Tuesday, May 30, 2017

KARAOKE 101: Some Basic Facts Of KARAOKE

Have you ever wonder why this little music machine attracts so many people in the entertainment world? Have you ever tried singing a good song using a karaoke?

Today, the utilization of karaoke is rapidly gaining a fair share in the market. In most entertainment places like bars, merry-making will not be complete without these remarkable music machine known as the karaoke.

A trio of karaoke machines.
A trio of karaoke machines.
(Photo credit: 
Wikipedia)
However, many people are wondering what this karaoke is all about. How come that this new technology had quickly gained the people’s attention in a short span of time.

Moreover, there are many people wondering why, is spite of the close interaction between and among karaoke users, still, they do not know what karaoke is all about.

So for those who wish to know everything about karaoke, here is a list of some facts that will help those who want to land a big score in this remarkable music box.

1. When name matters

It is obvious that the word “karaoke” is a foreign name.

In reality, karaoke is actually a Japanese term, which means “empty orchestra,” where “kara” in Japan means empty, while “oke,” from the Japanese term okesutora, which means orchestra.

No wonder why using karaoke literally creates a small orchestra where the performer and his audience are having a grand time.

2. The origin

Karaoke first originated in Japan during the 1970s, where people are known to be “entertainment aficionados.” At a later stage, this wonderful music boom box was distributed to the East Asia during the last part of the 1980s and entered the United States on early part of the 1990s. From here, karaoke gradually dominated the whole world.

3. The technology

The basic technological concept of karaoke machine is based on the utilization of “audio input” and “audio output.”

This technology uses the concept of “subcode,” which, in turn, makes the encoding of the lyrics absolutely possible.

With this device, seeing the lyrics on the screen was made possible.

On the other hand, the technology that is being used by the karaoke machines has the capacity to modify or alternate the “pitch of music” so that the singers will be able to establish a good connection with any available source of music. This can be done by preferring a particular key based on their “vocal range.”

4. The authentic look

What the modern people may not realize is the fact that the first forms of karaoke resemble to that of a cassette player. This is because karaoke in the past uses compact discs or CDs. The only difference this karaoke CDs make with the other CDs is that it combines standard graphics capability known as the CD+G.

5. Utilization of newer technology

With the fast pace of technology, one item seem to evolve with another item that is more technically superb than its first form.

Take for example the emerging new technology of karaoke. With the help of the new technology, karaoke fanatics may no longer stay in clubs and bars just to get hold of the microphone and sing. This is because karaoke is already available over the cellular phones, Internet, and computers.

All of these three use special software that when attached to the machine, the audience will be able to make the best performance.

Indeed, karaoke are known for its entertainment purpose. So one should keep in mind that the only best way to enjoy karaoke is to be entertained to the fullest.



Monday, May 29, 2017

TRUMPET or CORNET - Frustration Keeps Us From Answers!

As a trumpet / cornet player continues to grow in their playing abilities, we all reach frustrating times with various skills that we either can't seem to master, or can't seem to get a grasp on quickly.  To master trumpet/cornet playing, a student must have patience and tenacity!  Both are required to help trumpet students through the frustrating times.

Most answers are simple than what our minds will let us accept.  There have been many times that I've practiced something and it seems to fly out of the trumpet.  Usually what goes through my mind is "it can't be that easy, I've been struggling so long with this!"

trumpet
Photo by .christoph.G.

The quick answer is - yes, it can be that easy.  Most people let the simple solutions escape them because of built up notions of complexity.  Something that isn't performed easily within the first few tries, becomes more and more frustrating to the cornet/trumpet player.  From double tonguing, high notes, better tone, playing pianissimo, controlling rhythm, performing difficult passages in a piece of music, learning scales, etc.  These can all present challenges to each individual trumpeter or cornetist.

Working on major scales for younger students can be not only boring, but a daunting task because they are looked at as difficult in many ways.  The F sharp major scale is one that has most notes sharp (or raised half step).  What most students don't think about is that there are only 7 notes in each major scale.  The F sharp scale has 6 sharps, so why not focus on the one natural?  By practicing slowly and taking each note one by one, within a few practice sessions, this scale becomes easier.  Within a week, the scale can be memorized.  Within a month, it will play as easily for the trumpet student as the C major scale with no sharps or flats.  Again - tenacity and patience!



Sunday, May 28, 2017

A Study In BANJO Lessons

Ah, I remember the good old days when I had my first banjo lesson. Actually, it wasn’t exactly my first lesson. I had been using the internet to improve my “skill” for a while, and I was slightly conceited since I thought I had some idea about what I was doing. I watched videos of a real expert playing the banjo while the tabs were available as well. I learned a few songs and techniques that sounded interesting, but that was about the extent of my knowledge.

