How to Play the TRUMPET - 6 Tips For Playing Like a Pro!

The trumpet is a magnificent instrument which produces a beautiful tone. It's versatile and can be played in many different types of bands, including orchestras, pop bands, and big bands.

However, mastering how to play the trumpet is a long process requiring immense dedication and passion, but having played the trumpet for over twenty years, I think it's well worth it!

So, to help you out here are six top tips for propelling your trumpet playing and to help you learn how to play the trumpet like a pro...

Photo  by   oddsock 

1. Warm up by buzzing just with your lips and then with your mouthpiece. This really helps build strength without causing lip fatigue which can happen if you just practice on your trumpet.

Do the following just with your lips and just with your mouthpiece:

- Buzz a note for a count of four, and then continue up the scale one tone at a time. You can vary this with different exercises you know or by buzzing louder of softer.

2. Rest for as long you play. This is so simple but players rarely do it. This helps your lip muscles recuperate quicker and means you can play for longer without getting tired.

I would recommend regular mini breaks rather than playing for 10 minutes and resting for 10 minutes. Practice an exercise or a part of your music and rest for as long as you played. While resting you can practice finger patterns on the valves or just stretch out your lips.

3. Practice with a metronome. Again, this is a very simple idea that is rarely adhered to.

Most music you play will require you to play in time and doing this really helps you to regulate your internal metronome. It also helps when practicing exercises or difficult musical passages as you can gradually build up the speed you play them at by increasing the speed of the metronome.

4. Practice your pedal notes. Pedal notes, for the purpose of this exercise, are all the notes below middle C. By playing the low register you build strength and range with less pressure on your lips. This means you can play for longer.

When you play the notes below bottom G you will need to create the notes using your lips and the fingering you would use for the octave above. This is great for improving tone and intonation.

5. Play without taking the trumpet off your lips. This is a fantastic way to build strength and endurance as well as learning how to control your breathing.

To do this, find an exercise that you can play continuously without stopping. Continue playing for 5mins non-stop, then 10minutes then for as long as you can at the end of every other practice session.

When you're gigging, especially in Big Bands, you can be playing for anything up to 2 hours with few breaks so this is a fantastic way to practice for these gigs and build your chops!

6. Plan your practice session. This will make a huge difference in the effectiveness of your practice while learning how to play the trumpet.

First, make a list of every element of playing the trumpet, eg tonguing, breathing, and tone, then before each practice session, list what you will practice during your session. This will always ensure that you regularly practice all the different elements, it will keep you focused and make the most efficient use of your time while practicing.

That's it, obviously, there are many more skills to learning how to play the trumpet but these have made a huge improvement to my playing and I hope they do for you too!

It takes some discipline to integrate these ideas into your practice regime but do it for a month and it will become a great habit that will feel like you've always practiced this way!

Ingram Sanders is an experienced trumpeter who has played for over 20 years.  Article Directory: EzineArticles

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Bernstein's Kaddish Symphony Dedicated to JFK Is Now Dedicated to BERNSTEIN

Leonard Bernstein (Photo credit: Wikipedia)

Leonard Bernstein was never happy with the text to his Symphony No. 3 ("Kaddish") written to lament the death of President Kennedy. Following its 1963 debut in Israel, he believed that version of the Jewish prayer for the dead needed a stronger relationship with the Almighty. When he met Samuel Pisar, he knew he had found the perfect librettist.

Pisar, the youngest survivor of Auschwitz, became an international lawyer, author, humanitarian, adviser to presidents and world leaders and recipient of many earned and honorary degrees. Following his example, two of his children currently are White House advisers.

Close friend though he was of Bernstein, Pisar watched several decades pass before a national tragedy convinced him to undertake the project. When he and conductor John Axelrod first met and worked with Christoph Eschenbach to coordinate the score and Pisar's narration of his new text for its 2003 Ravinia debut in Chicago, they were like kindred spirits, two young boys in a sandbox. The only major change they made was a space added after the Tower of Babel and before the Finale to create a long interval in which Pisar gives his sermon, first a message to the world, then his personal message of optimism.

Pisar has a voice like Gregory Peck and a commanding presence like the statesman he is. His tremendous ability to attract attention projects the power a rabbi, a priest or an imam might present to a congregation. The emotional text opens with an invocation to God. Haunted by his own survival, Pisar has seen his father tortured, executed and tossed into a mass grave and his mother, sister and schoolmates sent off in a cattle-train.

When he was rescued by Russian and American soldiers, he was "a skeletal kid with shaved head and sunken eyes, trembling at the threshold of a Birkenau gas chamber." The lullaby, perhaps the most dramatic segment, recalls the sweet voice of his grandmother "silenced in the ovens of Treblinka."

After 9/11, he knew he had to comply with Bernstein's final wish, but first he had to go back to those terrible memories, bring them to life and make every word a bomb. Technically, he had to speak totally embedded in Bernstein's complex atonal machinery. When the orchestra reaches the lullaby, the music becomes softer leading to a reconciliation with God toward "tolerance, solidarity and peace on this fragile planet." At the final word, "Amen," the audiences look stunned. They stand as if they are not going to applaud, then they burst out as if released to express what they have just felt. They know the text is authentic and they know where Pisar has been.

