The Different Styles Of JAZZ

Do you love listening to that smooth, toe-tapping music we call jazz? Do you love to dance with your significant other to the sounds of Fats Domino, Louis Armstrong, or Duke Ellington?

Duke Ellington, a famous jazz musician, poses with his piano at the KFG Radio Studio
(Photo credit: Wikipedia)

While it’s undoubtedly cool to use words like ‘Swing’, ‘Bebop’ or ‘Bossa Nova’ when describing a jazz style, not very many people really know the difference between Hot Jazz, Classic Jazz or Afro-Cuban Jazz. If you don't know the difference between one style of jazz and another, this article is for you. Read on if you want to up your cool quotient while discussing Hot Jazz:

Classic Jazz: More popularly called ‘New Orleans jazz’ because of its origins, classic jazz originated in the late 1800’s - early 1900’s with brass bands performing for dances and parties using an assortment of musical instruments including the trombone, saxophone, tuba, clarinet, cornet, guitar, bass, drums and cornet. At the time, musical arrangements varied significantly from one performance to another.

Hot Jazz: Pioneered by Louis Armstrong, hot jazz was characterized by improvised solos that built up to an emotional and ‘hot’ crescendo that was supported by bass, drums and guitar or banjo.

Chicago Style Jazz: If New Orleans was the birth place of jazz, Chicago was the breeding ground. Several young, dynamic players including Bud Freeman, Benny Goodman, Gene Krupa and Eddie Condon significantly furthered jazz improvisations with a combination of high technical ability and harmonic, innovative arrangements.

Swing: During the classic 1930’s, most Jazz groups were Big Bands who played a robust and invigorating version of Classic Jazz. More popularly called Swing, for the first time jazz was used as dance music. Many of the most famous musicians the world has every heard were swing jazz musicians. The famous jazz swing players include people such as Duke Ellington, Count Basie, The Dorsey Brothers, Glenn Miller, and Louis Armstrong, to name a few. Of course, the genre of ballroom dance called swing grew out of jazz swing music.

Bebop: Immortalized by trumpeter Dizzy Gillespie and alto saxophonist Charlie Parker who engaged in chordal improvisations, Bebop was a complete deviation from mainstream jazz that was typically derived from the melodic line.

Bossa Nova: Initiated as “Brazilian jazz” by Brazilian’s Antonio Carlos Jobim and Joao Gilberto, Bossa Nova is a blend of seductive Brazilian samba rhythms, classical European harmonies and West Coast cool. Adopting the Bossa Nova style, West Coast saxophonist Stan Getz and guitarist Charlie Byrd gave this jazz form a huge boost in the United States around 1962.

Afro-Cuban Jazz: Also known as Latin jazz, Afro-Cuban jazz can be traced back to percussionist Chano Pozo and trumpeter- arranger Mario Bauza. Characterized by its highly infectious rhythms combined with Jazz improvisations, Afro-Cuban jazz is typically played using rhythm instruments including bongo, timbale, conga along with assorted Latin percussion instruments and is often accompanied by guitar or piano and joined by vocals or horns.

Now that you know what the different types of jazz music are, you can speak intelligently about the music that you love! So get out there and have some great jazzy fun!

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History of the GUITAR

It is very difficult to trace a line back to the exact birth of the instrument we know as the guitar today, as there is a lot of myth and uncertainty surrounding its origins.

Taylor steel-string guitar.
(Photo credit: Wikipedia)

This is mainly due to the fact there have been a number of similar instruments throughout the ages. Many historians claim the guitar originated at various points in time. Some believe the guitar in its earliest form dates back some 4000 years, however no-one really knows for sure. This is due to a number of artworks that depict guitar-like instruments being used at various times throughout history. Many ancient Egyptian paintings portray musical instruments that could be mistaken for the guitar.

A popular theory is that the guitar could have been invented by the classical-era Greeks. This is due to confusion, however, mainly with the similarity of its name with the Kithara. The Kithara was in fact a type of harp or lyra, which bares little resemblance with the guitar other than in name.

The guitar as we know today appears to be an ancestor of the lute. The lute had four strings which would be plucked, not strummed as with a guitar. The body was oval in shape and had a rounded back. The downside of this construction was that the lute was not a very loud instrument, meaning it could not be played along side other instruments. Although missing many of the elements of today’s guitar, it is an important step in the guitars evolution.

The first written mention of the guitar as a distinct instrument is from the 14th century. In this very early form the instrument had three double courses (or pairs) of strings plus a single string (tuned the highest in pitch), similar in comparison to the lute, as mentioned earlier.

The next step was in the vihuela, which originated in Spain sometime in the 15th century. The vihuela had a slightly ‘pinched’ waist – less pronounced than today’s guitar and a smaller body then the lute. It also had added treble strings, again arranged in pairs and was made to be strummed rather than plucked as the lute was.

It wasn’t until the 16th century that the two instruments were ‘combined’, in a manner of speaking, when an instrument was made with a body like that of the vihuela but closer in size to the lute.

The guitar became popular throughout Europe during the 16th and 17th centuries and by the late 17th century a fifth course of strings had been added below the other four. By the mid-18th century the guitar began to take its modern form. The double courses were changed to single strings, and a sixth string was added above the existing five. It is very unclear whether this took place in France or in Italy, but the resulting instrument was very similar to that of which we know today.