Brooklyn Museum - The Banjo Lesson - Mary Cassatt
Brooklyn Museum - The Banjo Lesson - Mary Cassatt (Photo credit: Wikipedia)

When I had my first real lesson, it broke down all those illusions I had of being a decent player. I tried to show off, but as soon as his deep eyes met mine I missed a chord. It was my first time to ever play any instrument in front of anyone, and I didn’t think I would get nervous. After all, I’ve always been a gifted public speaker. The only one in the room was my teacher, and I was having a terrible time.

I’m having a hard time seeing my future in banjo playing, especially since I can’t even whack up the ginger to play something in front of my own teacher. He’s a nice guy, and he can play the banjo like no other. He’s already taught me several exercise I can use for my next lesson. It’s also a great experience just to watch him play, since his skill far outweighs mine. I just hope I will sound at least slightly more decent the next time I have a lesson.

But if I always freeze up when I try to play at my lessons, I’m worried that my instructor will never be able to give me the help I truly need. It’s impossible to get feedback and constructive criticism if everything I play is absolute garbage. I think I will start recording my lone practice and playing it back for him. Hopefully I won’t freeze up just knowing that he will be listening to it soon…


Saturday, May 27, 2017

How To SING Like An Angel and Create Beautiful VOCAL Tones

Singing Cast
Singing Cast (Photo credit: Wikipedia)
One of the more challenging tasks of becoming a singer is creating beautiful vocal tones while singing. This is a work in progress and any "singer" who says that he has his tonal work figured out is probably not the best model for a beginning singer.

The first step in creating beautiful vocal sounds is by exploring your voice's unique tonal qualities. Here are three steps that will reveal to you the actual tonal quality of your singing voice:

1. Draw a breath and try to sigh for as long as possible. It pays to be relaxed when performing this vocal exercise.

Your muscles should be loose and flexible when you sigh, especially the muscles around the head, throat, and shoulders. Make sure that your posture is correct when singing.

2. The next exercise will help reveal your high and low notes. To explore your high and low notes, take a deep breath and imitate the sound of a loud siren.

Make sure that you imitate the low and high intervals of a siren. Listen to your siren imitation or you can even record it to so you can examine your voice later.

3. Lastly, imagine that you have become a millionaire overnight. Whoop as loudly as you can, and as many times as you want. The loud whooping sound also releases your vocal quality.

When you are done exploring your voice's tonal quality, try to find songs that match that tone. You may be surprised at the variety of songs that you can easily perform using that unique voice of yours!

You see, it is important that you always learn from listening to your own voice. Singing voices can always be improved with method, remember that. A non-singer with some talent can become a superstar with the right method. We can't all be like the late Whitney Houston or John Legends, so for those of us who need to learn how to sing, we must focus on the best techniques.T

The next step to creating beautiful vocal tones is to learn now to properly release your vocal power.

1. Before singing, gently massage all of the muscles surrounding the face, jaws, neck, and shoulder area. These are your "final frontier" muscles, since they will be fully responsible for making the final transmission/projection of your voice. If muscles around these areas are not relaxed, you will not be able to sing with ease.

2. People usually use their chin as a reference point when opening their mouth. This is not the way to do it when you are singing. Instead of using your chin as a reference point, I want you to release your jaw using your lower jaw hinge as a reference point. Your chin should drop straight down but the conscious movement should be centered on the lower jaw's hinge

The last step to producing angelic vocal tones is knowing how to position your voice box or larynx for optimal tone. Yes, believe it or not, it can be done!

The larynx or voice box is made of flexible, cartilaginous tissue that vibrates to create the sound that you hear when you sing or talk. This amazing organ is capable of producing hundreds of different sounds. You only have to know how to produce the sound yourself, and the voice box will be responsible for generating the sound that you want to hear.



The voice box works better if it generates sound from a low position on your throat. How will you do that? Should you push it down with your finger? Definitely not, as this might cause physical damage to your voice box.

Instead of touching your voice box, I want you to smell the air as if you smelled the most delicious food in the world. Why? Because when a person smells this way, even the throat muscles respond, and the movement automatically lowers the position of the larynx. At this position the larynx is ready to produce a wider range of tones, from low bass to high soprano.

There you have it. Now you have the tools to create beautiful vocal tones.

