CLASSICAL MUSIC Development

Johann Sebastian Bach (Photo credit: Wikipedia)

Music in XVIII century (1600-1825)

There were two times in this century. The first era was called the baroque era. This era was around 1600 to 1750. Baroque was the beginning of modern music because it has experienced the revolution from both theory and technique of its cultivating.

The key characteristics of this era included the merger of major and minor scales, many dissonant tones, the development of the orchestra, and the regular structures, but monotony. They also included the use of violin, harpsichord, organ, and flute.

In this era, people also knew the basso continuo technique, namely the bass accompaniment that brought harmony. There was repetition in the structure of music.

Composers who lived in this era were Johann Sebastian Bach, Georg Friedrich Handel, Antonio Vivaldi, Claudio Monteverdi, and Henry Purcell.

The second era was called the classical era. Sonatas and chamber music grew with more dynamic melodies. All of the classical era rules were applied intelligently by the composers.

The key characteristics of this era were the development of musical harmony, a very strong element of the dynamics that colored the composition, and a dynamic atmosphere that was expressed through the tempo, melody, and harmony. In this era, people also knew the pattern of 'question and answer'. Piano, with its ability to create dynamic, became a very important instrument.

The popular composers in this era were Wolfgang Amadeus Mozart, Franz Joseph Haydn, and John Gay.

Portrait of Beethoven in 1804
(Photo credit: Wikipedia)

Transition period of Ludwig van Beethoven (1770-1827)

This period represented the transition time from classical music to romantic music that was initiated by Beethoven. He brought a dynamic element by using wider harmonies and more emotional techniques of music cultivating.

This period was called as transitional because there were some principles of classical era that were violated by Beethoven. For example, the use of the intro was considered to be the outside of the classical composition theory. However, it was precisely a characteristic of romantic music. Through his works, Beethoven influenced the transition of classical to romantic music greatly.

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COMPOSE MUSIC the Easy Way!

There are basically two ways to compose music. One way is by starting from the bottom or the harmonic approach.

A composer/arranger takes a few chords, a phrase to hang them on and arranges the harmony in some kind of pattern. An example of this is the "loop" you often hear in contemporary music. A loop is simply a harmonic background over which a melody (or not) is played.

The second way to compose music is by starting with the melody. Composers may or may not have some idea of the finished idea (I prefer not to) but the melodic idea is fitted into some kind of phrase. The most common phrase used is the 8-bar phrase.

I find that starting with the melody to be the easier approach. Why? Because melody is easier to move forward then harmony. Sure, you can block out a few chords and arrange them to create a loop, but this becomes static over time. Melody is much easier to go forward with.

By using the principles of repetition and contrast, we can create a simple ABA form in no time at all. Then we can go back and harmonize each section.

I used to favor the harmonic approach at first. It was very easy to simply jot down chord changes on an 8-bar phrase, create some kind of arrangement, and improvise a melody on top. There is nothing wrong with this approach at all. But I soon found myself learning towards the melody first. Not because I think it's better, but simply because it's the method I like right now.

Either way, it's a good idea to compose music using one approach or the other. If you try to harmonize a melody while you're creating it, it will slow you down and may stop the creative flow.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Visit www.quiescencemusic.com now and get a FREE piano lesson! Article Directory: EzineArticles

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Basic Training in the US ARMY BAND

United States Army Band COA. (Photo credit: Wikipedia)

You have likely seen the US Army band "Pershing's Own" at various occasions or playing taps, the beautiful and stirring music played as a final tribute to fallen soldiers. Started in 1922, the US Army Band has played a significant role in major US events and happenings.

The band plays at the White House and events such as the visit of a leader of a foreign country. The band also performs on official occasions as the need arises. The main mission of the Army band is to provide "musical support to the US troops both at home and abroad as well as for the citizens of the USA."

There are four special army bands that have the honor of performing at special functions. These are Pershing's Own, Old Guard Fife and Drum Corps, US Army Field Band and US Military Academy Band. These special units are comprised of the best musicians in the US Army.

There are several other musical units in the US Army Band. The jazz group called the US Army Blues plays original American jazz music. The US Army Chorus is an all-male group, which as the name suggests, is the vocalist arm of the band. Other support units within the main band are the Brass Quintet, Rock and Pop Band, and Stage Band.

How to Join the Band

Before being accepted into the US Army Band, you have to meet regular army enlistment requirements. As such, if you are considering joining the US Army Band, get in touch with the recruiting office in your area. Once you meet the standard enlistment criteria, you will need to audition. Only proficient musicians are accepted. So what does being proficient mean? You must sight read music and have an understanding of scales, tone, rhythm and other related areas. The audition is generally administered by a band recruiting officer or a band commander.

The US Army website provides valuable information on what's expected in your audition based on your musical instrument of choice. For instance, to pass the audition for the keyboard, the following requirement must be met:

* Prepare selections from each of the following: swing, pop/rock, ballad and Latin and classical (optional). This is valued at 40 percent.

* Sight read representative literature and chord changes, for another 50 percent

* Play major scales with arpeggios, three octaves, memorized, use both hands for 10 percent.

* Should be able to demonstrate knowledge of the following chords: Maj 7, Min 7, Dom 7 and the ii-V7-I chord progression.

