Remarkable craftsmanship is evident in the Italian violins of old. The devotion of the early Italian luthiers to this instrument is evident. One only has to listen or gaze upon a violin made during this era to see that it has earned the reputation of a "holy grail" of violins. In this article, a brief look at three master crafters from the Italian school of Cremona will be examined.
Nicolo Amati, born 1596, was the son and disciple of Girolamo Amati. He is considered the finest luthier of his family. Among the many beloved attributes of Amati's violins is their brilliant varnish in shades from yellow-brown to a golden red. Equally captivating is their tone which is penetrating and sweet but, because of the higher arching, lack the sheer power of a Stradivari. The length of his violins was mostly 14 inches or slightly under. Many of his family were lost to the plague, but Nicolo survived to become the master of the greatest violin maker who ever lived, Antonio Stradivari. Nicolo Amati died in 1684.
Antonio Stradivari was making violins up to the year of his death in 1737. He often inscribed his age on the labels, with one displaying "d'Anni 93" as a reference to his age of 93 at the time of the violin's creation. Born in 1644, Stradivari was described as a tall, lean man wearing a white wool cap with a leather apron. This description was given by the violin virtuoso, Polledro. Stradivari violins show evidence of being a pupil of Nicolo Amati. It is alleged that Amanti began to teach him at 11 years old.
Carlo Bergonzi, born 1676, worked in the workshop of Antonio Stradivari (in whose house he lived after 1746). It is said that he was the favorite pupil of Stradivari. Bergonzi's violins have a magnificent, brilliant tone capable of reaching the corners of the largest concert hall and are well-liked as concert instruments. Bergonzi inherited all the working materials of Stradivari in 1742. Bergonzi died in 1747.
The Cremona school of violin making is highly esteemed in the violin world today and it is due in no small part to the love of the violin demonstrated by these three Italian luthiers in their workmanship which has stood the test of time.
By Daniel Wright If you're browsing for violins, be sure to consider one of the fine Italian violins available at Ye Olde Violin Shoppe such as the Amati violin. Home to the master luthiers of yesterday and today, as well as a violin forum!
Klezmer band playing on Decatur Street (Photo credit: Wikipedia)
Tango and Klezmer musical influence worldwide has been and continues to be actually notorious. Both music genres have had a great impact all around the world. Both music types are still played and heard in the most important concert halls around the globe. Both have become part of the international world music scenes, and have thousands of followers. It is true that on the one hand, we are dealing with attempts to counter the cultural globalization by preserving the feelings of an authentic and clear identity.
However, on the other hand, the world has long become the musician's source for all sorts of musical set pieces, enabling them to experiment with and develop their music in a way that would never have been possible in a culturally more rigid and confined environment.
There are Tango, Klezmer groups, bands, singers on professional, semi-professional, and amateur levels all around the world. In addition, there are also millions of people striving to learn how to dance the tango or go deeper into klezmer music. What is more, many people can even travel long distances to achieve those goals. Therefore, this fact demonstrates the great relevance, as well as the important place both genres occupy in the musical world nowadays.
Tango and Klezmer cannot be classified as ethnic music. Both genres are spread all around the world and are played by musicians of all origins. Although klezmer is considered as a Jewish music it is played by numerous non-Jewish players.
Ethnic music connects a community to a selected component of its past, and obviously, there is no Tango community nor a homogenous Jewish entity.
To conclude, both tango and klezmer genres have made great contributions to the music world. Both with their similar as well as distinct characteristics have been internationally influential, and have also found the way to success through the years. Their music lives on and it will certainly continue like this for years to come.
Springsteen performing on the Tunnel of Love Express at the Radrennbahn Weißensee in East Berlin on July 19, 1988. (Photo credit: Wikipedia)
The embodiment of the American dream
Bruce Springsteen, an influential American singer-songwriter, and guitarist was born in 1949 in a small New-Jersean town. He made up his mind to be a musician at 7, having seen Elvis Presley’s concert on TV. His parents were rather poor, and Bruce’s mother had to take a loan to buy him a good guitar. That is why the main themes of Springsteen’s music are people living from hand to mouth and politics. Bruce started making performances in 1965, in 1972 he gathered the E Street Band, though for a couple of years it was not called so.