The late 18th-19th century, guitar makers changed many aspects of the instruments design. These included broadening the width and thinning the depth of the body, increasing the curve of the waist, and adding internal bracing – all in effort to amplify the sound. The end result meant the guitar could now be played along side other instruments without struggling to compete in terms of volume.

The guitar became very popular with people because it was a very easy instrument to learn at least a few basic chords and songs. However, the guitar was not accepted well with the ‘serious’ musical community, hence the reason there is very few concertos written for the instrument – and is still dismissed by many classically trained musicians today. In the early 19th century, Fernando Sor became one of the most prolific composers for, and promoters of, the guitar as a ‘concert’ instrument. It was him, and others like him, which paved the way for Andrés Segovia to emerge and help bring the guitar to the immense popularity it enjoys today.

The 20th century has seen the majority of the instrument’s improvements. Firstly the strings used, which were cat gut until that time, were replaced by metal and nylon ones. The classical guitar was then modified to make the steel string acoustic guitar we know today. This required additional bracing to strengthen the body, and the introduction of the truss rod to give support to the neck. Again this resulted in an even louder instrument.

Many tried to amplify the sound further by electrifying the guitar. Many of the first attempts were made by the Martin Company in the 1930’s. It was here the invention of the magnetic pick-up occurred. The first amplifiers came about around the same time and were pioneered by Leo Fender.

The first ‘electric’ guitars were nothing more then existing acoustic guitars that had been modified to include a magnetic pick-up. This caused many problems due to the fact that they had hollow bodies, which would resonate the sound produced by the amp as well as the strings of the guitar – which creates ‘feedback’.

It was Les Paul that developed the first ‘solid’ bodied guitar which he named ‘The Log’ – due to it being little more then a plank of wood with a neck and two double coil pick-ups attached. To make his invention more appealing he stuck two halves of an acoustic guitar on either side, giving it a more traditional look. He went on to sell the idea to Gibson who still produce the ‘Les Paul’ model that you see today.

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It was Leo Fender however, that really brought the electric guitar into mass production and made it available at far less a cost then all previous attempts (more on the Fender story can be seen on our ‘History of Fender’ section). The first mass production guitar was the Broadcaster, which we now know as the Telecaster, which was released in 1948. He later went on to design and produce the Stratocaster, in 1954, probably the most well known electric guitar to date. Leo Fender was also the innovator of the electric bass guitar which he invented for live use along side the guitar, as a normal contrabass could not compete in terms of volume - The first model being the Fender Precision Bass.

Since then various forms of the guitar have come and gone but the main form of the instrument has rarely differed far from what we have seen from the 1950’s onwards. The main differences have been in the choice of materials used in the manufacture of the guitar. This has mainly been in the attempt of producing increased sustain or simply due to the scarcity of certain woods. Nowadays a complete range of guitars are available, from the lower priced entry level models to the premium custom shop models for all of us to enjoy, what ever our level of ability.title:History of the Guitar

Graham Howard Source: ArticleCity

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The American Influence Of JAZZ MUSIC

The Jazz music sensation began to rub off on other parts of the world which encourages the experimentation of melding their familiar sounds with the essence of Jazz.  In Europe's country in the Region of France  came the Quintette Du Hot Club de France who was responsible for the making of the early "Gypsy Jazz".

Ella Fitzgerald, Dizzy Gillespie, Ray Brown, Milt Jackson and Timmie Rosenkrantz in September 1947, New York
(Photo credit: Wikipedia)

The Belgian guitarist Django Reinhardt created gypsy jazz  by mixing the style of French Musette which was used in the dance halls, eastern European Folk known as Jazz Manouche, and American swing of the 1930's. The sound was developed by instruments from the string family which are a steel string guitar, violin, and an upright bass. The atmosphere of the Jazz music is seductive with sudden unpredictable twists, and accelerating rhythms. The French artist Bireli Lagrene plays this unique music with old elements of the past.

Another style of Jazz music that allowed the musicians to express themselves freely was the invention of Avant-garde or free Jazz music.  Both of these styles stemmed from the Bebop era, yet produced a relaxed form of harmonic and rhythmic music in the 1940's and 1950's. The musicians John Coltrane, Dewey Redman, Charles Mingus, Sun Ra, Sam Rivers, Ornette Coleman and many more were the creators of the free Jazz music. Between the 1960's and 1970's the Latin musicians created the Afro-Cuban and Brazilian Jazz Music styles after Bebop musicians Dizzy Gillespie and Billy Taylor cultivated it.

Gillespie and Taylor was influenced by the music of Cuban and Puerto Rican musicians Chico O'farrill, Tito Puente, Chano Pozo, Xavier Cugat, Mario Bauza and Arturo Sandoval. Jazz music expressed in a Latin interpretation was termed Bossa Nova with origins in Samba music which is a mixture of Jazz, classical and pop music from the 20th century.  Bossa is a moderate sound of music with Classical harmonic structure from Europe, Samba polyrhythm's from Brazil and cool music. The tempo of such a work is about 120 beats per minute. The instruments used in this particular sound is nylon stringed guitar, piano, high hat tap of eighths, tapping on the rim of the drum like Sade's "Sweetest Taboo", and a vocalist.  The sound produced is a new relaxing sound where the acoustic sound of the guitar can lull one to sleep with it's easy melodic line.