In order to be accepted, you have to audition for a specific instrument. You must be able to play one or more of the following:

* Bassoon

* Clarinet

* Electric bass

* Electric guitar

* Euphonium

* Flute

* French horn

* Keyboard

* Percussion

* Saxophone

* Trombone

* Trumpet

* Tuba

According to Jeremiah Keillor, Director of the Fort Knox's 113th Army Band known as the Dragoons, "Band soldiers come in at a higher rank as part of the Army Civilian Acquired Skills Program." The reason for obtaining a higher ranking when you join the U.S. Army Band is to acknowledge your years of training and experience in music.

Once a musician is accepted into the US Army Band, they are required to learn the basics of being a soldier in the US Army. This means that they have to complete a total of nine weeks of Basic Compact Training.

There are 30 U.S army bands spread across the USA and internationally. So, do you have what it takes to play in the US Army Band?

By Duane Shinn A free email newsletter on exciting piano chords and chord progressions from Duane Shinn is available free at "Pianos" Article Source: EzineArticles

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The VIOLIN - Music Instruments of the World

The Violin - Music Instruments of the World

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Techniques to Relax Your Fingers So You Don't Let Stiff Fingers Spell an End to Your VIOLIN Dreams

Young Violinist (Photo credit: Wikipedia)

Are you just starting out with the violin? Flexibility in your fingers is extremely important and any violinist who wants to be able to play a wide range of songs NEEDS to have flexible fingers. However, finger flexibility is a common area that many people have problems with. This is also the case in adult violinists who are just starting out with the violin for the first time and don't have the nimble and flexible fingers that they might have when they were a child. What usually happens is that if they are unable to improve their flexibility, they give up trying to learn the violin altogether.

The first thing you need to do if you suffer from stiff fingers is to PRACTICE. Practice as much as you possibly can. Stiff fingers need time and experience to unstiffen. In addition to making sure you practice when you can, a little cardio workout will also do wonders. This gets the blood pumping through your system and into all areas of your body, like the tips of your fingers which will help when playing. You don't have to go for a run before you start playing, but go for a brisk walk and maybe walk a few flights of steps before you pick up your violin.

This little warm-up exercise is frequently used in the world of sports. First, sit or lie down on the ground in a comfortable position. Visualize that your fingers are warm, flexible and nimble. Imagine that you are playing a piece of music without any difficulty. See yourself playing this piece in tune and effortlessly. Half of the battle is believing in yourself. It doesn't help if you have friends or a teacher tell you that your fingers aren't flexible enough and you'll never be able to play complex pieces. Practicing this visualization technique each day will help instill confidence in yourself.

Remember that any stiffness you have may also come from other areas in your body and not your fingers. A final trick is to start off playing pieces of music slow. Once you are able to play them slowly without any problems, speed the song up just a notch. Repeat the process of learning the song as the new speed until you have mastered it and then take it a notch higher. This will help to improve the nimbleness of your fingers and remove any stiffness.

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The History Of VOCAL JAZZ

The Old Plantation (anonymous folk painting).
Depicts African-American slaves dancing to banjo and percussion
(Photo credit: Wikipedia)

Jazz music made its mark in the hearts of Americans ever since the 20th century when people embraced the musicians of the time. However, when the singers came on the scene strong with skills in the art of scatting that is a vocal form of Jazz improvisation, the ability to articulate music expressively, and have that pizzazz to swing to the rhythms effectively makes a Jazz virtuoso. Jazz music bore another gift on the American public to spread to the world during the 1940's when singers came together to form groups.  The sound of acapella harmony of many voices like in a church choir using a juxtaposition of Jazz harmony is ethereal and divine.

In fact,  due to the success of such groups as the Mills Brothers, Boswell Sisters,  Andrews sisters, and Modernaires during the 1930's 1940's made Jazz fans of vocal Jazz music seek more.  As a result, record stores stocked up on the music of vocal Jazz music, and it became a tremendous success that made quartets like Manhattan Transfer a household name today.

In addition, America has the largest selection of vocal Jazz music even though there are vocal Jazz ensembles all over the world. These new vocal Jazz groups do not all sing acapella style music that is common to the barbershop. Vocal Jazz groups commonly use a Jazz band to accompany them as they perform. Jazz music may not be as strict as classical music, but it is in a class all it's own. It takes great skill to sing Vocal Jazz as it does with Classical and many other styles of music. Meaning, everyone cannot be a good jazz soloist, but it doesn't mean that they cannot sing in the vocal jazz ensemble.  Each singer must match in volume, resonance, and key in order to be a worthy member of the vocal Jazz ensemble. Ever singer must be able to sing their parts and be heard as well as blended into the group.  There are times when different people in the vocal Jazz group will be asked to scat to the music and take the challenges that some complex Jazz music holds with great skill.

All the beauty that Vocal Jazz possessed in the past did not always keep it in popularity.  For instance, there was a time in the 60's when Jazz music no longer had mass appeal due to the American interest in Rock music. Imagine the record companies who supply music to the radios and the nightclubs who allowed popular acts to perform live suddenly locking Jazz musicians out.  Yet, Jazz never lost its following despite the ever-changing interests of the public. Vocal Jazz singers attempted to begin again in the 70's, but the public did not show much interest in a style that was considered passé.

Fortunately, those who loved the music and dedicated themselves to the music caused people to take notice from the latter part of the 80's to the millennium where Jazz singers came prepared to recreate Jazz again. Vocal Jazz singers went along with the times to keep the traditional Jazz and add new elements that the public would like to hear.

