing a group of keys where there are black and white keys. For example if your right hand is to play Bb, D, and F together in Bb major chord root position, your thumb will play Bb (black note) in this case.
Thumbs are not meant to be used for black key because of its length. The most used fingers for black notes are the 2nd and the 3rd fingers. If you are playing certain scales that start with a black key such as Bb major, Eb major, Ab major, etc. You will use 2nd or 3rd finger to play the first scale note instead of the thumb.
2. When playing melody with the right hand, if there are keys that are out of reach, you may move the hand to play the note. If the key is only a couple steps down from the thumb, you may use the thumb as an anchor and cross the second finger over to reach the note on the left side of the thumb. You do not need to move the hand. Only move the second finger over.
Once the second finger plays the key, the thumb will soon follow to cross over to play other note left of the key.
Suggestion: practice the scale well to know what finger to follow.
3. Same rule applies to left hand.
4. Watch other experienced pianists whenever possible, look at
their fingering and imitate their movements. I suggest you watch those players who are well trained classically as they have spent many years going through the structured repertoire and virtuoso training that help built a firm foundation.
One important point: The function of good fingering is to ensure smoothness of musical passages.
This is especially important in the piano work of Bach (prelude, fugues, and others) and many Classical composers. Very often, a slight change in piano fingering could cause a disruption of the whole phrasing.
For improvisational and accompaniment pieces, strict piano fingering becomes less critical. In fact, every time I improvise I use different fingering combination. This is because my mood and rhythm change when I improvise, this also affects the combination of fingers I use.
If you pay attention to musical pieces edited by different editors, you will notice a change of fingering as well. I have noticed that the same "Sonatina" piece composed by Clementi have different fingering suggestions under different editors.
Some editors use the 2nd finger more often, while others choose the 3rd finger.
In conclusion: if you are improvising, pay less attention to which finger you are using. As long as you abide by the above rules and ensure a smooth flow of musical passage, you are fine.
If you get too critical about fingering, it distracts your musical thoughts and flow. After all, it is music that you are conveying.
Piano playing gets rather complicated when you are trying to balance both hands, keep a steady tempo (rhythm), make sure the pedals are going in at the right time, listening to the music,.....
Some organists have electronic organs with one octave pedal board at home which they use for practice. While this idea is very practical, such organists have to face several difficulties with this kind of instrument. In this article, I will discuss what problems arise when an organist has an electronic organ for practice purposes and how these difficulties might be overcome.
One octave pedal board may be the cause of the back pain, if used incorrectly. It might arise from playing with the right foot in the bottom of the pedal board of such organ. This kind of instrument is mean to be played with the left foot most of the time. And of course not that kind of music with the independent pedal part like most of classical polyphonic organ music. Incidentally, the right foot usually is busy operating the swell pedal and pressing the toe studs where available.
Originally, the electronic organs with the short pedal board were intended either for playing classical transcriptions from popular works or the arrangements of tunes from pop music. In both cases, the texture is rather homophonic with the melody in one hand (usually in the right) and chordal accompaniment in another.
The pedal part in such music is mostly the bass voice which only supports the chords and serves as harmonic foundation. Very seldom it is required to play an independent melodic line in the pedal part of such arrangements. Therefore, one can easily use only the pitches of the available one octave to play the harmonic foundation with or without some rhythmical syncopation.
Contrary to such arrangements, in classical organ music the pedal part is very often independent. The organist is required to use the entire compass of the two-octave pedal board, often playing the higher notes up to treble F. Naturally, performance of most of organ music on electronic organs with one octave pedal board is quite challenging.
The solution for this problem is rather simple. The organist could try to extend the short pedal board by attaching a wooden board with similar dimensions as the pedal board. One can go even further and draw the rest of the notes on this wooden board. This way it is possible to pretend and imagine the full pedal board very easily (and avoid dangerous tension in the back).
Some organists try to compensate the short compass of the pedal board by lowering the pedal part in various places of the music score. This is a possible solution to the problem but is rather inconvenient and might cause some frustration. Instead, it is probably better to extend the pedals with a wooden board.
If you will continue playing pedals on your electronic organ, it is best if you avoid playing with the right foot on the extreme left side of the pedal board while practicing. This may mean adjusting the pedaling when necessary. In addition, use the idea of extending your pedals. Otherwise, you could try to get some practice time in churches that have organs with pedals of at least two octaves in compass in your area.