Joao Gilberto and Antonio Carlos Jobim became popular in the sixties with this style of music. The influence of Jazz music returned to the place of its origins in the religious music known as Urban Contemporary Gospel from the spirituals music. Much of spiritual music sung by southern slaves in the past has a haunting dark and mournful sound during the 1800 and 1900's. The churches know as the sanctified or holy churches took a more happier approach by encouraging member to sing speak their  personal testimonies as they celebrated with song and dance.

The sanctified artist Arizona Dranes  who was a traveling pastor made recordings that would fit in many musical categories such as  blues, and  boogie-woogie with the use of Jazz instruments. At the time the Jazz instruments used with religious themed music were percussion and brass instruments.

5 Reasons to Learn MUSIC THEORY

If you thought music theory was a waste of time and not necessary to further your musical goals, then read these following 5 reasons why this is not true.

1. Read sheet music: Being able to play from any piece of sheet music. Well it may be hard to play BUT you can read it!

2. Be able to transpose: Say you are playing a piece from the sheet music you can now read but you think it sounds too high or too low, or just not right. Well now you can move it into a new key and play at a better singing.

3. Be able to modulate: You will be able to, with a few quick moves of the fingers, move your music into a new key with a succession of notes so pleasing to the ear it will bring a smile to your listeners faces.

4. It will increase your skill in improvising: Enough said.

5. Knowing music theory will help you recreate the sounds you enjoy in your favorite songs. Those fabulous chord progressions. The parts that give a song that certain sound. Gospel, Contemporary etc.

To learn music theory you don’t have to become a scholar on the subject. Just at least learn the basics. Getting a good music theory book and spending a few minutes a day reading from it and doing any included exercises can jump start your music playing.

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COLE PORTER's Song "True Love"

Cole Porter (Photo credit: Wikipedia)

"True Love" was written by Cole Porter and performed by Bing Crosby and Grace Kelly in the 1955 film, "High Society," which also starred Frank Sinatra and Louis Armstrong. "True Love" was the first and only gold record for Grace Kelly and was the 21st gold record for Bing Crosby. The song stayed on the charts for 22 weeks, rising as high as number 3. "True Love" was nominated for an Academy Award as Best Song in 1956, although it lost to Doris Day's "Que Sera, Sera."

Cole Porter was a highly experienced songwriter when he wrote "True Love." The decades of the 1930's and 1940's were full of Cole Porter hit musicals. During the 1930's alone, Porter wrote music and lyrics for ten Broadway musicals for New York and two film musicals for Hollywood.

Cole Porter was born in Indiana in 1891 to parents who were wealthy. He received an extensive musical education, learning the piano and the violin by age six. His favorite of the two was the piano which he practiced two hours daily. By age ten he was writing words and music to original songs, and by age seventeen he published his first song.

Porter also received an impressive academic education which carried him through Yale and into Harvard Law School and the Harvard School of Music. While at Yale, Porter became the president of the Glee Club and a cheer leader, and, among the 300 songs he wrote while at Yale, he wrote two football fight songs that are still played today. Despite being the roommate of Dean Acheson, the future Secretary of State under President Truman, Porter dropped out of Harvard Law School to continue with his music education.

After World War I, Porter moved to Europe where he met and married Linda Lee Thomas, a beautiful and rich divorcee and a descendant of the Lees of Virginia. Their relationship was a loving, supportive, lifelong partnership. Cole Porter was gay and had numerous male interests which Linda had agreed to allow. However, the marriage was at times unstable when Porter's gay interests threatened the couple's carefully maintained social appearances.

Following their marriage in 1919 in Paris, the Porters lived an extravagant lifestyle in Europe through the 1920's. Their palatial home in Paris had floor to ceiling mirrors and zebra skin upholstery. Later, they moved into a famous palace in Venice where their lush parties included fifty gondoliers, circus acrobats, and a ballet company. They also built a night club outside their palace which accommodated 100 guests.

Back in New York, Porter's first few contributions to Broadway musicals were poorly received. However, by the end of the 1920's Porter gained recognition, and through the 1930's and 1940's he was one of the brightest stars on Broadway. He worked excessively and tirelessly on his musical productions and spent time in both New York and Hollywood.

In 1937 a terrible horse riding accident crushed both of Porter's legs. As the story goes, while waiting for hours for help to arrive he composed the lyrics to a verse of his song, "At Long Last Love." The accident left him crippled and in pain for the rest of his life. He underwent more than 30 leg operations until his right leg was finally amputated in 1958. Following his leg amputation, Cole Porter dropped out of music production until his death in 1964.

In 1955 Cole Porter wrote the lyrics and music for "High Society," starring Bing Crosby, Grace Kelly, Frank Sinatra, and Louis Armstrong. The film was a musical remake of the classic 1940 award winning movie, "The Philadelphia Story," which won a Best Actor Oscar for James Stewart and which also starred Cary Grant and Katharine Hepburn. "High Society" featured nine musical numbers, plus there were five additional songs written by Porter which were not included in the movie.