Pisar and Axelrod, who studied with Bernstein and shared a mutual interest with him in jazz and good music of all genres, have presented this masterpiece many times with major orchestras in several countries. In September, they will appear in Moscow with the Russian National Symphony Orchestra at the invitation of the Russian government to commemorate the tenth anniversary of September 11, 2001, something Pisar never dreamed could happen.

By Emily Cary Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles. Article Source: EzineArticles

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Rock and Roll SAXOPHONE

By the 1940's the saxophone was a well established and very popular instrument in both classical and jazz music. As the 40's brought more musical styles like jump blues, rhythm and blues and rock and roll the instrument would become even more important and play a major roll in the new sound.

"King Curtis"  (Wikimedia Commons)

Illinios Jacqeut was a very good swing jazz player and like many others, he was drawn to the new sounds. He was only19 years old when he worked with Lionel Hampton's band and recorded his famous solo that started others honkin' and screaming' to start the beginning of the rock and roll saxophone.

One kid he inspired was Big Jay McNeely who took the honkin' over the edge and made a show of it... laying on his back, strolling into the crowds and walking on top of bars. (That's where the term "honkers and bar walkers" came from. That's a good cd compilation series featuring other rock and roll saxophonists)

Ahh... those crazy kids. This was a new generation, born in the 20's right around the time Louis Armstrong and Coleman Hawkins were coming on the scene. They probably thought these guys were nuts, but they fuelled the bands and drove the audience crazy with their energy.

Honkin' and screamin' aside, the saxophone, especially the tenor was sounding big and raunchy like never before. Guys were growling more and making it squawk and really wailin'. The honkin' was a fad that passed quickly but it helped to take the sax to another level of popularity, The rock and roll saxophone sound was now mandatory in all the jump, R&B, and rock and roll bands.

This new sound of the 40's rhythm and blues produced many rock and roll saxophone stars. Besides the ones I mentioned above, here are a few others; Joe Houston, Red Prysock, Sam "the man" Taylor, Lee Allen, Willis "gatortail" Jackson, Louis Jordan and King Curtis.

"Tenor battles" were popular as soon as you had a couple greats at any given time, like Coleman Hawkins with Lester Young, or Red Prysock with Sil Austin, and two of my favorites Sam Taylor with King Curtis.

Most of these guys were coming from the swing scene as well but were involved with their own R&B / rock and roll groups or were sidemen to star singers like Little Richard, Fats Domino, Wynonie Harris, and Ray Charles.

Without a doubt, one of the most influential for us guys playing any kind of rock and roll saxophone today is King Curtis, who came onto the New York scene shortly after the rock and roll movement got into full swing in the mid 50's. Of course you've heard his sax on many hit records from Aretha Franklin to The Coasters and he had many of his own as well in the 60's.

Unfortunately he was killed tragically at a young age. For me, his was the quintessential rock and roll saxophone

Rock on JF

By Johnny Ferreira Listen to some real Rock and Roll Sax music and for more information on sax related music, articles, audio samples visit http://JohnnyFerreira.com Article Source: EzineArticles

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MOZART’s Music

Statue of Wolfgang Amadeus Mozart
 by Ludwig Michael Schwanthaler
 at Mozart-Mozartplatz Salzburg.
(Photo credit: Wikipedia)

The music of Wolfgang Amadeus Mozart is perhaps the most well-known of any composer the world has ever seen. Almost everyone has heard of how Mozart was composing music by the age of five (some urban legends even claim it was at age two) and performing before kings and queens, dukes and duchesses, before he was seven years old. He created more than 600 compositions, from operas to sonatas to full symphonies, and died tragically, mysteriously, before his 36th birthday in 1791. Some of his more famous pieces of music include Eine kleine Nachtmusik (A Little Night Music, 1787) and the operas Don Giovanni (1787) and Die Zauberflote (The Magic Flute, 1791).

The movie Amadeus (1984) put into popular parlance the idea of Mozart as an immature and spoiled musical prodigy, given to fast living and obnoxious, braying laughter. It also portrays him as having been tormented by a brooding, jealous rival composer named Salieri, who may or may not have killed him. History paints only a slightly less dramatic picture. Born in 1756 in Salzburg, Austria, Mozart was the only son of a professional musician who very early on recognized the boy’s extraordinary musical talent. Today’s critical and politically correct eyes may look with disfavor on the way that Leopold Mozart exploited his son’s musical genius, but at the time it was neither uncommon nor unacceptable to parade child prodigies through the courts of Europe. The young Mozart spent his boyhood at the feet of kings and queens, performing and composing and perfecting his unique musical vision.

He also spent his childhood suffering from various illnesses—tuberculosis, tonsillitis, and typhoid are just some of the many ailments he is said to have suffered. He was a sickly child and each bout of poor health left him reduced in vigor, more frail, and more susceptible to what would, ultimately, kill him. Legend has it that he was poisoned, but recent, more scientific explanation has it that he died of rheumatic fever, even while working to complete one of his greatest musical accomplishments, the Requiem.