Springsteen and the E Street Band worked together for many years, though parted in 1989. Bruce Springsteen is best known for his albums Born To Run and Born In The U.S.A. He has multiple Grammies and an Oscar for the Philadelphia soundtrack. He is also the inventor of lo-fi music that became the cult genre now among indie-rockers. In the early 2000s, Springsteen reunited with the E Street Band. In 2007 the artist recorded Magic, his long-awaited and first in about 5 years album with the E Street Band.
Magic: magically good
Magic contains 10 brand new songs by Springsteen and one already heard, Long Walk Home. The first single from the album, Radio Nowhere, is a very touching composition with deep lyrics. Girls In Their Summer Clothes is a very good rock song with the E Street Band have done their best. A very beautiful work is for sure Gypsy Byker, it has an upbeat romantic melody reminding of traveling at high speeds on the American highways.
Magic, the title track of the album, can boast of a wonderful arrangement and meditative melody, creating magical atmosphere thanks to the rhythmic tinkling of the tambourine. The final track on Magic, Devil’s Arcade, is the only one that deals with politics. It has a very strong lyrics and powerful images that are sure to leave no one calm. This song gives a perfect insight into Springsteen’s origination and his political views. Moreover, after listening to it leaves everyone with a clear own view on these questions even if you are far from it all.
New masterpiece of the American rock-idol
Magic is the less politically oriented album by Springsteen in the last decade. The several previous albums (both with the E Street Band and without) were dedicated to the protests against George W. Bush as a candidate at the presidential elections, the Iraq War and the tragedy of September 11, 2001. The reason for such change is not commented by the musician. Maybe he just got tired of politics. Moreover, Magic was recorded in an extremely amusing way - during two months the E Street Band recorded on weekends, while Springsteen and his producer Brendan O’Brien worked over the vocals and made the dubbing on weekdays.
It can be said about the result that this album is also the most guitar accentuated of all Springsteen’s creativity. And as for the sound, there are more romantic and pop moments on Magic that were not typical of Bruce recently, though were very usual on his very first records. Anyway, it is an extremely good rock record by Springsteen and his friends from the E Street Band that has great moments and for sure features, some of the best songs Bruce has ever written.
Philharmonic Orchestra of Jalisco (Guadalajara, Jalisco, Mexico) (Photo credit: Wikipedia)
Going out to the Orchestra, Opera, Musical Theatre or Mass is a past time which many people enjoy. Music plays a great part in many peoples lives, whether it is to listen to or take part in. These groups mentioned earlier all consist of an orchestra. So, what is an orchestra?
The word Orchestra comes from ancient Greek. It originally meant the semi-circular space in front of the stage in a theatre where the chorus in a Greek play danced or sang. Later, at the beginning of the seventeenth century when the first Italian Operas were performed, a small group of musicians accompanied the singers and were seated in a similar space in front of the stage. And so the word Orchestra came to mean a body of musicians.
There are various types of orchestras. The group size may be large or small and a conductor usually directs them.
Large orchestras of around one hundred musicians are seen in most large cities and perform in a variety of settings. They are often called:
1. Symphony Orchestra because of the symphonies they play which require a large number of musicians. They also play a wide range of other music.
2. Philharmonic Orchestra which means 'loving harmony of music"
Smaller Orchestras come in varying types and styles and include the following:
1. Chamber Orchestra: This orchestra usually consists of about twenty players who can comfortably perform in a large room of a mansion, hence the name. music performed consists of works from the eighteenth century eg from Bach and Mozart, and also more modern works.
2. Small Orchestra: This orchestra is slightly larger than the chamber orchestra and plays more modern works.
3. Theatre Orchestras: These orchestras accompany musical theatre, opera, ballets and can consist of up to sixty players.
4. String Orchestra: This orchestra consists of around twenty string instrumentalists only. Music played is classical and modern.
5. Jazz and Concert Orchestras which play and record light music.
It is interesting to note that a group of wind instrumentalists playing together is usually called a Band eg Symphonic Band
So what are the instruments of a typical Symphony Orchestra?
There are four main groups of instruments which play in a symphony orchestra.
String Instruments take up about two thirds or three-quarters of the entire orchestra. They consist of around 32 violins ( first and second ), 12 violas, 10 cellos and 8 double basses plus one or two harps.