"High Society" was one of MGM's greatest musicals. Grace Kelly was the movie's luminous star, and the romantic exchange with Bing Crosby in "True Love" was one of the movie's highlights.

Here are the lyrics to Cole Porter's "True Love."

Sometimes wind blows

a new moon moves at last alone

feeling far above her

oh how lucky we are

while I give to you

would you give to me

true love true love

so on and on it will always be

true love true love

for you and I have a guardian angel

on high with nothing to do

but to give to you as you give to me

love forever true

love forever true

for you and I have a guardian angel

on high with nothing to do

but to give you as you give to me

love forever true

love forever true

give me more true love oh yeah

true love true love

true love true love

got to give me your oh yeah oh yeah

true love true love

true love true love

for you and I have a guardian angel

on high with nothing to do

but to give to you as you give to me

love forever true

love forever true

love forever true love.

By Garry Gamber Garry Gamber is a public school teacher and entrepreneur. He writes articles about politics, real estate, health and nutrition, and internet dating service Article Source: EzineArticles

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The Reed-Like Sound Of The BASS FLUTE

A bass flute.
(Photo credit: Wikipedia)

Often in a pitch lower than the concert flute by about one octave and in the key of C, the bass flute is one of the largest instruments in the flute family with a curved end. This type of flute has keys that the musician uses in order to plug different combinations of holes to create the different notes. While this flute has a low sound, its drawback is that it can easily be lost when played with a number of other instruments as a result of its low pitch. The instrument has a decent range, though it could be considered relatively limited.

The bass flute is not a very old instrument, when comparing it to other types of flutes in the family. There are some difficulties in designing the bass flute, such as how to keep tapering the flute through the curve at the end of the instrument. This curve results in the musician having to use alternative ways to reach some of the notes they require, because of how the curve gets in the way of producing the right notes.

There is still some work being done to improve the design, but it is a decent enough instrument for now. It could also be a combination of the lack of music available that includes the bass flute as well as the unfortunate drawback that other instruments can easily drown it out that is the reason for this particular instrument not being too popular.

As time goes on and more improvements are made on the bass flute it might become more popular, especially if it becomes a little easier to play. It might not be the choice for people who are new to learning a wind instrument. It is often suggested that a person new to playing a wind instrument first learns how to play a simpler flute and become familiar with how to read sheet music.

This is not to say that if someone chose to learn how to play the bass flute without any previous experience that they would necessarily have a difficult time in learning how to play it. Some people can pick up the basics fairly quickly, especially if they have a mind to practice and be serious about learning how to play it as well as improve their skills. It is not normally an instrument that is offered in school bands, so many who choose to learn how to play the bass flute might have to do so on their own time.

Bass flutes are not exceptionally cheap, but one can save money by purchasing a used bass flute. Purchasing a used instrument when first starting out with any instrument is often suggested so that the new musician can have a chance to decide if it is really the instrument they want to play, especially if the instrument they have chosen to try is in a more expensive price range. The bass flute is going to cost a little more because it has a more complex design than the simpler flutes, such as the recorder.

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

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DANCING Through History

Through history we have seen many evolutions of dance. Some of these ancient dances and rituals are still practiced today by those who honor their religious or cultural histories while many have sadly been lost throughout the ages. One thing however remains constant. Dance has always played an important role in the societies, great and small, of the world.

Detail from Allegory of Good Government by Ambrogio Lorenzetti, Palazzo Pubblico, Siena, 1338-40
(Photo credit: Wikipedia)

Dating back to the beginning of recorded history dancing has been a vital part of society. Dance was involved in celebrations and preparations for war. Dance was part of rituals and ceremonies of worship. Dance was part of life and we live in a society today that seems to increasingly label dance as a form of entertainment more than a way of life. Perhaps that is part of the reason we have a growing awareness when it comes to depression because fewer people are experiencing the joy of dance.

Did you know that the Spartan warriors used dance in their preparations for battle? They incorporated a 'weapons dance' that was designed not only to familiarize themselves with their weaponry but also to help them be more agile when using them. Believe me when I say that very few ever dared question the masculinity of Spartans on the battlefield. These soldiers were prepared for war and a large degree of that is the result of their weapon dances as mental and physical preparation for the art of waging war. With the Spartans war was most definitely an art form.

Oriental Dance was common during what has become known as Biblical times and remains today a very noteworthy form of dance. In fact, Oriental Dances, also referred to as Belly Dancing, seems to be experiencing a rebirth of sorts as its popularity has spread around the globe in recent years. This style of dance has been used as part of religious ceremonies as well as to entice lovers and incite lust and in some cases to represent fertility. Oriental Dance has a long and intriguing history that is well worth further study if you are of the mind to do so.

In Medieval times dance was a social requirement by those of means or holding status. In fact, what we know as ballroom dancing today began during this period and has evolved a little over the years while holding true to its original form to some degree. The church at the time however frowned on dancing though many members of the church not only tolerated dancing but also participated in these dances. After a great deal of pressure from the populace the church did eventually accept and embrace dance.