Mozart’s music, like his life, defies easy classification. As a product of what historians term the Classical Era (1750-1825), he perfected the prevalent musical forms of symphony, opera, and concerto, and yet he also turned them on their heads. The upper-crust audiences for whom he played were jarred by his complex, mysterious, sometimes raucous music, accustomed as they were to lighter, more frivolous pieces. In 1782, the Emperor Joseph II even told Mozart that his German opera had “too many notes.”

Such a characterization of Mozart’s music may well seem absurd to us today, who have been conditioned to think of Mozart as an unparalleled genius. Even before birth, babies are rocked to sleep by Mozart’s music being piped into their mothers’ wombs. We relax to his music, we grow to it, we learn through it; his music enriches and inspires our lives.

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Biography of FREDERIC CHOPIN, The Great Piano Composer

Frederic Chopin

"Chopin at 28" by Eugène Delacroix
Licensed under Public Domain via Wikimedia Commons.

Fryderyk Franciszek Chopin, the Polish composer, and pianist was born either on either February 22, or March 1, 1810, in the village of Zelazowa Wola near Sochaczew, in the region of Mazovia, which was part of the Duchy of Warsaw. His father, Mikolaj (Nicolas) Chopin, was born in 1771 in Marainville, France. When he was 16, Mikolaj permanently moved to Poland permanently, never returning to France, nor keeping contact with his French family. He married Tekla Justyna Krzyzanowska in 1806. Fryderyk was the second of four children. Several months after his birth, the whole family moved to Warsaw, where Mikolaj Chopin was offered a better job.

Chopin was a child prodigy, even being compared to Mozart. By the age of seven, he had already written his first two Polonaises. His received publicity, giving receptions and benefit concerts in this early age. He outgrew his first teacher by the time he was 12. After this, he received instruction from Wilhelm Wuerfel, a famous pianist, and teacher at the Warsaw Conservatory.

From 1823 to 1826, while attending the Warsaw Lyceum, where his father taught, he spent his summer holidays in the countryside, visiting Szafarnia in the Kujawy region. It was here where he became interested in Polish folk music, with its distinct tonality, the richness of rhythms and lively dance. He composed his first mazurkas in 1825, but his love for Polish folk music would continue to have an influence on him for the rest of his life.

In the autumn of 1826, Chopin began studying the theory of music, figured bass and composition, and counterpoint at the Warsaw School of Music, under the composer Jozef Elsner (b. 1769 in Silesia). Already possessing immeasurable talent, it was in this time that Chopin greatly advanced in compositional skill, demonstrating these advances in his first extended works, also written at this time. He graduated in 1829, receiving this report from his teacher: "Chopin, Fryderyk, third-year student, amazing talent, musical genius".

After completing his studies, Chopin spent some time outside of Poland, in Bad Reinertz, in Berlin, and Vienna, where he gave concerts and received high praise from the public for both his performances and his compositions. On November 2, 1830, he moved to Vienna for eight months. He hoped to establish his popularity there but was hindered by the trauma of war developing in his home country. The Russians would, later on, take Warsaw, which was very disturbing for the 20-year-old Pole. Despite this, in this time his style developed, into something with more force and passion, seen in his Concerto in E minor, and the Etudes from op. 10.

In the autumn of 1831, after a stop in Munich, Chopin came to Paris, where he met many fellow Poles, who had chosen exile after the war. Chopin made close contacts with the so-called Great Emigration, attending meetings, playing at charity concerts held for their poor, and organizing similar events. In Paris, his reputation as an artist grew rapidly, and he became friends of Liszt, Mendelssohn, and Berlioz. He also gave lessons to the wealthy French and Polish. Because he decided to identify with the immigrants in Paris, and not to conform to the Russian regulations at this time, he was not allowed to visit Poland, to see his family, but was able to meet them outside of Poland in 1835, in Karlsbad. After this, Chopin visited friends of his family, where he also fell in love with their daughter, whom he was later engaged to secretly, only later to be deemed unsuitable by her parents because of his irregular lifestyle. In an attempt to forget these unpleasant memories, Chopin traveled to London in July 1837.

Soon afterward, he entered into a close relationship with George Sand, the famous French writer. The lovers spent the winter of 1838/1839 on the Spanish island of Majorca, where, because of the weather, Chopin became very ill, showing symptoms of tuberculosis. For many weeks, he stayed at home sick but managing to compose. After returning to France, Chopin would spend long vacations in George Sand’s summer manor in Nohant, in central France. This is where he wrote most of his greatest works and was the happiest. For years their relationship continued, was ended after a bitter quarrel, involving Sand’s daughter, in July 1847.