By Vidas Pinkevicius
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
Article Source: EzineArticles
While few people understand the true origins of Jazz as a music form, fewer people still understand the origins of jazz as a style of dance. Jazz is very much a fatherless child. More than that however, jazz as music and dance seem to have many mothers despite the fact that they have no father. By this I mean that there are many influences to this colorful form of music and dance though no one influence is notable enough in the new creation to be considered the 'father' or 'mother' for that matter of jazz.
Jazz dancers adapted from flickr photo by Alvaro Arriagada. (Photo credit: Wikipedia)
Though jazz has many supposed birth places it really only has one true home and that home would be New Orleans. Much like the music this city is famous for, New Orleans is a city without a father too. New Orleans was a melting pot in the truest sense of the word before we had any real clue what it meant to be a melting pot. From the influences of the French, Spanish, German, English, and of course the population of former slaves and black free men and women, New Orleans was the perfect place for this blended and mixed style of music and dance to call home.
It is no wonder that jazz dance emerged as the result of jazz music. There are simply no adequate dance steps for the delightful music we have come to know over the years as jazz. For this reason something new and a little bit off the main path was needed in order to keep time and pace with the new music that was emerging.
As a style of dance, jazz was much more 'brazen' than dances in the past had been and in some circles considered to be singly unseemly. Polite society certainly had no interest in this particular form of dance. The good news for those who enjoyed this style of dance is that there were plenty of places in which jazz, as a form of dance and music, was readily embraced. You had to go off the beaten path a little in order to find it but for many it was well worth the effort.
Jazz music and dance was popular for quite a while and then seemed to go underground except in cities such as Memphis, New Orleans, Kansas City, and St. Louis where it was an ingrained part of the history and culture. We have seen a reemergence of this once popular style of music and dance in recent years however with some notable musicians bringing back the swing and 'big band' sound that went hand in hand with jazz as both a music form and a style of dance.
You should understand however, that when it comes to jazz dance, much like the music, there are no definitive rules that you must follow in order for it to be jazz. There are no rigid dance steps that must be adhered to for the 'jazz' effect. Jazz dance is often confused as 'tap dance' because tap music was often set to jazz music. It is important however to realize that jazz isn't limited to tap dance and that other styles of dance fall under the rather large umbrella of 'jazz dance'.
Some of the more common jazz dances include: Black Bottom, Boogie Woogie, the Cakewalk, the Charleston, the Jitterbug, the Lindy Hop, and swing dancing. Each of these styles of dance seems to be making a rather remarkable comeback in popularity over the course of the last two decades and are very interesting to watch, as well as in which to participate should you ever have the opportunity.
If you have considered jazz dance lessons for you or your children, I hope you will decide to indulge. Not only is the music for this type of dance excellent and uplifting but also the style of dance in and of itself is quite fun and enjoyable. There are very few styles of dance that can compete when it comes to allowing artistic license, going with the flow, and simply dancing for the sheer joy of dancing. As an art form and as a form of entertainment jazz music and dance are tops in my book.
You don't need a brand new oboe to have a great oboe.
If you'd like to spend a little less, or are looking for an oboe that has already been broken in, then a used oboe is probably the way to go. A used oboe can be a perfect solution for students who know they need a better instrument than the plastic band rental but aren't quite ready for the cost of a new oboe, or can't wait for the time it takes to break in a new oboe well.
When looking for a used oboe, consult those you know. First ask your teacher if they know of any on the market. Ask your fellow students. Never buy an oboe, used or otherwise, from someone you do not know unless you have had a professional try the instrument for you first. This is especially true when buying from stores and/or people that do not not specialize in oboe-related products. Oboe shops that specialize in selling new instruments almost always have used ones for sale as well.
A good choice, and our favorite, is Carlos Coelho Woodwinds, in Indianapolis. Carlos sells Loree and other new oboes, and occasionally some used ones as well. You can rest assured that any oboe you get from Carlos has been checked and adjusted to the highest standards. All instruments are available on trial. Tell him Maryn sent you...
Yet another way to locate an instrument is through an ad. If you are a member of the International Double Reed Society and subscribe to their online service, you can place an online ad, or view ads of oboes for sale.