The movements for the medieval dance steps were said to be rather simple and repetitive. While some of the dances of the day were performed by couples there were many processional or line dances that were popular during this period as well. Who knew the line dancing had such a long and distinguished history?

As times have evolved so has dance. In today's society dance is often limited to competitions, festivals, and parties rather than the prominence it once held in society. The good news in all this is that dance is no longer for some in society an activity that is solely reserved for the wealthiest among us. Though access to dance lessons, classes, videos, etc. is by no means solid proof that they will be utilized the fact remains that very few cities in the United States do not offer dance classes that are at least marginally affordable for those who participate. Competitive dance is another matter all together however and can bring a significant price tag to those who are unaware or caught off guard. Recreational dance however, often costs little more than the music required with which to dance and the will to dance deep inside. We live in a nation of opportunity, do not squander the opportunity we have to incorporate the simple pleasure of dancing into our daily lives.

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Information About the TIMPANI

The Timpani is one of the most important instruments in the percussion family. It is used in orchestras, various ensembles, bands, and even in popular music. Timpani is an Italian word (and plural - the singular is timpano) but in America it is always referred to as a Timpani, regardless of how many drums are being played; normally, you'll never find a single timpani all alone, for two, three, or four are usually played together.

Timpanist in the United States Air Forces in Europe Band.
(Photo credit: Wikipedia)

The Timpani is a large drum that can produce various pitches. The timpanist (a person who plays the timpani) is responsible for making sure the pitch is correct, and the pitch can be adjusted using various foot pedals. The drumhead is usually made of animal skin or plastic - although professional timpanists usually prefer animal skins for its high quality sounds.

There are special mallets designed solely for the Timpani. Timpani mallets are able to produce soft or loud tones on the timpani, depending on the power of each strike. In many pieces, the timpanist is required to perform crescendo drum rolls - no easy feat. The techniques used for playing the Timpani are numerous and require a great deal of dedication and practice.

Timpanists also have the daunting task of making sure every inch of their timpani drum heads are in pitch with each other. If the drum heads are inconsistent, as the performance wears on, the drum will become out of tune; because the Timpani are the only drums that can produce distinctive pitches, have inconsistencies would be unacceptable. Most Timpanists have perfect pitch, but tuning forks can also be used. As with the mallet techniques, developing perfect pitch takes lots of practice and ear training.

Muffling is also a distinct skill Timpanists must master - when musical scores were written years ago, the Timpani sound did not resonate as long as they do today. A good timpanist will be able to look at the music and determine how long each note should actually last. In addition, the timpanist must also be able to muffle the sound successfully, on time, without producing any sounds with their fingers to muffle the initial drum resonations. It's very tricky but over time it becomes second nature. Sympathetic resonance (when one timpani softly vibrates and produces sound because another Timpani has been struck) is also an obstacle Timpanists must overcome - on the professional or higher learning level, sympathetic resonance is usually unacceptable.

Most percussionists know how to play the Timpani, with varying levels of success. If you are interested in percussion, you will inevitably become acquainted with the Timpani. If the Timpani really holds your interest, it would behoove you to find a Timpani-specific instructor that is considered an expert on the instrument. There are many highly qualified people to teach, so learning should not be a problem; however, owning a timpani is very expensive. Most people practice their timpani skills at music stores, universities, or with private instructors that own timpani.

The Timpani, in case you haven't figured it out yet, is a very difficult drum to master. Yet the payoff is worth it - whoever does ultimately rules orchestra - and the timpani sets the standard for the entire orchestra or band. The instrument is vital to all great works of music, and it is still used constantly in modern pieces. As an indispensable instrument, whoever learns to play it becomes very valuable.

By James J. Jones Are you interested in all things involving music?... For the best variety of sheet music, click here to find everything you are looking for! If you want to peruse the largest selections of musical instruments, DJ equipment, or recording devices, click here! Article Source: EzineArticles

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Learn on How to Perfectly Practice the PIANO

Playing the piano requires long hours of practicing especially when a big musical event is coming. With all the factors that are needed to play the piano, one very basic yet important thing will be discussed in this article. 

One factor that some professionals dare not forget… practice. Even if you know all the fingerings and notes, even if you can read the music well, it won’t mean a thing. Practice is the essence of it all. You have to be committed in your genre therefore practicing it every day; if not everyday then at least thrice a week.

Child's hands resting on a piano keyboard (Photo credit: Wikipedia)

If you’re having difficulty training yourself with your practice hours, here are some notes to ponder upon.

Note # 1

Make a daily schedule for practice and comply with it. Be determined to stick to your schedule. It is a must to condition yourself into practicing everyday so that your body will get used to the routine. At first, it could be tedious and boring but as you go on learning the essentials, it becomes more fun hearing the way you play.

Note # 2

Your piano must be put in a place that you won’t feel cluttered. Your music room must be free from anything that might distract you like a radio or anything noisy. This enables you to concentrate when practicing. Also, make sure that there is proper lighting where your piano is placed. But remember that your piano must not be exposed to extreme sunlight for this might destroy some sensitive parts of your piano.