This had a horrible effect on the health and creativity of Chopin. Almost giving up composition altogether, from then on, he only wrote a few miniatures. In April 1848, he left for England and Scotland, under the persuasion of his Scottish pupil, Jane Stirling. In Scotland, the hectic schedule of performance and traveling took its toll on the fragile Chopin’s health. On November 16, 1848, despite frailty and fever, he gave his last concert in London, returning to Paris a few days later.

His rapidly progressing disease made it impossible to continue giving lessons. In the summer of 1849, his older sister came from Warsaw to take care of him. On October 17, 1849, Chopin died of pulmonary tuberculosis in Paris. His body was buried in Paris, but upon his orders, his sister brought his heart to Warsaw, where it was buried was placed in an urn installed in a pillar of the Holy Cross church in Krakowskie Przedmiescie, one of the main streets in Warsaw.

About the Author: Adrian Edler Source: www.isnare.com

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The MANDOLIN Sounds in the Roots of BLUEGRASS

Bluegrass music is traditionally played on acoustic instruments, which may include the banjo, guitar, fiddle, mandolin, Dobro and bass. For readers unfamiliar with this musical genre, bluegrass music is the sound produced with particular acoustic stringed instruments like the Mandolin and the Debro. To understand bluegrass music is to realize and appreciate its musical roots. Bluegrass is an original American music formed from a number of varied influences including the early Old Time ballads, fiddle tunes and string band music with its proven roots to the homeland musical heritage of the immigrants who pioneered America.

Sweet By and By www.myspace.com/sweetbyandby IMG_1143 (Photo credit: Wikipedia)

Above all, bluegrass music is acoustic, although there are plenty of vocal and instrumental microphones on the modern bluegrass stage. Bluegrass tends to use both vocals and instruments as an ensemble. It is distinctively acoustic, rarely using electric instruments. In bluegrass, as in jazz, each instrument takes a turn playing the melody and improvising around it, while the others revert to backing the lead. This is in contrast to old-time music, in which all instruments play the melody together or one instrument carries the lead throughout while the others provide accompaniment.

The various types of music brought with the people who began migrating to America in the early 1600s are considered to be the roots of bluegrass music. This would include the ballads from the Scots-Irish immigrants of Appalachia and England, as well as the African-American gospel music and blues which sprang up from rural America. This "Mountain music" held on and grew into today's bluegrass despite the pressures from more socially acceptable forms of popular music. The rural people of the south and other parts of the country clung tenaciously to the music which has grown into an integral contribution to American culture.

Though its inception was influenced by Scottish and Irish folk music, bluegrass music is a distinctly American form. And, its Scottish and Celtic connections mixed with its vibrant and undeniable American roots define a beloved genre of music. Bluegrass music is more of a synthesis of American southern string band music, blues, English, Irish, and Scottish traditions, wrapped up in a sacred country music form.

It is important to note that bluegrass is not and never was simply folk music under a strict definition; however, the topical and narrative themes of many bluegrass songs are highly reminiscent of "folk music". In fact many songs that are widely considered to be bluegrass are older works legitimately classified as folk or old-time performed in a bluegrass style.

While bluegrass is not folk music in the strictest sense, the interplay between bluegrass music and other folk forms has been looked at by many music authorities and scholars. And, it has since received separate genre recognition as a form of country music. By in large its status as a genre is a credit to the talented artists, musicians and bands of the twentieth century as proof of their devotion and optimism toward a music style intrinsic to their heritage and prodigy.

Performing bluegrass bands have included instruments as diverse as the Dobro resonator guitar, accordion, harmonica, Jew's harp, piano, drums, electric guitar, and electric versions of all other common bluegrass instruments, though these are considered to be more progressive and are a departure from the traditional bluegrass style.

Beyond instrumentation, the singing, which is central to bluegrass music genre, has become known as "the high lonesome sound," which gives the song, along with its typically sad lyrics, a haunting and mournful timbre. This distinguishing characteristic of bluegrass is vocal harmony featuring two, three, or four parts, often featuring a dissonant, modal sound in the highest voice. If you hear toe tapping music played mainly on a fiddle, mandolin, five string banjo, guitar or bass guitar followed by an emotionally compelling vocal solo, then it's probably bluegrass music.

The most famous contributor of the bluegrass genre was the legendary Bill Monroe. His main instrument, of course, was the mandolin for which he has developed a distinctive and very influential style, but he has always played with a guitar back-up. His earliest recordings were with his brother Charlie, and The Monroe Brothers, like other country groups, all of whom sang tight harmonies with Bill's mandolin taking the instrumental solos and Charlie's guitar keeping the rhythm and bass tones going behind him.

Today Bill Monroe is referred to as the "founding father" of bluegrass music. The bluegrass style was named after his band, the Blue Grass Boys which was formed in 1939. His singing and music was directly influenced by the mountain church singing and melodic harmonies of his youth in western Kentucky. On October 28, 1939 Bill Monroe introduced the world to his style of music by playing "Muleskinner Blues" during the Grand Old Opry's Saturday night show. They became popular performers on the Grand Ole Opry with many appearances throughout the mid to late twentieth century.