Woodwind Instruments consist of flutes, clarinets, oboes, and bassoons. There are usually around 2 to 4 players of each of these instruments. One player from each instrument type may double up to a higher or lower version of that instrument eg flute players double up with a piccolo which is a shorter, higher flute.
Brass Instruments consist of trumpets, horns, trombones, tuba(s) and sometimes a cornet. The numbers vary depending on the work performed. Some modern works can use 6 trumpets, 8 horns, 4 trombones and 2or 3 tubas.
Percussion Instruments consist of 4 to 5 players. The instruments are varied and are shaken, rubbed or struck Examples used in a symphony orchestra are the timpani, tam-tam, cymbals, triangle, tambourines and various kinds of drums.
Where do these instrumentalists sit?
A typical symphony orchestra has a seating plan in the shape of a semi-circle ( from the original meaning of Orchestra ) with a conductor in the middle front on a raised stand. The layout can vary according to the conductor used.
The violins sit to the left of the conductor in order of first violins near stage edge and second violins next to the firsts. the cellos (stage edge ) and violas sit to the right of the conductor, with the double basses behind. The woodwinds sit in the middle with the flutes ( front ) and clarinets ( back ) to the left and oboes ( front ) and bassoons ( back ) to the right. The brass sits behind the woodwinds. And the percussion sit at the back of the orchestra
What does the Conductor do?
The conductor directs the orchestra with use of a baton and their arms. They indicate to the musicians all sorts of things like music speed, rhythm, an expression like loud and soft playing and bringing in the instrumentalists at the correct place. In rehearsal, they correct musicians on these aspects. The principal violin, who is the leader of the orchestra, is responsible for the discipline of musicians during rehearsal.
As you can see, there are a variety of orchestras which have varying numbers of people and instruments. A symphony orchestra is just one type of orchestra and consists of a large number of string, woodwind, brass and percussion players. Orchestras usually have a conductor who directs the musicians and gives the music spark.
By Hilary Daglish Are you an orchestral player and need to update your instrument? Or maybe you want to learn an orchestral instrument. Take a look here. Are you interested in sheet music? Take a look here. Article Source: EzineArticles
As a former talent booking agent with the William Morris Agency, I know the struggles and the emotional whirlwinds that often face young singers attempting to find their niche in the music industry. Satisfying the desire to become successful in the music industry is not easily achieved or obtained, but those who make it, are well aware of the rewards.
In an effort to increase your odds and to obtain any “real” recognition in the music industry, whether as an artist, jingle singer, or just plain session singing, let’s take a closer look at a few factors that might increase your odds. Notice, I didn’t say do this or that and it’s a done deal. If you’re familiar at all with the music industry you are well too familiar that some make it with virtually no talent at all and others, with incredible style, look and drive, never even get the slightest nod from music industry executives.
To begin with – What’s your career blueprint look like? What are you doing from a pre-determined game plan right now? Have you actually taken the time over a cup of coffee and sat down with a pad and pencil and jotted down
1) your goals, short-term, and long-term
2) your overall game plan and
3) how you are going to implement your to-do list to get to your end goal?
I’m surprised to learn how few really get this far. Sure, many sit in the car or on the couch “thinking about life and their career” and have a general idea, but until you put it down on paper and follow through with a course of action, you might as well forget it. Start by writing down your goals with a course of action and break it down with what you can do this month, this week and what I can get done today - This will help you to not only stay focused but give you the boost when you feel like giving up.
Next, now that you’ve figured out what you want to do and how you’re going to go about doing it with a set blueprint, what does your demo sound like? It can’t just sound pretty good – And yes, this does take time and money - $75 demos won’t get the job done. Good and pretty good won’t get it – It has to knock their socks off and turn the heads of the listeners. Yes, as I mentioned earlier, some with virtually little talent get in, but what I’m talking about here is reflected in an overall picture of what’s being sent to the A&R director, producer, etc. Not only does this demo sound great, but “Should we use it as the final mix in the CD, because it’s already in the pocket and we won’t have to spend any more production money re-cutting any of these songs.” That’s how good your demo’s should be – And as an aspiring jingle singer, don’t settle for a “mom and pop” or car commercially sounding demo reel. Your jingles ought to sound like they’re national TV and radio spots like you’ve already arrived.