Note # 3

Always warm up. Exercise your fingers with some simple notes then proceed to the hard ones. If you have no idea on how to warm up those fingers, ask someone who knows. An exercise must let your fingers stretch to reach some keys that are hard to reach. This will become helpful when playing fast paced notes and music. Don’t let your hands touch a key while it still feels stiff and rusty.

Note # 4

Review the past lessons learned before starting a lesson. This would be the next thing after warming up. If you have not finished the music yesterday, recall what you played then continue it. Better yet, start the whole thing to be able to follow.

Note # 5

Follow your manual and instructor’s directions. Help her help you learn. To relieve boredom, play the piano at the same time, like a duet. Tell your instructor your interests and ask her to play it for you so you might know it and therefore pave the way into practicing it even without her presence.

Note # 6

Make your practice as goal-oriented as possible. A goal will make you more focused and concentrated because you have something to be achieved. To finish a goal will make you feel satisfied and fulfilled.

Note # 7

Always maintain a positive attitude when practicing. When you plan to play the piano without anyone to guide you, just remember all the lessons that your tutor has taught you. Do not give up that easily when it has become hard. If you are being stressed, rest for a while. Give yourself time to breathe.

Try to figure out a technique with every practice for it to come out natural and unique in your own way.

JOSEPH HAYDN - From Peasant to Fame and Wealth

Haydn was one of the first composers to write a pitch change as well as a written out solo for the timpani in a symphonic movement. (Photo credit: Wikipedia)

The Austrian world, to which Haydn was born, in 1732, was beginning a new life, free from foreign Turkish oppressors, full of religious zeal, and expanding boundaries, living under the talented rule of the Habsburgs. Charles VI, reigning emperor, was a fine violinist, harpsichordist, and operatic composer.

The class system especially poignant at this time, gave little opportunity for poor peasants to rise in stature and riches. However, Joseph Haydn, born to a peasant family, achieved recognition and wealth uncommon, not only to those of his social rank, but also of composers and musicians of the time. Haydn's father, Mathias, was a wheelwright and his mother, Anna Maria Koller, had been a cook in the Harrach Castle. Haydn was the second of twelve children born to the wheelwright and his wife. Two of Haydn's brothers, Johann Michael and Johann Evangelist also became musicians.

As a young boy, Haydn was taught to love music; his father played the harp and had been granted the gift of a beautiful tenor voice, and his mother also enjoyed singing. Haydn went to the school rector at Haimburg and there studied for two years reading and writing, catechism, singing, wind and string instruments. At the age of eight he was enlisted to become a pupil in the Choir School at St. Stephen's Cathedral, where he continued his musical studies, though no instruction in musical theory was given. At sixteen his voice began to break, and one of Haydn's practical jokes, cutting off the pigtails of a fellow classmate, served as an excuse for the director to dismiss him from the choir. Thus without food, money, clothing, or home, Haydn was forced into the world to work as a freelance musician.

As a freelance musician, Haydn played for dances, arranged compositions for a variety of instruments, taught music for a meager amount, served as an accompanist, composed, and took part in serenades. "Like Italy, old Austria had a great fondness for open-air music at night, and many musicians were needed to fill the continuous demand. Haydn made the best use of this fashion. He earned a little money this way and drew from the rich well of Viennese fold music."

House of Joseph Haydn in Vienna,
(Photo credit: Wikipedia)

Through the money he earned as a freelance performer and through the graciousness of Anton Buchholz, who lent him unconditionally one hundred-fifty florins, Haydn was able to take a room and set about filling in the gaps in his theoretical knowledge. He studied Johann Josheph Fux's Gradus ad Parnassum, Johann Mattheson's Der vollkommene Kapellmeister, David Kellner's Unterricht im Generalbass, and works by Carl Phillip Emanuel Bach.

In 1758, Haydn became Kammer-compositeur to the Bohemian Count, Karl Joseph Franz von Morzin. This was a social and financial step forward, he was now regularly paid, a sum of two hundred florins a year, besides receiving free board and lodging. Haydn's great fortune was not over, as an offer was given to become vice-conductor, and later becoming head conductor, at the court of Gregorius Joseph Werner, Prince Esterhazy, in Einstadt. Haydn readily accepted this new post.

The Esterhazy's stood at the head of Hungary's powerful nobility. Haydn's duties included not only composing nearly all the music presented at the court, be he was also in charge of the orchestral members, making sure they wore clean, white stockings and tidy uniforms, and seeing that they did not get into mischief. This orchestra consisted, in the beginning, of five violins, one cello, one double bass, one flute, two oboes, two bassoons, and two horns. While under the service of Esterhazy court, Haydn was given freedom to experiment with new musical ideas of form and harmony. He developed a style of motivic development, tone painting, independence of instrumental lines, and use of "daring keys," such as B Major, F-sharp Major, and C-sharp Major.

Haydn was a prolific composer with 83 string quartets, 104 symphonies; 52 piano sonatas; many concertos for piano (15), violin (13), horn (2), trumpet (1), flute (1), and cello (2); 35 piano trios; more than 175 divertimentos; 19 operas; 14 masses; part songs and canons for voice; and 5 oratorios. Haydn's oratorios have been a subject discussed, dissected, and speculated upon by many scholars, most particularly The Seasons and The Creation.