By some arguments, as long as the Blue Grass Boys were the only band playing this music, it was just their unique style. Their music could not be considered a musical genre until other bands began performing the same style. Debate rages among bluegrass musicians, fans, and scholars over what instrumentation constitutes a bluegrass band. Monroe had a unique sound but wanted to fine tune the sound into more of an amalgam of old-time music, blues, ragtime and jazz accompanied by the acoustic instrumentals. Early in the 1940s and not satisfied with their current sound, Monroe began searching for other musicians to give his band a fuller sound.

He formed a new group which featured a young Earl Scruggs on 5-string banjo, and the unusually complex three-finger picking, combined with Monroe's driving mandolin. Lester Flatt's guitar, and Chubby Wise's fiddle, gave the group a power and excitement not heard before in country music. As one musician put it..."Ultimately, the elements of bluegrass came together in Monroe's band as sacred and secular, black and white, urban and rural combined to form an altogether new strain of American music". A significant portion of the content we hear in Bluegrass music today is original Bill Monroe material.

In addition to what might be considered "mainstream" bluegrass, which has gradually changed over the last 60 years, there have been several major subgenres which have existed almost since the music's beginning. Although nearly all bluegrass artists regularly incorporate gospel music into their repertoire, "Bluegrass Gospel" has emerged as a major subgenre. Distinctive elements of this style of bluegrass music include lyrics focused on Christian faith and theology and soulful three or four part harmony singing mixed with an occasionally subdued instrumental solo.

In recent years, several modern country music artists have recorded bluegrass music albums. More recently, artists such as Ricky Skaggs, groups such as the Lonesome River Band and Alison Krauss have continued to spearhead a kind of country crossover that puts more emphasis on blues over that of pure bluegrass. Bluegrass music is now being played in venues all over the world. For bluegrass music fans, there are many summer bluegrass music festivals held annually throughout the United States, including Colorado's Telluride Bluegrass Festival which draws mainstream country artists like Emmylou Harris and Dolly Parton.

Additionally, the Oklahoma International Bluegrass Festival and the Grey Fox Bluegrass Festival in Ancramdale, New York are budding annual festivals. Today, bluegrass bands and concerts can be found in every state in America. With the bands getting younger and the styles getting more hip and slick, there's also a wide range of bluegrass music available.

Bluegrass music is experiencing some of the greatest success it's had in the past 60 years. Its pure acoustic sound with its down home appeal is winning new fans throughout the United States and abroad. It is now performed and enjoyed around the world. The International Bluegrass Music Association alone claims members in all 50 states and over 30 countries.

By Allen Newsom Allen Newsom has developed a rare appreciation for all forms of music genres. His other articles can be read and downloaded from his websites at: [http://www.emusicguides.com] and http://www.guitar-domain.com Various musical instrument accessories can be purchased at his online music store http://stores.ebay.com/Top-Shelf-Accessories/?refid=store Article Source: EzineArticles

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3 Absolutely Essential Tips For Buying Used JAZZ RECORDS Today

Art Hodes Docot Jazz - Blue Note records 

(Photo credit: Wikipedia)

Right now there is a resurgence in interest for vinyl records. Amidst all of the genres that you can look at, jazz is a premier one. Collectors in this genre aren't just willing to buy new recordings, they are willing to shell out a lot of money for a good condition vintage record. Not just from the mainstays in the genre, but also rarities, singles, and a lot more. If it's in good condition, chances are that a collector will want to spend upwards of thousands of dollars to get their hands on it. If you're one of the many fans of this musical genre, or perhaps you want to buy records for fun and profit, then you need to adhere to these 3 tips.

Know The Value of The Record

First and foremost, you should know the inherent value of a recording. You can go to a variety of locations to do this, but chances are you will not find accurate data. The best way to gauge public interest and sales price for you to move forward will be to search auctions. When you search auctions, look for the ended listings, and see what the top price paid for each item you want to buy, or sell. Keep tabs on the shifts in price, and see what a premium, mint condition album was sold for. Once you know that, you will be able to determine whether or not it's worth picking up or it's best to focus on another option.

Dixieland Jubilee Records
78rpm disc label
(Photo credit: Wikipedia)

Look For Grading Protocol

Every piece of vinyl from the jazz age will have a grading if sold. These range from Near Mint (NM) to Good (G) and beyond. These are important. You need to know how conservative a seller is in regards to this. Sometimes, when you're purchasing items online or in stores, you will find that they list things based on their perceptions, and therefore, you may be buying wax that has fine lines, scratches, scuffs, and a lot more. Grading protocol shifts depending on a variety of different factors, so make sure that you take time to really understand this for the albums you want to buy.

Look At Thrift Stores

In recent years, the amount of records that have landed into thrift stores has grown exponentially. If you're serious about finding some long lost and loved treasures, this is where to look. Thrift stores are notorious for not organizing, caring for, or pricing records. The clerks just don't know a lot about what they have on their hands, so you could turn a one-dollar investment into a thousand dollar one, if you know what jazz artist you're looking for and the records they've put out.