The next important element, almost as important as the music itself, is your press kit and how you present yourself to industry professionals. I will break this up into 2 segments the first on the artist press kit and secondly phone calls and interviews. Anything that you send out in print or on your CD, has got to look like you’re established and you’ve already made it. Make sure that your CD covers are printed on gloss paper with high-quality photographs of you or the band. Managers, producers, and A&R directors alike are more inclined to pick up an act that looks together. They don’t have time to figure out if this poorly imaged act has what it takes or not – And they very well might – But they don’t have the presentation. In here lies what I consider to be your greatest ally. If you will spend time and money to have your artist press kit not only look professional but with an edge, you can convey 1) your image, 2) your marketability, 3) and your dedication and sincerity – This is not a fleeting moment or idea for you. You’re in this for the long haul and your presentation states that. Make anything in print that you send out, shine.
The next part of your presentation is in the phone calls, meetings, and grin and grip events, whether concerts, showcases or otherwise. If you don’t have a natural ability to interact with individuals, you are going to have to practice. And furthermore, there’s nothing wrong, and I would suggest, writing down on paper anything that you want to come to mind before a phone conversation even begins. If you’re bad with names, as many of us are, have those names written down, easily obtained in the middle of a call. Prepare as much as you can before the conversation and be honest. Honesty goes long ways with people. Most in the industry have “heard it all” and it’s so refreshing to hear somebody state, “I’m not sure, but I’ll find out.” Speak with sincerity, honesty, but with confidence as well. After all, you’ve got something unique and it’s your vocal career. You need to sell them, but they also need to recognize the obvious, and that is that they’ve just discovered the next…
So as you begin or at least start looking at your singing career, look at these simple to implement principals that we have just looked at and know ahead of time that you are going to be specific, analytic, and purposeful in your singing career strategies. Take a look at your strengths and weaknesses and be honest. Ask others. Don’t be afraid to change course or look at other singing alternatives as well. We know that short articles are difficult to present every point of the equation, so don’t hesitate to contact us should you have further questions.
A centenary statue of Pau Casals at Montserrat, (Photo credit: Wikipedia)
Pablo Casals was a past master of the cello. He was the virtuoso of the 20th century. he was a Spanish cellist, pianist, composer, conductor, and humanitarian. As a solo cellist he was known for his beautiful tone and intellectual strength, and he introduced Bach 's cello suites into the baroque repertoire. He was considered by many as one of the world's truly great artists, who plays for them on his cello in the garden of the Governor's palace. Casal not only was Spanish, but he also had some latino blood in him, the renowned cellist who was born in Spain to a Puerto Rican mother, and later on in his life, he did a few concerts in San Juan de Puerto Rico in honor of his mother.
Pablo Casal, the celebrated Silesia-born maestro is known not only for his musical excellence but also for his humanitarian involvement (he has, for instance, taking part in peaceful demonstrations -- something that is rather unusual for a conductor) and his kindness. He was such an amazing human being an artist that they created in his name, The Pablo Casals Festival. A Music Festival that is now dedicated to chamber music and takes place between July 26 and August 13, attracting the most renowned performers as well as major ensembles. Most concerts are performed in the medieval monastery of St. From the perspective of responsible promotion, the International Pablo Casals Cello Competition awards prizes and scholarships and arranges international performance opportunities for the top prizewinners.
Pablo Casal as a great cello performed played at the United Nations (1958) and the White House (1961) and conducted a celebrated concert of some 80 cellists at Lincoln Center (1972).
Although later in his career he became most noted for his choral and other church-related compositions, he also left a large body of instrumental music for solo instruments and ensembles. While his popular reputation was eclipsed by the fame of his sons, he was revered by musicians and composers.
One of the things that I like the most about the personality of Pablo Casal, is how he was such a humanitarian of deep principle. He even refused to play in Hitler's Germany, Casals was implacably opposed to Franco's regime (Spanish dictator) and in 1939 – threatened with execution if he returned to Spain – he went into exile in southern France.
After World War II, feeling that Britain and America were appeasing Franco, he abruptly stopped playing in public – breaking off a London recording session with Haydn's D major Concerto two-thirds done. Casals was an ardent supporter of the Spanish Republican government, and after its defeat vowed never to return to Spain until democracy was restored.