    By Jamie Richards
    My name is Jamie and I've been teaching countless students how to sing for more than ten years. In that time, I've gained a lot of knowledge about the best methods that novice singers should learn if they really want to learn how to sing.
    As a vocal coach and music teacher, it is my goal to help anyone who wishes to advance their singing skills, so I'd like to share my knowledge with you, free of charge.

    Article Source: EzineArticles


Friday, May 26, 2017

Repetitive STRAIN INJURY in Musicians and Especially SAXOPHONEPlayers

Sadly musicians have an increased risk of developing repetitive strain injury. Many factors contribute to this including less than ergonomic instrument design, high stress levels when performing and relentless lengthy practice sessions. My first piece of advice to any musician who thinks they've developed repetitive strain injury is don't panic! Whilst this infliction can be physically very painful and mentally crushing, it is a sign from your body that change is required. With the right energy and commitment the healing process can be a time of positive reflection and will only serve to benefit you in the long run.

Cantigas musicians
Cantigas musicians (Photo credit: Wikipedia)
There are many more problems causing repetitive strain injury in musicians than a short article can cover so I am going to focus on one in particular which I've found prevalent. This is tension in the neck and shoulders. When we're worried about performing, scared of making mistakes or over worked and stressed this often manifests physically as tightness in the shoulders. Over time this puts pressure on the nerves and tendons running down your arms and into your hands.


For many musicians with repetitive strain injury, simply removing this tension can go along way to relieving the symptoms. The first step to achieving this is to sit and relax. Focus on breathing in the tension in your shoulders and then letting it go as you breathe out. As you do this, say in your head "my shoulders are relaxed". After practicing this for a few weeks everyday, you can begin to try and maintain the relaxation as you practice. It sounds simple, but you will find a great deal of concentration is required to really focus on letting go of the tension. This process alone can be very therapeutic.

You will probably find the tension comes back soon after you've begun practicing as your attention is diverted back to playing. Don't worry. Simply stop, do the relaxation without your instrument, and then come back to it. It will take time and patience, but after a while you will begin to feel more relaxed whilst playing and start to lessen your risk of repetitive strain injury. Naturally when playing for extended periods you may find the tension begins to come back. Not to worry, as long as you learn to recognise this and act appropriately, you will be able to look after your body.

As previously mentioned, repetitive strain injury in musicians is provoked by a number of factors. This article is a brief introduction and it would be advisable to see a number of medical professionals to gain many points of view. Regardless, it is important to remain as positive and calm as possible in order to achieve recovery.

    By Andrew N Hayes
    Making music for me all boils down to the moment on stage when you're tuned in with the band and your audience to create a higher energy visit my website at www.andrewneilhayes.com to start your journey

    Article Source: EzineArticles

Thursday, May 25, 2017

MUSIC of the 70s

We all associate songs and music with events in our life.  Many songs hold special memories for us.  We fondly remember the songs that were playing when we went to our first dance, the songs the school band attempted to play during half time at the high school football games, the songs that we heard on our first date, or the songs we heard on the radio while driving our first car.

Publicity photo of the Bee Gees.
Bee Gees.
(Photo credit: 
Wikipedia)
The music of the 1970's is probably the most impressive and most recognized of any era.  The artists of the 1970's provided us with numerous songs we loved to dance to and sing along with.  At that time most bands actually played their own instruments and didn't need to sequence part of it.

Remember how we used to listen to the music then?  At first we had eight track players in our cars, then we moved upward to cassette players.  Vinyl records were the most popular way to listen to our favorite music.  Every week you could go to your local variety or record store and pick up the new #1 song on a 45 record for under $1.00.  Of course, there was always the radio to listen to - most of the popular channels were on am radio.  We had many styles of music to listen to, including the bubble gum music of David Cassidy and the Partridge Family, soft rock of Barry Manilow, the great dance tunes of the Bee Gees and the Commodores, rock of Aerosmith and Led Zeppelin, the brass band sounds of Chicago, or the disco beat of Chic and Donna Summers.

The nostalgia of  the 1970's music lives on today.  We can listen to it on our local 70's'radio station, on cds, on mp3, download it on our computer, and burn it onto cds.  For those of us who prefer records, we can still purchase them at record stores, antique or second hand stores, or yard sales.  Of course, many of us have held on to our own record collections and record players and can pull them out at any time when we need to relive those nostalgic days of the 1970's.  Some bands are still performing after more than 30 years.  There's nothing like seeing your favorite 1970's performers live in concert!





The music of the 1970's is still popular with people of all ages - not just those who grew up with it.  It never grows old.  It only gets better with each passing decade.