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Dreaming Of Playing BLUES GUITAR Chords Like A Pro?

The picture was taken from taking barre chord on a guitar. (Photo credit: Wikipedia)

You know what they say: ”If you’ve got the blues, you’ve got the juice.” Indeed, blues guitar music is the Mecca of all guitar music. After all, you can’t get any better than that head bobbing and feet tapping rhythm that courses through your very soul like a fine wine or a hot cup of coffee.

Blues guitar chords and guitar lessons, anyone?

There are several reliable blues guitar chords and guitar lessons online and offline.  These are all managed by experienced and schooled guitarists. Online sites can have you playing the blues faster than ordinary lessons.  Once you sign up for instructions, you will be regularly provided with progressive guitar coaching. There are also sites that offer 200 lessons for exclusive members.

If you want to learn speed guitar playing with your blues guitar chords, the Internet is a minefield for sites that hasten your accomplishments with the trickier aspects of guitar playing – fingering, phrasing, and picking, useful techniques if you dream of playing like the greats, such as BB King, Jimi Hendrix, Eric Clapton, and blues rocker Anna Popovic.

The homepages of several sites have a list of lessons for beginners, intermediate, advanced, and legendary. Each category is marked by a number of guitars graphics. Two to three guitars indicate the difficulty level of the lesson, so start with the appropriate tutorial. And no, skipping levels won’t help you. You’re only fooling yourself.

Learning blues guitar chords

Learning blues guitar chords online affords you the flexibility of time. You can schedule the hour for your training according to your free time. Learning or slacking, it’s your call. Take note, however, that you have to be consistent with your lessons. A daily dose of guitar instruction will have you playing like a pro in no time.

Of course, you must have a guitar to practice on. If you don’t have one, well, go get one, otherwise, you’re a sitting duck. Playing blues guitar chords are often demonstrated online to give you an idea of how the chords are played. The instructor gives explanations before, during, and after the demonstration. Your background information, basic guitar skills, and understanding of the triads are essential tools for your advanced training.

If you have just started fundamental lessons or still feeling your way around guitars, learning the blues guitar chords will definitely not be a piece of cake. But fear not because frequent practice makes perfect. Set an hour or two for added lessons in blues guitar chords. Know the basics, practice and prepare, then go learn those blues guitar chords. And yes, definitely in that order.

How do I learn the tricks with blues guitar chords?

First, you need an acoustic or electric guitar. These should have steel strings and have the standard tuning of E-A-D-G-B-E. You must have the aptitude to read tablatures. A good chord book and some blues music CDs, preferably of your blues heroes, will help you along, or at least, inspire you. The last and most significant tool you need is your ability to discern the tonal quality of the guitar.

The step-by-step blues guitar tutorials will take you along the 12 chord progression, via audio examples, blues tablature, MP3 jam tracks, detailed instructions, and video demonstrations.

You will need to master the primary elements – pentatonic scale, chord structure, and the different right-hand rhythm styles. As you go along, make sure you are absorbing the blues guitar chords dictionary, including visualizing chord arrangements on the guitar.

When you are ready, you will be introduced to the more complex diminished and augmented chords.  Some cynics scoff at the idea of guitar scales lessons. But little do they know that the great guitarists have learned to add depth to their blues by applying their extensive knowledge and appreciation of scales. This also boils down to learning the organization of the fretboard.

Playing the solo

Playing the solo starts with learning the rhythm part of the blues guitar chords. It can be compared to the blueprint that is used as a guide for solo blues artists. In solo playing, the notes are played one by one, and this is accompanied by the rhythm guitar. In contrast, the rhythm plays the note of one chord all at once or is plucked in progression.

So, with all that said, do you think you can be the next Jimi Hendrix with your blues guitar chords?

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UKULELE - Music-Instruments of the World

Ukulele - Music-Instruments of the World

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I Use GIBSON PICK-UPS, Why?

PAF Humbucker Pickup on a Gibson Les Paul (Photo credit: Wikipedia)

For years or decades, I’ve played electric guitar in bands at bars, schools, concerts and recording sessions yet I couldn’t tell you what pick-ups (p/u’s) were about. I mean, I didn’t have a clue as to what a pick-up did what to my sound. I grew up in a Gibson family. I mean that my relatives when they didn’t ridicule me for my participation as a rock and roll guitar player, said if I played the guitar, it had to be a Gibson. So, I only had a clue about humbucker type pick-up’s Gibson used. Oh yeah, it’s little brother the P-90.

My first electric was a Tiesco Del Ray I got for Christmas in 1967. I did get a Mattel Tiger guitar that was made of plastic and used a contact type pick-up. My brother and I each got one that XMAS so often times we’d use one of the pick-ups as a vocal mic.

Those days’ electric strings were extremely limited in types and gauges available to young poor city folk like yours truly. I think I only remember Gibson, Fender and Black Diamond strings. This is before the Maestro Fuzz and the Vox Wha-Wha were available to the buying public like me. Back to pick-ups!

With the limited info as to how the stars were getting “THAT SOUND” we just kept trying to learn guitar without “how to” magazines and poor sounding phonograph players playing 45’s on a tiny speaker. You could say there was no reason to discern between p/u’s.