He settled in the French village of Prades, on the Spanish frontier; between 1939 and 1942 he made sporadic appearances as a cellist in the unoccupied zone of southern France and in Switzerland. When Casals died in Puerto Rico in 1973 at the age of 97, the Casals Festival was 16 years old and attracting the same class of performers who appeared at the Pablo Casals Festival in France, founded by Casals after World War II.
Trumpet player Maynard Ferguson (Photo credit: Wikipedia)
The trumpet is an instrument that is a member of the brass family, though it has also been referred to as a wind or an aerophone instrument, and has the highest register among all the brass instruments. The trumpet is made out of brass tubing that is narrowest at the mouthpiece and widest at the end.
This particular instrument, like other brass instruments, is played by blowing into the mouthpiece through closed lips to create a vibration. The instrument as three keys or piston valves that work to alter the sound produced, often creating a lower pitch. Each valve will lower the sound the trumpet makes as it is pressed down by the musician. There are also different kinds of trumpets that are tuned to different notes. The most common trumpet played is known as the B-flat trumpet. Other types of trumpets that are played but are not as common are the C, D, E, F, G, and A.
Surprisingly enough, the trumpet has been around for a very long time, even if the earlier trumpets did not look like the trumpets people are more familiar with today. The earliest proof of the existence of trumpets goes back as far as 1500 BC, though it is believed that trumpets could have easily existed before this as well.
Another interesting note about the trumpet is that it was not originally used for music. Instead, it was used for signaling purposes for religious ceremonies or military use. It really was not until medieval times that the trumpet started to be used more as a musical instrument instead of being limited to previous purposes. In fact, it was even seen as a special talent, which those who played would keep to themselves because it was regarded as a guarded craft. It was after this time that the trumpet really started to change, as improvements and adaptations were made to have the trumpet keep up with its demands. Even with these improvements, the addition of the valves on the trumpet did not occur until the early to mid-1800s.
It appears that few young people will take up the instrument instead of popular instruments like the guitar and the piano. A common misconception is that it is really simple to play, but the truth is that it can be a little complex. One has to have good control of the air that they blow into the trumpet in order to get the right sound. Some will take an interest in the trumpet because they appreciate its bold and bright sound. It is common in marching bands, in the military and is also common in schools.
It is a relatively inexpensive instrument to play in comparison to others, so school bands will sometimes be able to teach students who want to learn it. Its drawback for many people is that it does not have a wide range of sounds and many who want to learn how to play an instrument are looking for something that can create a variety of different sounds.
Victor Epand is an expert consultant for used CDs, autographed CDs, and used musical instruments.
Tapping on a bass guitar (Photo credit: Wikipedia)
Bass guitar tab is an extremely popular way of writing bass guitar music. If you are interested in becoming a bass guitarist you need to get familiar with bass guitar music by playing the bass lines of some of your favorite songs before you let your inner bass player off the chain. Utilizing this handy tool you can learn how to be the bass player in a band quickly without getting too much into boring theory.
The bass player's job is simply to keep time. Nothing could be easier. Until you try to do it. So what is actually involved? The bass guitar player keeps time by playing a 'bassline' which is usually a rhythmic' sequence of notes. The bass player brings together the rhythmic playing of the drummer with the melodies and chords played by the lead guitarist. Do you need to be a talented musician to do this? Yes, you do. The bass guitar player is the guy who switches off his brain and becomes one with the flow of the music. He then switches his brain back on and become the designated driver for the rest of the band.
A novice bass guitarist may not immediately be able to follow (or lead) the rest of the band right from the start. You might need some material to work with while you ease into the job. Bass guitar tab gives the guitar player written directions on what to play to give the bass line to a song. Tablature is a written representation of the strings of the guitar using numbers to show the frets. If you want to learn the bass guitar quickly tab will help you. It is easy to pick up and to remember, and it enables you to learn the riffs and phrases you need to give structure to your band's music.
A bass guitar tab is a picture of the fretboard which can be drawn using Notepad on your computer or, if you like, by hand. The frets are numbered on lines representing the guitar strings. If you have a four string bass, the upper string is the G string, next to the D string, the A string, and the E string. The numbers below the lines are the frets where the notes are played. If there is zero below the line it means the open string is played. A chord is represented in bass guitar tabs by two numbers, one above the other. Most bass guitar tabs contain a legend which explains any unfamiliar terms.