Wednesday, May 24, 2017

ALTO SAXOPHONE - Music-Instruments of the World

Alto Saxophone



Tuesday, May 23, 2017

Broadway MUSICALS - CATS

Some of the greatest Broadway shows are no longer available as live performances but have been recorded so that they bring out people get to see them even in future, long after the show as already has been performed.

CatsMusicalLogo.jpg
This is a logo owned by RUG Ltd. for illustration of the article on the subject indicated by this logo.

A playwright by the name Andrew Lloyd Webber created a show that was known as the Broadway musicals cats. This has been proven to be one of the most exhilarating shows to ever have been made. It grasped audiences in multitudes. People could not stop talking about it long after it was performed. This is always a great reward for the playwrights. The reviews for this show were also very worthwhile.

A script could be amazing but the troupe meant to bring out the story could be horrendous. It is therefore of great importance that the troupe act out the story well. The troupe who did the story of the Broadway musicals cats was magnificent. The story being about how cats survive in the world, you could actually be forgiven to think the cats themselves did the acting. This tells you how well the troupe played the roles.


Some people are skeptical about Broadway shows and think that they are only for a certain age limit. The truth is that a show like the Broadway musicals cats is for everyone, be it young or old. The younger ones however seem to have much more fun with the shows than the adults. This is true because of the strong imagination they have. The cats in the show are not like your ordinary Garfield, they have different colors like red and blue. How is that for imagination!


By Peter Gitundu
Peter Gitundu Creates Interesting And Thought Provoking Content on Broadway Dancers. 
Article Source: EzineArticles



Monday, May 22, 2017

Composer Illustrated: RICHARD WAGNER

Porträt of Richard Wagner - Pierre-Auguste Renoir, 1882 - Wikipedia



Sunday, May 21, 2017

BALLROOM DANCING - Slow Fox Trot

There are several different theories on the origin of this ballroom dance's name.  The most often told story is that the dance was made popular by a young man named Harry Fox who was a vaudeville comedian with the Ziegfeld Follies.  Another story says that the dance is so named because of the similarity to an equestrian gait that was dubbed the Foxtrot by the military.  It is a gait where unlike a normal trot where the front left and rear right (or front right and rear left) legs are moved at the same time causing a somewhat jerky motion, the Foxtrot has the animal moving each leg one at a time making for a smooth trot that is easier on the animal and the rider.  This trot actually led to the development of a breed of horse known as the Missouri Fox Trotter.   Still a third suggestion is that the dance (in its earlier version) resembled the way a fox walks (with one foot in front of the other leaving a single track).  

Ballroom dance lesson
Ballroom dance lesson (Photo credit: Wikipedia)

In the early fox trot the feet were placed in a single line one in front of the other.  It wasn't until the 1950's that this ballroom dance was revised to have two different dance lines, one for each foot.  Around 1922 the jerking, trotting steps of the dance were exchanged for a more relaxed movement called a Saunter.  By 1927 the jumpiness was gone and the steps were smooth and gliding and the dance was now referred to as a Slow Foxtrot.   

This ballroom dance is composed of walking steps and side steps.  When on a crowded dance floor like in a night club short steps are used.  For ballroom dancing long, smooth, easy gliding steps combine to give the Fox Trot its unhurried appearance.

The Fox Trot is danced with the same type of hold that is used in the standard waltz, with a combination of long slow steps and short lively ones.  The timing of this ballroom dance is of great importance.   The slower steps are done on the heels while the quick steps are done on the toes. 

The Fox Trot can be danced to most any music regardless of whether it is slow or fast.  In the 1920's the Fox Trot was embraced by America's youth.  They loved this ballroom dance, which started out as a bouncy trot-like step that had been incorporated into the vaudeville act of Harry Fox.  The Fox Trot has become one of the most loved ballroom dances to date.  It is also one of the hardest to learn.

There is also what is referred to as an American Smooth style of Fox Trot that differs in as much as the hold can be broken throughout the performance so you will see more open movements and underarm turns.  



Ballroom dancing has undergone many changes and one of the most significant developments was the use of the quick and slow steps of the Fox Trot allowing the dancers more variety than the earlier one and two step dances.   

Saturday, May 20, 2017

Five Steps To Embellishing A Song At The PIANO

Sheet music for a piano arrangement of one of ...
Sheet music for a piano arrangement of one of Marguerite's songs 

(Photo credit: Wikipedia)


You love playing the piano but are increasingly frustrated with only being able to reproduce what is in front of you. No sheet music, no play. Oh you only have it in the key of Eb? Well sorry I can't play that. Does this sound like you?