In the mid 70’s I was already playing full time and knew about vintage Les Pauls and the legendary PAF pick-up’s that were installed in them. Around that time an N.Y. Co. was making a name for themselves as a replacement for your non- Gibson brand type (humbucking) pick-up, DeMarzio. I ended up buying one for my 76 Explorer. Mind you I owned since the mid 60’s, a late 50’s Epiphone symmetric cherry finish Coronet with a, I think someone called it a cobalt pick-up. It is referred to as the “P-90”, or “soap bar” single coil type pick-up. I loved that guitar and its sound. I just thought I should have a “real vintage” sounding guitar with a humbucking p/u installed. I also owned a Les Paul Deluxe with the mini humbuckers. It sounded great, I just thought it should have full sized p/u’s to sound and look right. To quote Ian Hunter in the mid 70,s, “Rock guitarist’s seem to have this Gibson fetish”, and I did! I wanted the “look”.

Gil Pini, the other Guitarist playing with me was using the DeMarzio super Distortion humbucking , and I for some reason didn’t feel good about its sound and feel, although it was touted as “heaven sent “ sort of thing, especially for Marshall amplifiers back then (no master volume on the pre-amp stage). I eventually purchased a Super 2 p/u, because it had more bite. And to me, meant, it would cut through cleaner and not be as transparent in the mix. I even bought the Alembic ‘Hot Rod Kit” for my 56 Les Paul Jr. (stupid) in 1976 or 77. That was supposed to be a good idea because it was hotter (better sounding) with a ceramic magnet to install, and since it was from Alembic (from California) and not some “upstart p/u manufacturer” it was the right thing to do. I didn’t think about the DeMarzio pick-up’s and I didn’t know that those pick-up’s used the ceramic magnets at the time.

As I started to record in major recording studios I’d learn to discern my sound. I didn’t have those how-to magazines to hip me to that elusive vintage “sound”. Yet, I could hear my Gibson Explorer and my Les Paul Jr. distorting at all volume levels as well as attack approach. It just wouldn’t smooth out. I was puzzled. Still trying to connect the look with the sound, I stumbled through the maze for years.

Not having the patience, or the money to buy and compare p/u’s, I just tried to make a sound with what I had. I had all the right Pro equipment. Yet I was looking back, “wagging the dog”.

A good sound starts from the fingers to the guitar to the P/u’s. If you don’t start there, you’re spinning in circles and you’ll end up with a transparent (fuzzy) sound without body and response. “Your fingers are your tone generators”. Not the amps or pedals. Those are tools to augment your expression. And if you learn anything about troubleshooting on the fly, you go down the line to find the problem with your sound or rig. The same goes for finding your sound. When establishing your sound you start with you, through the pick-up on down to the amp. With troubleshooting on stage, you should start with the amp and go down the line back to you. Which makes sense since you’ve established your rig set up, and you’re trying to fix what was working, you backtrack. If not, you’re spinning in circles, again!

So, I had a friend who made the point about how some pick-up’s play you and PAF’s don’t. I soon tried two 57 Classic pick-up’s installed on my 92 Les Paul Classic and what do you know? I had a sound that was tight on the bottom ringing on the top and honking clear/dirty mids when I played hard, and subtle soft tones when I backed off the and played lightly. I was in HEAVEN!! And the great thing that went with it was that this same thing happened regardless of the volume setting on the guitar.

My experience was that the tone I got on full could be bright and tight with a honk, and as soon as I backed off the guitar’s volume, the tone would take on a dark or dull shade. This meant I would spend a lot of time tweaking the blend between my rhythms (clean and crunch) and lead tones. Looking for each was a drag and a waste of time!

I’m no tech. so I can’t and won’t waste your time with my take of their specs. I do know that there’s something about the combination of the enamel coated copper wire and the alnico magnets that give me a sound I can play with and use dynamics. It was soon after I started using the Gibson 57 Classic pick-up, that Gibson came out with their 57 Classic plus. This p/u was designed as a bridge p/u.

In the 50;s the gals at the pick-up dept. would wind these pick-up’s using an egg timer or something like that. Sometimes they’d be distracted and some pick-ups would end up with more winds. Other times they would end up with less.

The p/u’s with more sounded “hotter” and when people started going for the tone, they’d notice the sound of certain pick-ups compared to others. It wasn't rocketed science to come up with the idea to put one of those “hot” pickups in the bridge position you would have a bright, tight, and honk’n lead tone where there wasn’t. And a whole new submarket in ‘vinatge' pick-up’s ‘ came about.

Which brings us full circle, “I use Gibson Pick-ups and I’m sure that the other brands quality alnico pickups are a good sounding product. I do know what sounds good to me and what I know from “my” experience. I’m a guitarist who’s been around the block and my ears have a sense as to what a pickup should sound like, that’s what I go for all the time.

Make your self happy and keep the communication’s open!

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OBOE MUSIC for Beginners (Part Two) - Review of easy pieces with piano parts

Deux musettes du "Cantigas de Santa Maria" (Photo credit: Wikipedia)

In addition to the necessity of a good oboe tutor book, it is important that young oboists get the opportunity to play rewarding yet accessible pieces, preferably with a piano accompaniment. This second article on oboe music for beginners looks at pieces which fall into this category. To be able to stand up in a school assembly or school concert and perform a rewarding piece of music is a highly motivating experience for most young oboe players. Playing the oboe is not an easy skill so anything which inspires young oboists will make them feel that the effort is worthwhile.