When trying some used oboes, be sure to get the oboe's history. Ask if and when and where it has cracked, and be sure to see if it has been pinned correctly and cosmetically. You can tell the age of Loree oboes by the serial number on the back of the instrument. For every year an oboe ages, you want to subtract $100 from the current selling price of a new oboe. The price may be negotiable for a used oboe, but it should be in line with the age and condition of the oboe. Ask the seller how much the instrument was played, and for what purpose. A 3 year old instrument that was played day in and day out for three years may be noticeably different than the 3 year old oboe that sat in someone's close for two of those years.
Finally, try the instrument out...
Notice how the oboe plays, and if all the notes speak. Occasionally, the instrument will have gotten out of adjustment during shipping, so if you find something that doesn't work, but you really like the feel and tone of the oboe, don't be discouraged. Often just a turn of a screw, by someone that knows what they are doing will make it feel like a different oboe.
If you are trying oboes sent to you through the mail, they should be sent to you in tip-top adjustment condition. Sometimes, however, rough shipping will knock the adjustment out just enough to fool you into thinking it is a bad instrument. If that's the case, just get a second opinion to be sure.
Notice the way the oboe sounds and feels in all of the different registers. Try playing some music. Then get out your old oboe and compare the way the two feel and play.
If you are used to a plastic student model oboe and are trying a professional model, there are going to be some differences. The pro oboe, if it is wood, will be heavier and will have some extra keys that the student model does not have (like the low Bb key and pad, side F and F resonance). Also, most pro oboe models will have a "ring" on the key that your fourth finger of the right hand uses. So, when you play a low D on the pro oboe, for example, it may not speak if you are not used to having that finger be very picky about how it covers that hole. Adjusting to this difference will take some time, but don't think there is something wrong with the instrument if you have trouble getting the note out.
There may also be a third octave key near the back octave that you have never seen. The third octave is useful, but not necessary. It may need to be opened with a screw driver slightly to really work. Overall, the oboe you are trying out should feel and sound a lot better than you are used to. If it doesn't, don't despair. Just try some other oboes.
If you have a private teacher or know a professional oboist it is strongly suggested that you get their opinion BEFORE buying an oboe, new or used. They may or may not like it for themselves, but you want to find out from them if the oboe is working properly or if it has any major issues they can see or feel. As long as you are in the clear with those issues, and the price is fair, the final choice is up to you.
You're the one that will ultimately be living with it and playing it. If you are a student and your teacher is helping you pick an oboe, however, their opinion may mean a little more to you. They might be able to tell which oboe would be better for you, depending on how you play and the way your reeds are. Or they might tell you that once the instrument is broken in, it will feel a lot different. All of these personal preferences matter, so keep them in mind.
If you know you are getting a good instrument, don't worry too much. You are never "stuck" with your instrument. If in a year you really don't like something about the oboe, sell it! There is always somebody looking for a good used oboe.
Now, onto the practical side of either buying or selling an oboe. If you are buying from a dealer, they may trust you and send you a few oboes to try. When you have decided on one and are clear on the price (including the shipping cost it took to get it to you), pay for it as soon as possible. Pack the remaining instruments back up in the box, as securely and as carefully as you can. Ask the seller how they would like them to be shipped, and send them back immediately.
It is probably wise to insure them for the return trip and send them in such a way that you can confirm their arrival. It would not be fun to be responsible for 3 oboes that have gotten lost in the mail.
Now, if you are buying from a private person, they may well ask for a check for the full amount before the oboes are even shipped to you to try. This is standard, and upon choosing one your check will be cashed. If you decide not to buy, your check will probably be sent back to you or destroyed. This obviously protects the buyer if they are selling to someone they don't know. If you decide not to buy, you are also responsible for all shipping costs. These are general buying/selling rules. Always
check with your seller first before assuming anything.
In summary, buying a used oboe is a great way to get your hands on a good instrument without committing the resources required for a brand new instrument.
Good luck!
By Maryn Leister
Oboist and entrepreneur Maryn Leister helps beginner, intermediate and professional oboists become happier oboe players.
She is owner of the oboe learning company MKL Reeds and publisher of the Reed Report and Oboe Success Tips Newsletters. Each newsletter is full of straightforward tips on becoming a better oboe player and on taking control of your oboe reeds.
Get your free subscription to the Reed Report newsletter and start your own journey towards a more rewarding oboe future right away. Sign-Up now and get your FREE Oboe Reed Tips!
Article Source: EzineArticles