Several years ago I could only play exactly from the piano sheet music in front of me. If I looked up from the music for a fraction of time I lost my place. I was only comfortable in the keys of C, F, and G. Sometimes D and Bb. But I longed to play and smile at the congregation in my church. Or check the worship leader to see if he was going to add another stanza. Then I started to learn Pachelbel Canon in D. Ever heard it? A study on the D scale. It opened my eyes to improvising or embellishing on a song at the piano.

Here are five key things to remember to help you do the same.



  • Learn and practice your scales in all keys. Nobody likes this. It's not fun but it can greatly increase your playing proficiency if you are diligent.
  • Learn and practice chords. Especially the odd ones such as diminished, augmented, 6ths etc. These can quickly give color and style to your songs.
  • Fake it. Use a fake book to play. This will greatly encourage you to add to the harmony and melody because you only have a chord symbol and one melody line in front of you. It will sound very dry so you will be motivated.
  • Use the whole piano. Play those same notes just an octave higher. Now try one more octave
  • Don't get discourage by your first results: You may not like your first results but don't give up.

Visit the Struggling Church Musician Piano page for more resources to playing the piano by ear and chord piano.


Friday, May 19, 2017

ORGAN MUSIC: About Ballo Del Granduca by Jan Pieterszoon SWEELINCK

Jan Pieterszoon Sweelinck, Kupferstich von J. ...
Jan Pieterszoon Sweelinck

(Photo credit: Wikipedia)

Jan Pieterszoon Sweelinck (1562-1621) was a legendary Dutch Master organist, composer, and pedagogue of the 17th century. He is most renown for not only for his great polyphonic choral writing but also for being a founder of the North German Organ School. He is also frequently called "Maker of German organists" because of his influential teaching activities that helped propel and flourish the renown North German Organ School. His most famous students include Samuel Scheidt, Heinrich Scheidemann, Melchior Schildt, Jacob Praetorius II, and Anders Duben among many others.

Sweelinck's keyboard style was influenced mostly by two major trends: Italian vocal polyphony and English virginal composers. From Italians the composer inherited beautiful linear counterpoint writing with mostly constant number of parts in the composition. From the English virginalists, he took over their virtuosic figurational writing which consisted of frequent passages, runs, arpeggios, flourishes, diminutions and various other types of figuration.

Ballo del Granduca is one of today's favorites pieces by Sweelinck. Its authenticity is doubtful as it might have been composed by Samuel Scheidt. The title of the piece refers to the Balleto (or little dance of joyful character of the Renaissance) of the Great Duke. It is a set of theme on a dance tune and 4 variations, although the opening section is called variation 1. Variation 1 consists of many colourful and joyfully sounding chords with a characteristic long-short-short rhythms. It contains 5 sections each one with a duration of 4 measures and ends with strong closed cadences at the end of each phrase. The cadences are in G major (the tonic key of the piece), C major, A minor, G major, and G major. The first and the fifth phrases are repeated.



The second variation features many passages and runs in the right hand part with eighth or sixteenth notes rhythms while the left hand plays chordal accompaniment in two or three voices. In variation 3, the hands switch: eight note diminutions are transferred to the left hand part and the accompanimental role is given to the right hand part. The 4th variation contains most of the virtuosic sixteenth note passages and diminutions in the right hand part which are so characteristic of Sweelinck's style. The variation cycle ends (variation 5) with eight note motion in the right hand part (in double thirds and sixths). Technically speaking, this is the most challenging variation and therefore a culmination of the entire set of variations.



Thursday, May 18, 2017

OBOE REEDS: Learning How to Experiment

Oboist Albrecht Mayer preparing reeds for use....Oboist Albrecht Mayer preparing reeds for use. Most oboists scrape their own reeds to achieve the desired tone and response
(Photo credit: Wikipedia)

As you may have heard before, being consistent in your reed making helps ensure consistent reeds. A simple but powerful statement indeed.

Reed making is a rather long and varied process, and most successful reed makers would recommend that you do the same thing every time. That way you can slowly make corrections without losing your point of reference.

But what if you want to try something new?

The spirit of adventure definitely has a place in reed making, as long as you have the time (and patience) to do some experimenting. There is so much new equipment available to oboists today that can help (or hurt) your reed making adventures.

There are new kinds of staples coming out all the time, and someone is always introducing either a new gouging machine or shaper tip to the market.

Sometimes it is possible to borrow these new "toys" from friends to try, and other times you may be able to try a shaper tip on loan from a double reed company.

Just remember, don't be afraid to try new things! That's how you learn.

But here is a tip to make your experimenting as productive and efficient as possible:

Whatever you do, don't get too caught up in the frenzy and try to change more than one thing at once.