There are a number of good publications around containing appropriate music for such occasions; some of the material is original and some of it is specially arranged. It is from this range of material that the exam boards draw their list A & B syllabus too. There are a number of books of oboe music for beginners which I have found particularly useful over the years and which are to be found on both the Associated Board and Trinity Guildhall exam syllabi.

“The First Book of Oboe Solos” In my early days of teaching, this was far and away the best book of early oboe pieces available. The mixture of original and arranged music is very well presented and the majority is interesting to young oboists. A couple of fairly easy pieces opens the book but it soon moves on to more advanced material of Grade 2 to 3 standard.

“The Second Book of Oboe Solos” This is a sequel to the above book and, therefore, not really appropriate for absolute beginner oboists. It takes the approximate standard up to about Grade 5.

“The Really Easy Oboe Book” This collection of 20 progressive pieces was written to meet the demand when, about 20 years ago, the introduction of Grades 1 & 2 for woodwind instruments created a need for new appropriate repertoire. The pieces are all original and in a mixture of styles. The piano accompaniments are all easy to play for ‘non-specialist’ pianists. This book is widely used by both the AB and Trinity Guildhall boards.

“Learn as you play oboe” & “Abracadabra Oboe” Both these books are actually tutors but contain accompanied pieces used by the exam boards. In “Learn as you play oboe” there are 3 sets of pieces for which piano parts are available. In “Abracadabra Oboe” there is a book of piano accompaniments available for all the material in the book. For users of these tutors, the accompaniments are a very useful addition.

“Three Elizabethan Pieces” This set of three short pieces is a gem. The pieces are all perfect for young oboists and it is not surprising that they have found themselves on to the syllabi of both exam boards.

“Nine Short Pieces from Three Centuries” & “Oboe Music to Enjoy”These are both very good collections of pieces nicely arranged and both are used by the exam boards.

“All Jazzed Up for Oboe” For those who like a more contemporary slant to their repertoire, this is an excellent book. It adds a valuable source of lighter music to the repertoire of oboe music for beginners. The problem with jazzy pieces is that the rhythm patterns are often a bit tricky but with many young oboists facing jazzy repertoire in woodwind ensembles and wind bands these days, learning the idiom fairly early on in their oboe playing career is very important.

The above repertoire of oboe music for beginners is material which I have found particularly helpful myself. As I said earlier in the article, good, interesting, well-written music is motivating for young oboe players and gives them a great feeling of achievement. To be able to stand up in public or in an exam room and perform enjoyable music with confidence is probably the most inspiring situation for any young oboist; it makes them want to go home and practise for the next opportunity.

Robert Hinchliffe is a professional oboist, composer, teacher, conductor and music director. This article is based upon over 35 years of both playing and teaching the oboe. If you have found this article interesting and would like to know more about the oboe, please visit http://www.oboeplaying.co.uk. Article Directory: Article Dashboard

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OBOE MUSIC for Beginners (Part One) – A review of Oboe Tutor Books

An oboe (Photo credit: Wikipedia)

When I began to play the oboe back in the late 1950’s, my teacher started me off with Otto Langey’s book, The Oboe. Although not ideal oboe music for beginners it was all that was available. Since that time a number of alternatives have become available, - some are learning methods and some are books of pieces for young players.

As an experienced player and teacher of the oboe, I have used a variety of material in oboe lessons over the years; - some of it is still available and some not. In this article, I will review the books that I have found particularly helpful and which, to the best of my knowledge, are still available today.

“A Tune a Day for Oboe” When I first began to teach in about 1972 this was the book most widely used, indeed it was one of the very few books of oboe music for beginners around at the time. It is still available although not used as often as it used to be. It is a fairly comprehensive book made up of a part tutor, part study book, and part easy pieces. The order in which the notes are introduced is a little questionable in my view but there is a nice balance of exercises and tunes used for each new note or technique introduced. The tunes selected are a mixture of the familiar and the unfamiliar which is good. Some of the tunes in the first half of the book are in duet form, with a second part for the teacher to play. Some of the later music is arranged in duet or trio form for a group of students to play. “A Tune a Day” does have quite a lot to commend it but I always found it a slightly dull book, both for student and teacher.

“Learn as you play oboe” This book dates back to 1980 and quickly took over from “A Tune a Day” as the most used of the oboe tutor books. There were a few others which cropped up at about that time as I remember, but they quickly sank without trace. The approach of this book was fairly similar to “A Tune a Day” but with the addition of three sets of Concert Pieces for which piano accompaniments could be purchased. These pieces quickly found themselves on to the Associated Board syllabus at appropriate grades. This book was followed up by a book of First Repertoire Pieces (with piano accompaniments) which also found their way on to the exam boards. My assessment of this book is very similar to that of A Tune a Day in that it is rather dull and uninspiring. Also, the sequence in which the notes are taught is not entirely to my liking.

“Team Woodwind” I am not, and never have been a fan of any kind of band method. It is a concept which does not sit easily with me. I have included this book in my appraisal of oboe music for beginners as I know that some teachers like this particular approach or are pushed into it by circumstances. I have always believed that we begin by working in like-instrument groups (i.e. - with other oboes) before branching out when we are ready into woodwind ensembles and, later, bands and orchestras. Putting different woodwind instruments together too soon I feel is a mistake! “Team Woodwind” is a well-produced book with a reasonable collection of material but it is not for me.