With the history of rock music going back for generations, tabs are available for any song you can think of. The internet is by far the best source for bass guitar tabs. Just do a Google search and you will have more material than you will ever need. All you have to do is learn and practice. Learn and practice your favorite songs first. Bass guitar is not a musical instrument you can approach without passion. Bass guitar riffs can be learned from tab books but should be played from the heart.
Yehudi Menuhin à l'âge de 12 ans - Photo: Wikimedia
Wow! we have almost reached the end of the series violin from A-Z. Today we are on Y for Yehudi Menuhin. Yehudi Menuhin is regarded as the greatest violin virtuoso ever to have lived.
He was born in New York to Russian Jewish parents but later became a citizen of Switzerland and the United Kingdom. Yehudi began receiving violin lessons at the age of three and displayed an extraordinary talent for someone so young. His first solo performance was at the age of seven with the San Francisco Symphony at Carnegie Hall. As a child and teenager, his fame was phenomenal Albert Einstein is said to have exclaimed at the end of one of his concerts "Now I know there is a God."
During world war two Yehudi performed for performing for the allied soldiers he also performed for the inmates of the Bergen-Belsen concentration camp upon its liberation. During this time he experienced physical and artistic difficulties caused by overwork as well as unfocused practice. He overcame these difficulties using meditation and yoga.
He has married twice first to Nola Nicholas an Australian he had two children with her. They divorced in 1947 after which he married the British Ballerina and actress Diana Gould together they had two sons and another child which died shortly after birth. Menuhin continued to perform well into old age and died in Berlin Germany from complications of bronchitis.
The name Yehudi means Jew in Hebrew. His name comes from an incident when his parents were looking for a new apartment; the landlady told them that she would never rent to Jews. His mother was so angry that she vowed that her new baby would have a name that proclaimed his race to all the world.
Whether you are watching a parade, listening to an orchestra, or attending a jazz ensemble nothing can capture your attention more than when the brass instruments play. They are bold, rich, exciting, and majestic. They have a certain unique regal tone that commands people to sit up and take notice.
Interestingly though, just because they are called brass instruments does not mean that they are just made of brass. Other materials that have been used in their construction include wood, cane, horn, tusk, clay, and even crystal. In addition, most saxophones and flutes and many clarinets are made of brass but are categorized as woodwind instruments, not brass instruments.
Brass instruments have descended from ancient horns. Their first use was in military, royal, or hunting contexts. Curt Sachs reported that even around 1250BC the si-im was played which is depicted as a short and thick horn played with a large frame drum. There was evidence found that around 1400BC straight trumpets were played by soldiers. A trumpet-shaped music instrument was even found in Tutankhamen's tomb. It was not until the late 1600's that brass instruments acquired a new role as an art instrument. During this time, physical alterations were made to them to allow for improved ease of fingering and made blowing less effortful. These improvements enhanced their artistic role and they became a regular member of the orchestra.
By the 1830's the first brass bands came into existence, most notably in England, Wales, and the United States. The first one in the U.S. was established by Allen Dodworth in 1834 as the Brass Band of New York. Beginning in 1860, mechanical changes were made which gave every instrument a complete scale of notes throughout the range. With these enhancements, brass instruments took on an even stronger, clearer, crisper sound. By 1900 there was an explosion in their popularity. Almost every park built a bandstand gazebo and some brass bands attracted 10-20,000 people. Their popularity declined after World War II but increased again in 1960.
Today, brass bands, or brass ensembles as they are more commonly called, continue to include brass instruments such as French horns, trumpets, euphoniums, tubas, trombones, etc. These groups play classical, Broadway, show tunes, marches, and pop/rock music. Some ensembles are not such brass instrument purists and include other instruments such as woodwind instruments, percussion instruments, bass, guitars, or keyboards. With additional instruments, a wider array of musical mixes can be played, such as Dixieland, jazz, rock, blues, or funk. An advantage of being in a brass ensemble is that the players have the freedom to take on roles usually reserved for other instruments. When in a brass ensemble each player has a responsibility to work as a team so not one person or music instrument dominates the sound. The focus of the group is cohesiveness with one mutual goal and a flexibility to accept other's ideas.
Brass instruments have had a long history since ancient times. They have acquired popularity through their ability to produce a rich, bold, exciting sound and their prevalence in so many musical genres. When we hear brass instruments we tend to pay attention and listen.