It may go without saying, but reed making with any new materials at all is just like a science experiment. Remember those days back in lab class?

You never change more than one variable at a time when testing something new.
You want to be able to determine just how the new change affects all areas of the experiment.



Some things you might try:

change the length you tie the cane on try gouging your cane a few millimeters thicker

Try these and many other things! As long as you keep everything else exactly the same, you will have conducted a successful experiment and you will learn something.

It is surprising and fun to see how your reeds will change, and sometimes (hopefully most times) it will be for the better!



    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


Wednesday, May 17, 2017

WOLFGANG AMADEUS MOZART - The Greatest Composer of All

Joannes Chrysostomus Wolfgangus Theophilus Mozart was born in a house on the Getreidegasse in Salzburg, Austria, on 27th January 1756, the feast of St John Chryostom. His parents were Leopold Mozart and Maria Anna Pertl. He was the last of seven children but only himself and his elder sister Nannerl, survived into adulthood.

Mozart in 1777, the year of the concerto. Pain...
Mozart in 1777, the year of the concerto.
(Photo credit: 
Wikipedia)

Later in life the boy would choose to adopt the latin 'Amadeus' in place of the Greek Theophilus.

Wolfgang's older sister (whose was called Maria Anna but always known as 'Nannerl') showed musical promise from an early age and began to learn the harpsichord in 1758 at the age of seven. Wolfgang seemed interested in her lessons and began to learn the instrument himself at the age of four and soon picked up some of her pieces. Incredibly he had, by the time he was five, managed to compose a few simple pieces of his own with the help of his father.

Leopold Mozart was at that time Court Composer to the Archbishop of Salzburg and was an accomplished composer and well respected teacher. However he realized that Wolfgang's talents were exceptional and decided to concentrate on the musical development of his two children. He arranged for Wolfgang to perform publicly at the University in Salzburg in 1761 and over the next few years undertook a number of lengthy tours of European cities where the young Wolfgang and Nannerl would perform for the entertainment of the Royal Courts.These trips had their hazards. They could be lucrative but also highly expensive. Both Wolfgang and Nannerl were seriously ill on more than one occasion contracting both Typhoid Fever and smallpox.

Mozart's first opera, La Finta Semplice, was performed in 1769, when he was just thirteen, in the Archbishop of Salzburg's Palace.

When they finally returned to Salzburg Wolfgang spent time composing and was also appointed to the post of konzertmeister. However things changed when the old Archbishop, who was tolerant of the Mozarts extended absences,died. The new Archbishop was not so amenable.

In 1777, at Mozart's request,the Archbishop released him from his post. He also took the opportunity to dismiss Leopold at the same time, although he was fairly quickly re-instated.

Mozart set off on tour again but this time with his mother. It turned out to be disastrous. Without his fathers strict discipline Wolfgang, now 21, was more interested in enjoying himself than working. At one stage they were almost penniless and had had to sell some possessions in order to continue their journey. In July Frau Mozart became ill and died. Mozart returned to Salzburg and returned to his former position which his father had managed to secure. This didn't last long - the Archbishop dismissed Wolfgang during a trip to Vienna where they attended the celebrations of the accession of the new Emperor, Joseph II. Leopold was horrified but Wolfgang regarded it as a golden opportunity to stay in Vienna. He did reasonably well there teaching and composing. Then he shocked his father again -by announcing he was to marry. Leopold protested but to no avail and the marriage between Wolfgang and Constanze Weber took place on 4th August in St Stephens Cathedral.

The couple enjoyed relative success for a few years with Mozart's music being popular and there being no shortage of pupils. However they had an expensive lifestyle to maintain and some jealousies began to emerge from other composers. A huge blow came when on 28th May 1787, Mozart's father died.

Mozart's financial situation became worse and by 1789 he was regularly requesting loans from friends. He toured again but had little success. He was working hard and earning money but their outgoings were such that they had constant financial worries.

Emmanuel Schikanader, was an actor,singer,writer and an old friend of Mozart's.He was the manager of the Theater auf der Weiden in the suburbs of Vienna and he suggested to Mozart that he write a pantomime type opera in German which would have mass appeal and, most importantly, be profitable. Mozart agreed, probably in desperation for money and worked on it ( The Magic Flute) through the summer of 1791. It was a huge success and brought temporary relief financially.

During this time Mozart received an anonymous letter asking him to compose a requiem mass. Although it was a strange request he decided to accept as there was a significant fee offered. However Mozart became overworked and his health began to decline. He was desperate to complete the commission but was becoming exhausted and on 20th November his condition worsened so much that he took to his bed. With the help of his pupil Sussmayr he attempted in vain to finish the Requiem but got only as far as the Lachrymosa.