“Abracadabra Oboe” When it came on the market back in 1990, Abracadabra Oboe was the book I had been waiting for since beginning to teach. The sequence in which the notes are taught is absolutely spot-on and the balance between learning material and tunes is excellent. There is also a very good balance between known tunes and the unfamiliar. The only shame is that this book did not materialize 20 years sooner. Material from this book has, not surprisingly, been adopted by the exam boards for the earlier grade exams too which makes it an ideal choice for beginner oboe players.

The three key issues in any oboe tutor must be:

1) The introduction of notes and techniques must be in a logical and helpful order.

2) The layout must be attractive to the eye of the beginner oboist.

3) Most important of all, the book must inspire and motivate young oboists to practice and, therefore, progress.

So, when assessing oboe music for beginners, in my personal opinion, based on many years of both playing and teaching, Abracadabra does all these three things in a way which no other oboe tutor does and provides an ideal starting point for anyone who wishes to learn to play the oboe.

Robert Hinchliffe is a professional oboist, composer, teacher, conductor, and music director. This article is based upon over 35 years of both playing and teaching the oboe. If you have found this article interesting and would like to know more about the oboe, please visit http://www.oboeplaying.co.uk.

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GEMEINHARDT FLUTES and the Historical Evolution of the FLUTE

Gemeinhardt is the world's largest exclusive maker of piccolos and flutes, making musical instruments for all level players from beginning students to professionals. Kurt Gemeinhardt was born in Germany and served as an apprentice to his father, also a flute maker. In fact, Kurt Gemeinhardt was a fourth generation flute maker. It is no wonder that Gemeinhardt has had a significant influence on the evolution of the flute in the 20th century.

In 1928 Kurt moved to Elkhart, Indiana, America's mid-20th century capital for musical instrument production. In 1948 he opened his own manufacturing plant called The Gemeinhardt Company. Gemeinhardt specialized in all-silver flutes, and in 1952 the plant had to be expanded to accommodate orders. Later, Gemeinhardt also made entry level flutes and other intermediate models.

In the late 1990s, Gemeinhardt acquired Roy Seaman Piccolo Company, which was famous for its handmade granadilla wood piccolos that are in demand from professionals the world over. Today, Gemeinhardt makes a range of flutes, including piccolos, student, intermediate, and professional flutes, bass flutes, and alto flutes.

The company is now part of a parent organization, Gemstone Musical Instruments, also based in Elkhart Indiana. Gemstone makes and distributes every level flute under a variety of names, including Gemeinhardt, which has a long reputation as a company that makes excellent flutes with beautiful intonation.

You can still occasionally find a hand-crafted Gemeinhardt flute from the 1960s - some of them made by Kurt Gemeinhardt himself. These are amazing instruments, many of which feature an open hole design, which allows for a richer, more lush tone. Anyone lucky enough to find a solid silver open hole flute from the 1960s will pay several thousand dollars for it, but in addition to its inherent quality and craftsmanship, it will have a long history to go with it, and might just have been held in the hands of the great Kurt Gemeinhardt himself.

By Lynn Bonzero Lynn loves to write about the Gemeinhardt Flute and the Gemeinhardt Piccolo. - Article Source: EzineArticles

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FLUGELHORN Tips - Make Good Music With a Quality FLUGELHORN

Rotary valves in a flugelhorn.
(Photo credit: Wikipedia)

Originally used to summon army wings, the flugelhorn is at present an important instrument for creating jazz, popular, and brass band music. This brass wind instrument closely resembles a trumpet and saxophone, but its bore is wider and more conical. Likewise, while it shares the same B-flat pitch of most trumpets, the flugelhorn is more adapted for producing more mellow music as compared to the trumpet's bright and aggressive tone.

Flugelhorn tips for buyers

Depending on your level of expertise, you can choose from different types of flugelhorn of various quality and price ranges. In general, however, flugelhorns are more expensive than trumpets. New students are advised to first buy a trumpet to practice on before switching to a flugelhorn. This switch should be easy given the two instruments' similarities with regards to playing style. If money is not a problem though, beginners can opt for a student grade flugelhorn which can set them back by an average of $700.

Regardless of the type of flugelhorn, you intend to buy, make sure that you try each one before making a purchase. This would help you get a good feel of the horn, especially if you are choosing between horns of different bore sizes. Flugelhorns with small bores play differently from those with larger bores and trying one of each would help you asses which one is better for you.

More flugelhorn tips

Aside from flugelhorn tips on buying a good instrument, it also pays to heed advice on how to play the horn. The best way to learn the instrument is to take classes from a professional player. Likewise, it is advisable to buy some CDs and other audio materials that feature the flugelhorn being played by renowned artists such as Frank Fezishin and Rachel Woolham.

Aside from listening to recorded albums, you must also try to watch live performances where the horn is played. You can attend jazz concerts or brass band recitals. The flugelhorn is also sometimes used for orchestra, so you can likewise check such productions.

Article Directory: EzineArticles

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A Good MUSIC TUDOR Will Never Go Hungy!

If you are a musician, and interested in teaching, then you will never go hungry! There is always a want for tutors - people will always want to learn music and need the guidance of someone else... you!