These tips are meant to help you get some used recordings for cheap. Of course, you could always go to a flea market, used music store, or just about anywhere media is sold. Chances are you can find great things for a discounted rate, if you just keep searching.

By Jorge Orduna Sell Out Records is a music blog that aims to review just about every record possible. If you're looking for music conversation, reviews, notes, and more, check out the constant stream of updates on Sell Out Records HERE and discover new and used music from past, present, and future. Article Source: EzineArticles

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A History Of COUNTRY MUSIC

Musicians have long been playing fiddle music in the Appalachians for years, but it wasn't until 1927 in Bristol, Tennessee that the first recording country music recording deal was signed. In this year, Victor Records signed Jimmie Rodgers and the Carter Family.

Jimmie Rodgers - Photo   by    avikovacevich  (cc)

Jimmie Rodgers was born in Meridian Mississippi, in 1897. Originally he worked on the railroads until his ill health got the better of him and it was only during this time that he followed his earlier love of entertaining. In 1927 he followed word that Victor Records were setting up a portable recording studio and made his way there. He was immediately signed and continued recording and playing music until he died in 1933.

In 1965 he was one of the very first musicians to be added to the Country Music Hall of Fame in 1961 along with Hank Williams and Fred Rose. On the same day as Jimmie Rodgers signed with Victor Records, so did the Carter Family, who would become one of the most famous country music bands of all time. They remained with Victor Records until 1936. Not even divorce could separate the band though and they continued to record with Decca until 1939. Things started to hit a rough patch at this stage and despite signing for Universal and eventually Victor Records again, the band split in 1941.

It is widely acknowledged that that big day in 1927 was the introduction of country music to the rest of the country. Jimmie Rodgers and the Carter Family were met with huge critical acclaim and became incredibly popular helping to sell a great many records. Country music singers and bands of today will often talk about the Carter Family or Jimmie Rodgers as being their major influence and with very good reason.

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Everything You Need to Know About the Violin From A-Z - The MESSIAH STRADIVARIUS

The Messiah Stradivarius violin by Antonio Stradivari,
on display at the Ashmolean museum
(Photo credit: Wikipedia)

Hello, today I am continuing with my series everything you need to know about the violin from A-Z. We are now on M for the Messiah. The messiah is a violin made by the legendary Italian luthier Antonio Stradivari of Cremona. The messiah remained in the Stradivarius work shop until his death. After which it was sold and went through many hands finally arriving with French luthier Jean Baptiste Vuillaume.

Where does the name messiah come from?

Vuillaume had bought the violin from a travelling Italian violin dealer named Luigi Tarisio who had constantly boasted of a beautiful violin he had discovered but never brought forth to show anyone.

Upon hearing this the French violinist Delphin Alard, who was son in law to Vuillaume exclaimed "Your violin is like the messiah one waits for him but he never appears!" Thus the violin was baptized with the name Messiah.

When Tarisio died in 1855 Vauillaume, realizing that Tarisio had a large stock of valuable Italian violins, traveled to a farm near Milan belonging to Tarisio where he found and purchased over a 140 instruments including the messiah which had apparently never been used. Even though it was nearly 150 years old it looked as if it had just came from Stradivari's hands

The Messiah was bequeathed to the Ashmolean Museum in Oxford, England. The conditions in the will of the former owner being that the Museum can never allow the violin to be played. Because of this the instrument is in pristine conditions as it has apparently never been played, it is now one of the most valuable Stradivari violins.

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

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Beginning ACOUSTIC GUITAR

So you have decided the acoustic guitar is the instrument for you. What are the first steps to take to get your guitar playing off to a flying start?  How about we cover the really basic stuff here, like what kind of music will I be playing? Am I aiming to be a professional guitarist? What type of amplifier do acoustic guitar players use, and what strings are best for which genre of music?

After we have covered these topics you will have a clear idea of the way ahead in your guitar playing career.

Right, so what is your acoustic guitar repertoire going to consist of? Which music attracted you to the acoustic guitar should really be your guide here. The most obvious acoustic genre for many people is folk music. This genre really took off as a form of popular music in the 1960's and now there's a tremendous volume of material for you to choose from. A lot of musicians who are interested in singing ballads go for the acoustic guitar because it's so easy to pick up the instrument and go ahead and sing. Providing your guitar is in tune of course. But in general the acoustic guitar is a great companion for the ballad singer because it won't compete with your vocals.

While we are on the subject of repertoire, don't forget the acoustic guitar is ideal for singing your own simple arrangements of popular songs from many styles of music. Two examples of rock and roll songs that were hits all over again as acoustic ballads are "Layla" by Eric Clapton and "Light My Fire" originally recorded by The Doors, and reworked by Jose Feliciano.

To let your audience hear your playing, you can choose to amplify your guitar by simply playing into a microphone as classical or flamenco guitarists do, or make use of a pickup and an amplifier. The question of which amp to use is a matter for experimentation and talking it over with more experienced guitarists. Generally speaking you wouldn't need any kind of effects for acoustic guitar music; it just needs to have the volume to reach your audience in a restaurant or hall. So just bear in mind you are looking for a nice clear sound from your amp to help carry your vocals rather than set up shop in competition with them.