As Mozart's condition deteriorated he suffered from fever, vomiting and swelling. On 4th December Mozart went into a coma. In the early hours of 5th December 1791, the greatest composer the world has ever known, died.

In a final ironic twist to the tale, the emperor confirmed Mozart's appointment to the post of Kapellmeister at St Stephens, a position which would finally have given the Mozarts lasting financial security.




Tuesday, May 16, 2017

THELONIUS MONK - One of the Pioneers of Bebop

From amongst all the jazz legends and pop legendary pianists, Thelonious Monk is most known for what can be called 'straight forward jazz'. Born Thelonious Sphere Monk on the 10th of October 1917, Monk began playing the piano at the tender age of nine. Most of what he knew on the piano was self taught in addition to the tricks he learned while slyly dropping in on his elder sister Marian's piano classes and a little formal training.

English: Thelonious Monk, Minton's Playhouse, ...
Thelonious Monk, Minton's Playhouse, New York, ca. September 1947.
(Photo credit: 
Wikipedia)

He dropped out of Stuyvesant High School where he was doing his schooling to start playing the piano professionally. He toured with an evangelist for whose meetings he played the church organ. In his later teens, he got gigs playing jazz piano. He was the house pianist at a club - Minton's Playhouse - in the early 40's. His influences at the time were most the stride pianists of the era - Duke Ellington, James P Johnson and the likes.

His trademark style of playing was something that he polished incessantly during the cutting competitions that took place at the club late at night featuring all the piano greats of the time. His stint at Minton's Playhouse brought him in touch with the other exponents of Bebop - Charlie Christian, Dizzy Gillespie, Miles Davis, Charlie Parker and Kenny Clarke. It is this period of time that the bebop style of playing was created . He influenced the the bebop style of playing so much that he has arguably been referred to as the founder of bebop.

Monk then moved on to playing for groups. His first ever studio recording was made featuring the Coleman Hawkins quartet in 1944. He became the leader of the Blue Note three years later. His recordings with Blue Note displayed his penchant for coming up with composing music with strong melodies. The same year saw his marriage to Nellie Smith, with whom he had two children. His son TS Monk was born in 1949. He is a jazz drummer, composer and band leader. His daughter Barbara was born in 1953.

In 1951, Monk ran into trouble with the police. A car in which he and fellow pianist Bud Powell was found to contain narcotics. During the trial against Bud Powell, he refused serve as witness testifying against Bud Powell. As a result, his New York City Cabaret Card was taken away by the police. Thus not being able to play in New York where there was liquor being served. He continued to play in other places though.

He continued recording, touring and composing. After his contract with Blue Note Records lapsed, he moves to prestige records. At Prestige, he recorded some not-so-successful but critically acclaimed albums with Sonny Rollins on saxophone and Art Blakey on drums. It was around this time that the famous Christmas Eve sessions were recorded which were released in the form of the two albums - The Modern Jazz Giants and Bags Groove and Miles Davis - both of these by Miles Davis.

He visited Europe in 1954. He went to Paris to record and perform. He met jazz patron and member of the Rothschild family, Baroness Pannonica de Koenigswarter, with whom he struck a friendship that lasted his life long.





Though Monk was well recognized in jazz circles by his contemporaries and the jazz audience , his records didn't sell as well. He shifted from Prestige Records to Riverside Records, who bought out his contract. In an effort to get the masses in tune with his style of music (which was thought to be too difficult at the time for the average listener), Riverside asked him to record an album two album of his own versions of the jazz standards of the time.

Thus Thelonious Monk Plays Duke Ellington was released with the intention of increasing Monk's market. The album has Duke Wellington's tunes redone by Monk for which he had to study Duke Ellington's pieces from scratch. On his next release, Brilliant Corners, he got a chance to actually record his own tunes. Expectedly the title track of the album was so difficult that it had to be put together from a total of three takes. Sony Rollins accompanied him on the album.



Monday, May 15, 2017

BAR CHORDS - What's The Easiest Way To Play Bar Chords On The GUITAR?

English: Picture taken from taking barre chord...
Picture taken from taking barre chord on guitar. 

(Photo credit: Wikipedia)

Bar chords are the first advanced step for the guitar player. You have some kind of understanding of how to play open guitar chords and you have practiced till your fingertips are hardened enough not to hurt any more. So the next step is to learn the basic open chord shapes that move up the guitar neck to make bar chords and to start on the next stage of educating your left hand and arm in the art of guitar playing.