Ask one hundred random people, and chances are that the large majority will have an interest in singing, or playing some sort of musical instrument. Whether they enjoy singing or playing, once you ask a little deeper you'll find that a large percentage of this number have at some stage sought the guidance of a tutor.

While the music industry booms, so will the need for tutors. Some people will always aspire to recreate the sounds that they love to hear, others enjoy the relaxation that playing can bring, and some even aim to write their own number one hit. Tutors will always be needed to help get wannabe musicians rocking.

There's another reason why savvy tutors will always find employment and a comfortable income. They know that the process of learning a musical instrument helps a growing child realize a few of life's lessons - practice really does make perfect, and like the date of a recital, a deadline always needs to be planed towards and constant action taken to complete the assignment well, and on time.

Mindful parents are also aware of this, and if they're not, they probably soon will be as the wise tutor advises about the positive benefits of learning the discipline to work at something. The instrument may be slightly irrelevant in the long run, but the lessons learned are completely transferable.

It is possible to earn a good living from doing something as enjoyable as teaching. And you'll find various articles and tips on achieving the best of this career on the net.

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Types Of DRUMS Based On Your Musical Genre

A standard drum set: Ride cymbal Floor tom Toms Bass drum Snare drum Hi-hat (Photo credit: Wikipedia)

The components of your drum kit may vary greatly from that of any other drummer based upon the genre in which you play as well as your personal preferences and financial resources. Transportation issues may also play a part since you need to have a vehicle large enough to transport the drum set, and the more equipment that you have, the more room it will need for transportation. The venues where you perform may also have a bearing on the components of your set. If you are continually playing small clubs, the stage may not be large enough to accommodate a large number of drum components, so in spite of your genre and personal preferences, you may need to reduce your drum kit out of necessity.

Throughout history, using two bass drums has been a normal part of the drums for jazz bands, but recently many drummers, especially those in the hard rock and heavy metal genres have used dual bass drums. Since the 1980s it has been commonplace for drummers to use electronic drums either individually or as part of a standard drum set. Sometimes cowbells, gongs, tambourines, and other percussion instruments are also utilized in drum kits. A drummer may also have his own personal preferences in spite of those dictated by his genre, and therefore, creating a sound that is slightly different from every other performer in that genre. Some drummers also choose both snares and toms, and though they may not use them on every song, they become part of the drum kit to be utilized whenever needed or desired.

Though genre sometimes indicates the type of drums that are included within a kit, there is no hard and fast rule on it, In fact, even hard and heavy metal bands sometimes tone down a few songs on a CD, and thus the need does not exist for the harder sounds. Even some rock and roll bands from the past who had hard-hitting drum sound occasionally slowed it down through the use of just a bass or snare, allowing the guitars to carry most of the musical sound. After all, when you're talking about a ballad, you may not want the hard-hitting drum sound, but just a slow beat and occasional cymbal sound is all that is necessary.

The key to knowing what you need in your drum kit is in the type of music you will play, the venues where you will be performing, your budget, and your transportation resources. Personalize your kit based upon what you can transport and the size of the stages where you will perform rather than what you feel you should have or what you want. Even if you can afford it, it's senseless to buy something you can't use except for practice.

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Types of BALLROOM DANCING

 (Photo credit: Wikipedia)

With ballroom dancing growing in popularity, more and more people are choosing to learn how to dance. Until recently, ballroom dancing wasn't an ideal activity for everyone - it was mainly reserved for the older generations and the wealthy. When most people think of ballroom dancing, they tend to think of a gentle trot around the dance floor to slow, acoustic music. However, ballroom dancing involves so much more than a typical slow dance. There are several types of ballroom dancing, so let's take a look at the variations.

Believe it or not, the swing is actually a type of ballroom dance. This light-hearted dance involves concentrated footwork and lifting or twirling your partner. It became popular in the 1920's and was originally invented at the Savoy Ballroom in New York. A spin-off of the Lindy Hop, the swing dance combined fast twirls and steps to the beat of jazz music. Today, the swing dance is still performed in an old-fashioned manner using the exact same techniques developed decades ago.

The jive is a very popular form of ballroom dance that is closely related to the swing. It involves several of the same steps and techniques, but is more fast-paced and involves more movements of the arms rather than the legs and feet. Although considered to be a Latin dance, the jive became very popular in America during the 1950's "rock and roll" era. The basic concept of the jive involves changing the weight from one foot to another and is best performed to classical and upbeat music, such as oldies or jazz.

The pasodoble is a Spanish dance that has become a favorite among ballroom dancing. This particular dance probably contains the most meaning and sentimental value among all ballroom dances. In the pasodoble, the male represents the bullfighter while the female represents the cape of the matador. The dance is a symbolic representation of the bravery of bullfighters and their ability to tame the wild beast. It is dramatic in nature and the steps are quick, concise, and forceful.

The Rumba is a dance that demonstrates the unique love and attractions between a man and woman. It is based around the concept of a lady's pursuit of the man, with the steps representing the woman's charm. Often, the woman dances around the man and has quick and withdrawn steps, as the man pursues her. This is a Latin-based danced and is considered to be a very sensual performance in ballroom dancing.

The waltz is a dance that originated in Germany in the 17th century and is a familiar favorite among dances in the ballroom. The dance moves are smooth and precise as the couple dances in a side to side motion, usually in a circular pattern. The waltz is a very popular dance in weddings and special events and is considered to be one of the most romantic dances.