The choice of strings for the beginner acoustic guitarist is a no-brainer. Learn on nylon strings till your fingers are toughened up. You will form callouses on the tips of your fingers during the first few weeks of playing, after that you can start on a steel string guitar if you wish without slicing your fingers. Regarding the sound of the different kinds of strings, nylon will give you a mellow, unobtrusive sound, and steel strings have a sharper sound which demands attention from the audience. This can augment your vocals and enable you to do solos if you want to.

Now you have got the basic topics covered all that's left for you to do is enjoy your journey as an acoustic guitar player.

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5 String BANJO Setup - Making Your Bluegrass Banjo Sound Better

I've been picking 5 string bluegrass banjo for 26+ years, and I've been teaching for many of those years. I've seen many banjos come and go, and I know that the average student needs a couple of pointers for making their banjo sound as good as it can.

5 String Banjo - Photo   by      deovolenti

If I were to have 10 new students start today, I know that 6 or 7 of those students would say to me: "I've had this old banjo in the closet for 20 years and I thought it was time to learn how to play it." What most don't know is that even just sitting in a closet, the banjo gets out of adjustment. Some tender loving care is needed!

*Important*: 

There is no substitution for a nice instrument. It's a fact that a low-end instrument is just harder to learn on. It's tougher to play, tougher to manipulate. If you play a low-end banjo for some time, then switch to a higher quality instrument, you'll be amazed at how much easier it is to play. Most students start out on the cheap instrument to learn with, then switch into the "Cadillac" a few years in. This is backwards. You should give yourself the benefit of learning on something that's easy to play, right from the get-go. Having said that, many people don't have the budget for an expensive banjo, plus they might have an old banjo already in hand, ready to be learned on. This article will help those people. Just don't fool yourself into thinking that we're going to make your cheap, $100 Japanese made banjo sound like a Gibson Mastertone. We'll make it sound better, but we aren't going to turn a Ford Escort into a Cadillac by any means.

Item #1: new strings

Perhaps one of the most dramatic changes you can make to the overall sound of your banjo is to change the strings. This is not tough, and you can do this at home. One big consideration is to watch your string gauge. Most of the string manufacturers label their string sets with words like light gauge, medim light, medium, etc. My recommendation is to go with medium light; you'll find mediums way too tough on your fingers. If you have slight fingers or are young, you might even prefer light gauge strings. You'll have to try different sets to develop a preference.

A good recommended string changing interval is to change the strings after each 8 hours of playing time. And if you are pulling the banjo out of the closet for the first time in many weeks, months, or years, definitely get them changed. Strings corrode, wear out, rust, become dull, etc., even if the banjo is just sitting in the closet. Consult the author's information to contact me with questions.

Item #2: set the bridge

The bridge is that little wooden piece that the strings pass over, just before they reach the end of the banjo. If the bridge is out of place, your banjo won't make the proper notes. The bridge is not fastened down; it's held in place by the pressure of the strings, and it can be moved around. To set the bridge, you'll need an electronic tuner.

Measure the distance from the nut to the 12th fret. Then, make the distance from the 12th fret to the bridge the same. Once this is done, tune your banjo. Once in tune, fret the 1st string (the higher of the two D strings) at the 17th fret, and see what your tuner is telling you. When the bridge is set right, this will be an in tune G note. If the tuner says the note is too sharp, then scoot the bridge back towards the tail piece just a little. Retune, then check again. If the tuner says the note is flat, scoot the bridge towards the neck just a little. Retune, then check again. Keep checking, moving, and retuning until the 1st string, when fretted at the 17th fret, is showing an in tune G note.

*Handy tip*: Once the bridge is set, then each time you do a string change in the future, just do one string at a time so that the bridge doesn't move on you.

Item #3: the head

This is an adjustment that tends to make quite a difference on the overall sound of the banjo. Most beginners are afraid of this one, but there's no need to be. All you need are some nut drivers or sockets, and maybe a screwdriver. It's fairly straight-forward. Coincidentally, the head is the white "skin" that you can play like a drum; the big white circle that makes up the face of the banjo. When the brackets that hold the head tightly work themselves loose, then the head becomes "mooshy" and "tubby" sounding. A crisp, tight head gives you that classic banjo zing!

The first step is to remove the back of the banjo (this is called the resonator.) Most banjos have 4 thumb screws holding the resonator on. Usually no tools are needed to remove these screws. Sometimes, you'll need a screwdriver to remove the screws holding the back on.

Turn the banjo upside down, and notice the "fingers", or brackets, ringing the banjo. At the bottom end of these brackets are bracket nuts. These brackets and nuts are just fancy nuts and bolts; nothing to 'em. Grab your sockets or nut drivers, and figure out which size will fit over your bracket nuts. 

Once you have the correct tool, start with one nut and tighten it. 

*Important*: don't crank down with all your might! Simply "snug" this bracket. It's possible to spit or crack the head if you crank on these nuts. Snug the nut with very little force, then move to the next one.