Haydn's compositions were some of the most beautiful written during the Golden Age of Music.

By Cindy Lee Smith Find quality resources for piano teachers, students, and parents at Piano Discoveries. http://www.pianodiscoveries.com Article Source: EzineArticles

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Music About DANCE

While we all know that Jazz is as much a style of music as it is a style of dance, many people may not realize the importance that dance has played in music. There are many songs out there that mention the importance of dancing and yet we as a society seem to have forgotten the importance or limited that importance to a certain age group. Once we age it seems that we forget not only how to dance but also the intrinsic importance of dancing as well.

Rhythm, a sequence in time repeated, featured in dance:
an early moving picture demonstrates the waltz.
(Photo credit: Wikipedia)

"I Hope You Dance" is only one of many songs that relate the important role that dancing plays in feeding the human soul. If one thing in life is important for all, that one thing would be to dance whenever the opportunity arises. You never know when you will run out of opportunities to dance or find that you've squandered so many of them away. Take them as they come and your life will be filled with much greater joy than you may ever realize. Despite many other songs out there that may convey the message, there are very few that say it more concisely than this particular song. "When you get the choice to sit it out or dance, I hope you'll dance".

Garth Brooks is another musician that had an excellent commentary on dance. His song "The Dance" chronicles not necessarily the importance of dancing but of participating. Given the choice, many who have lost their lives in some risky endeavor would more than likely tell those left behind that they would not have traded the dance for one more breath. The lyrics to this song are somewhat haunting "I could have missed the pain but I'd have had to miss the dance".

Believe it or not all good songs that mention dance do not happen to be country songs. These honestly happen to be, in my opinion, the most poignant. Other great songs about dance include the song "Let's Dance" by David Bowie. The lyrics to this song include the stanza "Let's dance for fear tonight is all". The truth of the matter is that you never know and dancing is a great way to celebrate living.

Music and dance for years have gone hand in hand and will continue to do so long after we've left this earth. At least that would be the hope. I would hate to see what a world without dance would be like. It would be like having children without laughter and that would be a sad world in which to live. If you want to keep your children dancing then you must teach them to dance. Teach them that it is okay to dance and be silly around the house. That it is okay to dance their way through their chores (hey if it makes them smile while taking out the trash I say go for it!).  Teach them that dancing is a great way to express joy and that laughter is the best thing to follow their dance.

Native Americans have a long and noble heritage when it comes to dance. They let their dreams beat out the heartbeat of Mother Earth and danced in companionship with nature. They danced for joy and sorrow, war, peace, and praise. I can think of no better example to follow when it comes to dance.

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OBOE - Music-Instruments of the World

Oboe - Music-Instruments of the World

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Correct Breathing for WIND and BRASS PLAYERS

Details of a wind instrument.
(Photo credit: Wikipedia)

A correct deep breathing technique is essential to playing any wind or brass instrument, but there are many misconceptions surrounding the way to breathe and what parts of your body are doing the work and what you should be doing in order to support the airflow.

And when I say support I mean a way of producing a constant and equal airflow that will produce the best sound on your instrument. A good analogy would be blowing the flame of a candle and keeping the "bend" of the flame constant as you blow across it rather than one quick breathe which blows the candle out.

Personally I was always told to support using the diaphragm, but actually this is impossible as the diaphragm deflates as you breathe out.

So what does the diaphragm do...? the muscle contracts and pulls downwards when we breath in, and returns to its original position when we breath out. Obviously this is a difficult theory to teach because we don't have X-ray vision and can't see what's happening inside our bodies while we teach someone or are playing our instrument. And this is where the misconception arouse from. The diaphragm really isn't that involved in breathing when playing a wind instrument, it's actually an involuntary muscle, we have no control over it at all! So how you can you possibly support using your diaphragm??

The truth is that the diaphragm is used on the inhale and the abdominal muscle group is used to ‘support’ the air on the exhale.

To find out if you are breathing correctily place your hand on the 'spongy' feeling area just below the V of the rib-cage. This is essentially the top edge of the abdominals. Then simulate a short, loud cough, or laugh. You should see and feel the muscle jump outwards along with the sound.

Next take your instrument and play a note that only requires one hand if possible (G on the sax, low C on the clarinet, middle C on the bassoon, etc.) Then place your free right hand back on the abdominals, pushing in slightly, and feel what it does when they play the note. They should feel the muscle pushing steadily out against the hand.

Hidden Danger

There is one thing you have to be aware of when learning this deep breathing technique!

When you push with your abdominal muscles your entire body tenses up and this tension particularly affects the throat and jaw, closing them off so that the air does not get through properly and you get a strangled sound.

So you need to be aware of being relaxed everywhere but your abdominal muscles. This may take some practice.

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BEETHOVEN's Sonatas - Learn How the Master Composed His Sonatas

The painting is described thus: "Ludwig van Beethoven was recognised as a child prodigy. He worked at the age of 13 as organist, pianist/harpsichordist and violist at the court in Bonn, and had published three early piano sonatas. This portrait in oils is the earliest authenticated likeness of Beethoven." (Photo credit: Wikipedia)

Beethoven is not a new name to the world of music. For the music buffs he is an inspiring icon. Beethoven's musical genius has inspired generations and is continuing to do so. He immortalized himself in the world of music with his sonatas. He composed music for operas, sonatas, quartets, pianos, violin concerts and orchestras. The talented musician's famous compositions are the Moonlight sonata, Fur Elise and Fifth and the Ninth symphonies.