Last but not least, the tango is a dance performed which demonstrates the history behind Argentinean cowboys and their dance partners from centuries ago. Often the cowboys would attend nightclubs after a day of riding their horses and would not shower, which compelled the women to embrace them in the crook of the cowboy's right arm. This dance hold became a popular dance and soon developed into a favorite in ballroom dance. The dance moves are very sharp with quick head turns.

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PENTATONIC SCALES

Major Pentatonic

The major pentatonic is similar to the minor pentatonic: The intervals for a major pentatonic are 1 2 3 5 6 1. The C major scale includes C D E G A C. The difference between the major and minor scale is the minor scale has a flatten 3rd interval. The following is the most common generic box shape for the pentatonic major scale:

The major pentatonic sounds happier and are not used as extensively in rock and blues as the minor version of the scale. They sound good over major chords and power chords. Sometimes the minor and major scales are used in the same song, with the major scale used for the chorus, and the minor for the verse.

There are no hard and fast rules when it comes to scales and soloing. Its a matter of style and personal choice, as long as it sounds good, go for it. But you will find that if you use these simple scale forms in conjunction with an appropriate chord progression this will sound good more often.

A chord progression based on the A minor chord will sound good with A minor pentatonic and a C major chord will sound good with C major scale. 

Minor Pentatonic

Minor pentatonic scales are used extensively in modern and classic rock. A strong understanding of how pentatonic scales work and can be used for soloing and creating riffs is extremely important. They are also the easiest and generally the first scales most people learn.

I assume you know how to read basic TAB format for this lesson. If you have not been exposed to TAB then you should review our lesson on reading guitar TAB before moving on.

The Minor Pentatonic scale consists of the following intervals: 1 b3 4 5 b7 1. In the key of A, the intervals would be the notes of A C D E G A. There are 5 scale shapes in box patterns for the pentatonic scales.

The 5 is the fifth fret and is the root note, thus the name of the key and scale is A, the intervals determine the type Minor or Major. This scale shape above is the most scale and is used in rock, blues and most styles of music. If you move this entire shape up to positions on the guitar and play the same shape you will have a B minor pentatonic. Likewise, if you slide the entire shape down two potions you have a G minor pentatonic.

Practice this scale shape several times a day, moving it into different positions or keys, for variety. Many of rocks most famous licks are derived from this shape. If you are going to play guitar learning this one basic shape is mandatory.

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Composers of FILM MUSIC You Should Recognize

Maurice Jarre (Photo credit: Wikipedia)

When an audience watches a movie at the theater much of the attention is on the characters playing the parts, on the storyline, and on the movie set. Many times the music that accompanies the actions on the screen is heard but does not command the attention as the movie's visual elements do. Yet cinematic music composers make valuable contributions to the overall cathartic feeling movies generate. A movie's music is one of the things a viewer will remember long after the movie is over. If you do not believe that, try humming the theme to "The Pink Panther" or "Star Wars".

An early film music composer from the Golden Age of Hollywood was Victor Young. The great movie director Cecil B. DeMille utilized Young's scores in many of his movies including "The Greatest Show on Earth". It was Young's score for the 1956 movie "Around the World in Eighty Days" that won a posthumous Oscar for him.

In the late 50's and early 60's, movie theme music gained popularity and the names of cinematic music composers became widely known. Ernest Gold wrote the music for the 1961 movie "Exodus", and the theme ascended the music charts that year. Henry Mancini wrote the theme for "The Pink Panther", a score nominated for an Academy Award in 1964. He also wrote the Academy award-winning score for 1961's "Breakfast at Tiffany's" from which the song "Moon River" came.

Other notable composers of movie music from that time include Maurice Jarre, Elmer Bernstein, Miklos Rozsa, Ennio Morricone, and Dimitri Tiomkin. The movies to which they contributed, were nominated, and won awards for are impressive. Titles like "Doctor Zhivago", "Lawrence of Arabia" (Jarre), "The Man With the Golden Arm", "The Magnificent Seven" (Bernstein), "Ben Hur", "El Cid" (Rozsa), "The Good, the Bad and the Ugly", "The Untouchables" (Morricone), "High Noon", and "The Guns of Navarone" (Tiomkin).

John Williams. (Photo credit: Wikipedia)

If the names of modern cinematic music composers are fairly well known, their music is even more so. One of the best knowns of these composers is John Williams. His amazing career in music includes five Oscars, twenty Grammys, and four Golden Globes among other awards. You may have heard some of his music. His film scores include "Fiddler on the Roof", "Jaws", the "Star Wars" movies, "Close Encounters of the Third Kind", the "Indiana Jones" series, "Jurassic Park", "Superman", "Home Alone", "Schindler's List", "Saving Private Ryan", the "Harry Potter" series, "Memoirs of a Geisha", and "Munich", among many others.

James Newton Howard may not be a household name like John Williams but his film music credits are notable. He penned the scores for "The Prince of Tides", "The Fugitive", "King Kong", "The Village", "Batman Begins", and "The Dark Knight". The two Batman scores were co-written with Hans Zimmer, another cinematic music composer with many credits including the "Pirates of the Caribbean" scores, "The Prince of Egypt", and "The Lion King".

The next time you watch a movie and find yourself remembering the music long afterward, take note of the composer.

By Wendy Pan - Article Source: EzineArticles

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