Most banjo repairmen say that you should do one nut, then move to the one directly across from it, on the other side of the banjo, and tighten it. Work your way around the banjo, tightening each pair this way. Remember to just barely snug up the nut.

Once you return to the one you started with, you'll likely find it loose again. It's very common to have to make 3 or 4 passes around the banjo before you get everything snugged down. When you have everything crisp and tight, put the resonator back on and enjoy!

In closing

With a little tender loving care, you can squeak some more life out of your old, low-end banjo. I always recommend buying the most banjo you can afford, but reality proves that we'll have to work with what we have available to us. Get your old banjo set up using these simple pointers, and you'll be happier with the overall sound and playability.

"Wunse, I coodn't even spel bango pikker...now I are one!"

My name is Banjo Paul. I'm a banjo teacher, a member of two bluegrass bands, a web designer, and a professional blogger. I have a banjo themed website and blog with lot's of good information about banjos, banjo humor, banjo lessons, banjo kulture...errr...culture...and lot's more. I'd love for you to stop by and say howdy sometime, and as I always say: pick 'em if ya got 'em!

By Paul Pope - Banjo Paul Article Source: EzineArticles

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Beginning TRUMPET Players Beware!

In the world of a beginning brass student (trumpet, trombone, euphonium, baritone,tuba), things look very overwhelming and the teacher seems to be the all knowing, so what the brass teacher says, usually seems as though it's the only way for things to be done.

Trumpet with sunlight streaming into Knox Chapel, taken during Christmas concert
(Photo credit: Wikipedia)

Brass teachers can tend to leave holes in the instructions to a young student as to the proper way for them to produce sound.  Most trumpet students end up with a pinched sound or extremely airy sound due to the lips not properly forming a relaxed embouchure.  This eventually leads to extreme frustration for the student and seems absolutely insurmountable because they can't find the answer to correct their problems.

Basically, by relaxing the upper lip, lower lip, and using the mouth corners to create the aperture the student can instantly create a relaxed open sound without having to over blow.

If the student is under the impression that it takes "talent" or a "natural ability" to play their instrument, this can also create a defeated feeling.  So it's VITAL that the trumpet instructor / brass instructor relay the message to each student that it is habit that is being created when practicing.  So if the student is careless in the beginning, they will have habits that they must fix or break in months and years to come.  I've found that sound problems usually indicate far more than just tonality issues.  A trumpeter's tone can indicate pinching, an overly open aperture, a lack of air usage, or a strained embouchure.  This will inhibit flexibility, range, endurance, and control of various volumes!

Keith Fiala / Anna Romano Article Directory: EzineArticles

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The Pucky Sounds of the Classical HARPSICHORD

The harpsichord is related to the organ and the piano, to mention a couple that has been created with the same idea of the harpsichord. The harpsichord was developed around the same time that the clavichord came around, which was sometime during the 16th century. It is a stringed instrument that is played by pressing the keys. When each key is pressed, it strikes the string and this is what causes the string to vibrate in order to make a sound.

Harpsichord- Photo   by     Princess Ruto

For a while, the harpsichord was a popular instrument that was often used during the baroque music period. Its popularity may have been maintained had it not been for the creation of the piano. Once the piano was created, popularity fell from the harpsichord as the piano became the preferred instrument.

The harpsichords design is not too different from that of the piano, probably because the basic design of the piano originated from the harpsichord. The sounds produced from the strings of the harpsichord alone are not very loud. In order to enhance the sound, each string is set over a bridge that allowed the string to vibrate freely. The harpsichord also resembles the piano in appearance when one takes the time to compare the two.

With such similarities, one might wonder why most would abandon the harpsichord for the piano when the piano was invented. It could have been that the piano was more efficient and more versatile than the harpsichord, though the harpsichord is still played today in modern music. While it may never again be anywhere near as popular as it once was, the harpsichord appears to still have a place in music and it might never be obsolete. While it shares similarities with the piano, it is still its own unique instrument that offers its own unique sound.

While most will favor the piano over the harpsichord, there are some who play the harpsichord because they like the sound. It is not an overly complicated instrument to learn how to play. Someone who has interest in learning how to play it and finds a good teacher will have little trouble. The sheet music is also fairly basic and few will have much difficulty in gaining good control of the instrument. Someone who is familiar with playing the piano will have even less difficulty because the basics are more or less the same.

Finding a harpsichord to play might not be as easy as finding a piano, but they are still being constructed. Finding a used one might the best idea for someone who is new to playing the instrument because a new one can be quite expensive. Finding a teacher who can teach the harpsichord may also prove easier than one would think. Again, the basics of playing the harpsichord are not too different from the basics of playing the piano. They are related instruments and share many similarities that make it possible for one to have little trouble in playing both. The harpsichord is certainly an instrument that is worth the effort for anyone interested enough to give it a try.

By Victor Epand Victor Epand is an expert consultant for used CDs, autographed CDs, and used musical instruments. Article Source: EzineArtilces

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