By Dianna Joseph Dianna Joseph is the owner of DJ Music Store. She is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible. Article Source: EzineArticles
Head and shoulders portrait of jazz musician Louis Armstrong. (Photo credit: Wikipedia)
Trumpets have been in existence since primitive times, but they did not really gain the recognition they deserved until the infiltration of jazz into the music world. When Buddy Bolden altered his own music style in the 1890's, it had the first inklings of what jazz music would become with its hearty spirit and spontaneity. He eventually leads the first genuine New Orleans jazz band. Continuing to invent jazz music was Freddie Keppard and Joe "King" Oliver playing the cornet as the lead instrument.
Then along came Louis Armstrong from a poor section of New Orleans where the heroes of the neighborhood were gamblers and pimps. His first musical instrument, within the family of trumpets, was a long, tin horn that he would blast while working on a coal delivery wagon to let clients know the wagon was coming. At age 10 Louis Armstrong had earned enough money to buy a battered cornet in a pawnshop. By age 11 he had left school, left his job, and organized a street corner quartet. Unfortunately, while on the street he committed some minor crimes and was sent to reform school at the age of 12. While in reform school Louis Armstrong joined the band and developed his talent. He became the leader of the band which changed his reputation. By the age of 13, he was back on the street and found small jobs to keep himself out of trouble.
As a teenager, Louis Armstrong worked with professional musicians and joined Fate Marable's band playing on a riverboat in Mississippi. By his early twenties, he could outplay any trumpets at cutting contests where soloists improvised until one was clearly outperforming the others. With the addition of 23-year-old Lois Armstrong to the Fletcher Henderson band in New York, the band began to really swing with their new featured soloist. A year later he formed his own group in Chicago called the Hot Five. He organized the band and music around the solos which became one of the key characteristics of modern jazz.
Louis Armstrong became known as the father of modern jazz trumpets and the first modern jazz soloist. He greatly extended the range of trumpets as he could hit high notes that none of his peers could reach. His main contribution to jazz was his sense of rhythm which had a natural beat that made anyone listening want to get up and dance. Louis Armstrong taught the world how to really swing. He also taught jazz musicians how to extend the melodic line with improvisations on trumpets. Louis Armstrong used trumpets to belt out loud, sharp cutting sounds that commanded his listeners to pay attention. He had made trumpets the leading instruments with cornets virtually disappearing from the jazz scene.
Trumpets were not the only driving force in Louis Armstrong's career. Not only did he extend the range of trumpets, but he also showcased the extension of his own range of talents. He had a unique compositional and vocal ability, he was comedic, he had charisma, and he had charm. All of these talents wrapped up together made for a famously popular musician and showman.
By Dianna Joseph Dianna Joseph is the owner of DJ Music Store. She is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible. Article Source: EzineArticles
Another day, another vindication. I had been asked to do this post because it's true that these pieces are everywhere. The first of these is featured in almost every lazy film where people are meant to look snooty while sipping tea out in their formal gardens while being served by extravagantly mustachioed butlers. The second has been hardly spared, either, though I will say that it was the first one that was most recently featured in a commercial touting colon health. What "Spring" from Vivaldi's Four Seasons has to do with the lower intestine is beyond me, but I suppose any publicity is good 250 years post-mortem.
Antonio Vivaldi was born during an earthquake in Venice in the year 1678. Well, perhaps not during the earthquake itself, but there was certainly one in the city that day. He was the contemporary of both Handel and Bach, and I suppose one could say he represents Italy in terms of great Baroque composers. His father was a violinist and perhaps a composer, and though not much is known for certain about Antonio's childhood, one can safely assume that he was taught much of what he knew by his father. Antonio was a student of the violin as well as composition - childhood respiratory illnesses kept him away from woodwinds, as well as other childhood activities, I'm sure. He began studying for the priesthood at 15 and was ordained at 25. His nickname, "The Red Priest," is the fusing of his original vocation as well as a nod to his red hair. That's right. Antonio Vivaldi was a ginger.
At 25, he also began a long working relationship with the Ospedale della Pietà in Venice, an orphanage that was oddly forward-thinking. There were five of these orphanages in Venice at the time, and while the boys were eventually trained for a trade, the girls were educated in music - and this was a HUGE deal, as women were generally not allowed to see music as anything more than a hobby. The Pietà featured a choir and orchestra entirely comprised of women and girls, and they were, by all accounts, incredible. Vivaldi began there as a violin teacher and spent many years working up the ranks at the orphanage until, in 1716, he was named the music director of the entire organization.