Genius In The Making

Beethoven was born in the year 1770, on the 16th day of December in Bonn, Germany. Coming from a family of musicians, he showed his inclination towards music, even when he was young. He was gifted in music even as a child, and began performing in public at the tender age of six. He became a professional at the age of 13. He had to fight hearing impairment but emerged brave by countering the problem and composing beautiful tunes. The illustrious musician died at 56 but he still lives on, through his wonderful music. Such is the genius of Beethoven.

Beethoven's Sonatas

Beethoven composed over thirty two piano sonatas and each of them is considered to be a precious treasure in the world of music. He played a pivotal role in the evolution and transformation of the sonata form. Many traits followed by his predecessors like Mozart and Haydn were sustained in his sonatas but he projected his personality and emotions through them and made sonatas, an impressive art form.

The tonality is the fundamental principle on which Beethoven's piano sonatas are organized. Beethoven considered tonality vital for understanding any kind of musical form. In the thirty two sonatas composed by him, twelve of the sonatas have four parts, thirteen comprise three parts and remaining seven sonatas consist of two parts. A significant aspect of the Beethoven's Sonata is the distinguished diversity of the movement types and the succession order. The distinct feature of his sonatas is the diligence with which he creates a connection between the constituent parts of the Sonata.

Beethoven's Sonata No. 14

The piano Sonata No. 14 in C-sharp minor by Beethoven is known popularly as the Moonlight Sonata. He completed the sonata in the year 1810. During the composition of this piano Sonata, Beethoven began to lose his hearing faculty. He used a custom made rod that was attached to the soundboard of the piano. This helped him to sense the vibrations. The name of the sonata is 'Moonlight Sonata' since it is compared to moonlight which shines on lake Lucerne by a music critic, Ludwig Rellstab.

Beethoven's Sonata No.8 in C Minor

Beethoven's Sonata No.8 in C minor is called Pathetique. In 1799, this piano sonata was published. The work was dedicated to Prince Karl Von Lichnowsky, his friend. The beauty of the sonata is its tragic sonorities. The sonata has been performed in concerts and recordings frequently, owing to its popularity.

The musical theme of Beethoven's Sonata allures the listeners. The musical theme in his compositions becomes a concept that pervades throughout the composition. Beethoven's piano sonatas are played by both amateurs and professionals alike. His compositions are performed by pianists worldwide and are even recorded extensively.

The gifted musician has reflected his sorrows, joys and all kinds of emotions through his compositions. How else do you describe music? Is it not a channel to describe yourself, your emotions? His brave fight against the odds like his hearing disability did not stop him from composing and playing beautiful music. Playing his sonatas on a piano is like reading the life of this gifted and illustrious musician, full of all the colors and hues of human life - full of music - full of...Beethoven.

By Yoke Wong Yoke Wong is the founder of http://www.YokeWong.net - a leader in providing high quality piano instructional home study courses to piano players throughout the world. She has developed many piano home study courses including Piano Improvisation DVD, Hand Coordination, Runs & Fillers piano course, Sweet Sounds of Jazz Improv, etc. Sign up for piano playing newsletter here http://www.playpianotips.com/pianochord.html Article Source: EzineArticles

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CONTRABASSOON - Buying Your First Contrabasoon

Contrabassoon
(Photo credit: Wikipedia)

History

Developed in the mid-17th century, the contrabassoon was initially used to play church music, and eventually moved into the British military bands.

Compared to the regular bassoon

When compared to their cousin, contrabasoons are generally larger, with a 70-75 mm in total length. Also, fingering techniques in contrabasoons are slightly different, particularly at the register change and in extreme high range.

Rather than being supported by a seat strap, a contrabassoon is supported by an endpin because of its considerable length.

Finally, a contrabasoon cannot be disassembled without a screwdriver. The instrument often has two parts: a bell and bocal.

Kinds

Contrabasoons come in two kinds: one-piece and two-piece.

A one-piece contrabassoon is made from wood with a silver tube called a bocal extending from the top to the reed. This type is commonly used because of its sturdiness and easier maintenance. Some models also come with detachable bells.

Meanwhile, a two-piece contrabassoon has a detachable top and bottom area, as well as separate bells and bocals. It usually has a lower A extensions in addition to the Bo limit.

Buying tips

If you are thinking of buying a contrabassoon, look for one that has an excellent support. Choose a contrabasoon that comes with a sturdy endpin or floor peg to support it from the floor. Also, make sure that it can tilt from the endpin allowing for a more comfortable playing position. You can also look for a contrabassoon that has comes with a shoulder strap to reduce weight on the endpin.

Finally, make sure that you can easily reach the finger keys of your instrument. A contrabassoon's finger keys are usually spaced farther as compared to regular bassoon keys.

By Ilse Hagen A complete Guide to CONTRABASOONS is available in Picky Guide, one of the fastest growing online magazines giving free consumer advice and product information. Article Source: EzineArticles

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