When you learn bar chords you will see that there are some basic chords that you have already learnt how to play that can be moved up the fretboard to form chords in more keys. The way we move open chords up the fretboard is by placing the first finger on the left hand across the guitar's neck and using the other fingers to complete the chord shape.

When you first try to play bar chords you will notice the change in sound. You have made all the guitar strings shorter, so they do not have the same amount of sustain and reverberation. The next thing you notice is that bar chords are painful. The pain should lessen as you practice but if it doesn't there are some things about your guitar playing you will need to look at.

First, if there is any adjustment needed to the way you press down on the strings with your left hand, you will need to relax your hand and experiment a little. Hold the chord shape but do not exert the pressure needed to make a clean sound. Now see if there is any tension in your arm. Just check to see if you can feel it. Go all the way up and down the arm fro the shoulder to the fingertips and relax any little areas of tension. This might result in some change in how you are holding your hand on the strings. As you try this checking for tension, also take note of if you hold your breath and clench your jaw. If you do either of those things, let the tension drop away in those areas.

Other areas that might need attention when you are looking for the easiest way to play bar chords are the height of your guitar's action and the need for hand exercises. You can do an online search for balls or other gizmos that you can use to help build finger strength, or for hand and finger strengthening exercises. But before you get too far into exercises, if your guitar's action is high you will need to press hard to make bar chords. Acoustic guitars have a relatively high action so the strings do not buzz. If you feel that your action might be too high you can adjust it by filing down the slots in your bridge so that the strings sit lower. If you make the strings too low you will need to buy another bridge bone.



If you are able to switch between acoustic and electric guitars you can clear up the question about your guitar's action because electric guitars have a lower action than acoustics. There are also tricks that you can use to avoid the pain of guitar chords, like using the open D fingering to move up the frets instead of using the open E shape to make a bar chord. This limits your chords to the top three strings. Also you can try loosening the tension on your strings or fooling around with open tunings, but do not go meddling with your guitar unless you are really sure you have some medical condition that stops you from playing bar chords. For now just assume that your hand will stop hurting once you have practiced enough.



Sunday, May 14, 2017

JAZZ: The Forbidden Music

There was a time in history when Jazz the music was banned during World War II when it was considered a plight for freedom against Hitler's Nazi regime due to what it represents. Jazz music is the product of America that was creatively invented by African American from culture, and all the elements of the American life that influenced this style of music.

English: King & Carter Jazzing Orchestra, Hous...
King & Carter Jazzing Orchestra, Houston Texas (Photo credit: Wikipedia)
Jazz music is a symbol of freedom, hope and the ability of express ones self in through one of best art forms which is music. Meaning, African Americans fought oppression  since the beginning of slavery, and Jazz music represented that resistance.  Jazz music has a foundation of the basic rules of composition, but it has since expanded its way toward newer forms of music.

America who also gained their freedom from Europe joined showed their patriarchy by listening to the Jazz music on records and on the radio to encourage their fellow Americans to believe in their country, and the freedom it stands for. Hollywood, celebrity musicians and Jazz musicians even supported freedom by joining patriotic films to get their point across to the world. This act caused Hitler and Stalin to fear the effect Jazz music would have on all who listens who could easily be influenced by the idea of freedom, and patriotism.

In the year 1921 there were Americans who did not favor Jazz music or the Jazz dance. There were activist who stated that Jazz is a type of menace that is worse that alcohol, and that it would be better to wipe Jazz out of existence. In Germany, Jazz and all other American music was banned in the country before and after Americans joined the war. Stalin forbid the playing of Jazz music at the end of the 1945 war throughout the Soviet Union, and banned the use of saxophones. Jazz was called "the music of blacks by Hitler as a reason for the prohibition of Jazz music. Nevertheless, Jazz music was embraced by all who heard it around the globe.

In fact, It was adored by those who supported the resistance of such a war. In the area of Azerbaijan the year of the 1950's produced even more forbidden Jazz music into a new style of Jazz known as Mugam that came  from the Baku style of music. The sound of Jazz produces an atmosphere of relaxation and freedom that even spread to Algeria who wrote a form of Jazz that spread all around their country and in Europe known as Rai in the late 1960's. Though there were many haters of Jazz music who forbid the use of it those who understood loved it.



Those who did not like Jazz wrote books on it titled "Vo do do de o Blues" against Jazz and blues. Another title was "Anti rag time girl" about a lady who hates Jazz music. However,  when the underground clubs broke the law discreetly to make a home for jazz in Speakeasies they also spread the gospel of Jazz music all around the world.