In 1705, when Vivaldi was 27, his first collection of compositions was published. These were mostly sonatas and other smaller forms of music, though he was about to embark on a long and decidedly fruitful career as an opera composer. Italy (both at the time, and, arguably, for about two hundred years afterward) was the center of opera - still a somewhat new art form at the time - and in 1713, Vivaldi jumped on the bandwagon with Ottone in villa. In his lifetime, he composed at least 50 and as many as 95 operas, and the fact that attention hasn't been paid to them is really quite surprising. Between the late 1710s and 1725, he moved around Italy, living in Mantua, Rome, and Milan, but by 1725 - the year The Four Seasons was premiered - he was back in Venice. He was wildly successful for a time, but by his middle age, he was considered out of style and moved to Vienna to try and make a fresh start. It didn't work out, unfortunately, and he died there at the age of 63, all but penniless. To rub salt in that indignity, Vivaldi was never given the 19th-century renaissance that Handel and Bach both (posthumously, of course) enjoyed. It wasn't until the 1920s that interest in Vivaldi was rekindled - and even now, he is really only known for one work, though his catalog is gigantic. But yes - enough lamenting his lack of acknowledgment. On to The Four Seasons.
The Four Seasons is a set of four violin concertos composed in 1723 and published in 1725 as the first third of a set of twelve. The concert itself is an interesting genre of music. Older than the symphony, it first appeared in the 17th century. The word "concerto" is thought to come from Italian words meaning "together" and "competition," which makes sense - in the concerto (and its slightly earlier counterpart, the concerto grosso, which simply translates to "big concerto"), musical material is passed between a large ensemble and a small ensemble (in the grosso) or a soloist. It is usually in three movements (opposed to the generally four-movement symphony), and by Vivaldi's time and afterward, it was used to highlight a solo instrument. Vivaldi was one of the early masters of the concerto, and it was his work that dictated the form of the style for many years after his time.
Beyond being a set of four elegant concertos, The Four Seasons may be one of the earliest examples of program music. Composers have tried for hundreds of years to evoke specific emotions or even concrete images with music. In vocal pieces, this is called word painting - an example being a rising melody line on words that imply height, such as 'mountain' or 'sky.' Program music takes this idea further by giving an entire narrative to instrumental music. The Four Seasons was written to accompany four sonnets that may have been written by Vivaldi himself, and if they were, then they are some of the earliest examples of programs being prescribed to instrumental pieces. Vivaldi liked the music he composed for the set so much that he transplanted the opening of the "Spring" concerto to the beginning of his pastoral opera Dorilla in Tempe. And today, well... it's been transplanted to people trying to make colon health fancy. Not exactly the highest of praise, I suppose, but at least it's something.
Are you looking for tips on how to sing deep or to just deepen your voice overall? This can give you more singing range and even help the sound of your voice when you're just talking. Men especially are often concerned with having a deeper voice but women too may find their voice is too "pitchy" or may sound nasal as well.
You can learn singing deep with a few simple tips to consider. First, remember to strengthen your diaphragm muscles in order to deepen your voice. This means working on your breathing; take deep, full breaths. They should be deliberate breaths that you pull slowly and hold for a few seconds before exhaling. You can also try panting quickly and deeply as well to strengthen the diaphragm.
Second, mind your posture. Remember that singing comes not just from the throat but from many different muscles in the body. Good posture will help those muscles to be properly aligned and ready to support that deep voice. Think of having a long tail that extends past your tailbone and how you want to stand up enough to support that tail. This will help train your posture to support those muscles as well. You also need to raise your chest and pull the shoulders back a bit so they too are properly aligned.
Learning how to sing deep is not difficult if you practice these simple tips. It helps to try them in between singing sessions. When you're at a microphone is not the time to start practicing your breathing! Your posture especially is something that should be a part of your everyday life; if you work on it regularly you'll just have naturally supportive posture. Try these tips and see if you don't notice a beautiful deepening of your singing voice!
as a great cello performed played at the United Nations (1958) and the White House (1961) and conducted a celebrated concert of some 80 cellists at Lincoln Center (1972).
