The saxophone section in a big band consists of 5 players - two altos, two tenors and one baritone sax. In a traditional big band setup, the saxes are located in the first (front) row of three rows of horn players. The trombones and trumpets are found in the rows directly behind the saxes.
Saxophones are considered agile instruments, much like the clarinet and flute. They are able to play fast lines or perform effects that cannot be achieved so easily on a brass instrument. This characteristic gives them the ability to cover very fast passages within the ensemble - passages that would be too difficult for the brass section to pull off.
Melodic Roles
Saxophones are often called on to state the melody of a big band composition or arrangement. Playing in unison gives them the power to cut through punches and harmony played by the brass section. When stating the melody as a section (i.e. 4-5 part voicings) the lead alto player must project the lead line so it can be heard above other instrumental activity going on within the arrangement at any given time.
Saxes can also be coupled with other instruments to create a homogeneous sound. Altos are often combined with trumpet, while tenor saxes are most often found sharing a melody with one or more trombones. These melodic couplings work well because the timbre of trumpet and trombone are similar to the alto and tenor respectively. Baritone sax at times plays melody alone or coupled with a bass trombone.
Harmonic Roles
Because the sax section covers a wide range, it lends itself well to supplying harmony and harmonic "pads" to a big band arrangement or composition. In ballads, for example, the saxes are often written as lush voicings that provide all the necessary notes of a chord. They are used in this manner within an arrangement as background to a soloist, or as a counter melody to another instrument.
Solos and Solis
The tenor saxophone is one of the more popular solo instruments in jazz, so it only makes sense that tenor solos are written quite regularly throughout the big band music repertoire. Although any of the saxes are called upon at one time or another for solos, the tenor seems to get more improvised solos than the others. Baritone sax solos are written sparingly throughout big band literature. Depending on the level of skill of the players, solo sections can be passed around so that good soloists - even bari sax players - have a chance to shine.
Sax solos occur when the saxophone section is featured by itself by playing a composed jazz "solo". A soli is most often composed in four or five part harmony that is voiced for the entire section. The lead line is played by Alto 1, while the rest of the section is voiced below the lead line and follows in rhythmic unison. In a four-part setting, the bari sax player will often double the alto melody at the octave.
The saxophone section is an integral part of any big band in a variety of ways. Brass players may complain that the saxophones are written too many solos, but it is hard to beat a terrific saxophone section ripping through a difficult Thad Jones or Don Menza soli. As they say, if you can't beat them, join them!
The trumpet has always been an integral part of the traditional big band, both as a lead instrument and as a soloist. The section consists of four players, with the first chair being labeled the "lead" chair and the second part generally considered the "jazz" chair. Although improvised solos can be played by any of the four players, the second trumpet is usually depended upon to cover the solos within the section when needed.
It is the "lead" trumpet that carries the melody over all other musicians during full band sections. This important position carries quite a large responsibility, mainly because it is he/she who is called upon to play the highest notes within the ensemble sections.
Melodic and Harmonic Roles
In traditional big band repertoire, the trumpet section provides both melodic and harmonic roles. Melodies can be played by one or up to all four players at one time. Melodic roles are often coupled with instruments of similar timbres, such as the alto saxophone. As a melodic instrument, the trumpet is generally in the middle range when matched with other instruments. The upper register is used for full ensemble sections where the lead player must carry the melody over the rest of the band.
When fulfilling a harmonic role, the section is usually voiced in either three or four distinct parts. Since the trumpets are set in the upper register of the ensemble, they have the responsibility of covering the upper extensions of the given chord. In harmonic roles, the section often extends the basic chord tones (i.e. root, 3rd, seventh) that are played by the trombone and saxophone sections. These upper extensions often take the form of a simple triad when played alone, but create sophisticated extended chords when playing with saxophone and trombones.
Mutes and Utility Instruments
Modern trumpeters today are expected to own and carry a variety of mutes to alter the sound of the instrument. In every trumpeter's bag are a straight mute, a cup mute, a harmon mute and plunger. Each of these "tools" is designed to alter the color and sound of the instrument by bringing out low (cup and plunger) or high (straight and harmon) overtones. The use of mutes can significantly alter the overall sound of the section with a wide variety of colors. Gil Evans was one famous arranger that used muted trumpets extensively in his arrangements and compositions.
In addition, most professional trumpeters today own a flugelhorn. This instrument looks like a large trumpet but sounds much more mellow and with a limited high range. Flugelhorns are used primarily for melody, but can also be used as harmonic pads with the big band. Modern writers such as Maria Schneider utilize flugelhorns in this role quite often
Famous Big Band Trumpeters and Sections
Trumpet players and big band trumpet sections can be found throughout the history of jazz. Maynard Ferguson, for example, made his debut with the Stan Kenton Orchestra during the 1950s. Maynard played lead trumpet and was featured as a high note virtuoso at a young age. He later went on to lead his own big and small bands for more than half a century. High note artists such as Stan Mark and Lynn Nicholson were members of famous Maynard Ferguson trumpet sections.
Bill Chase led one of the more famous trumpet sections in the 1960s with the Woody Herman orchestra. Known for his high range, Bill Chase provided the high note excitement for the band. In 1974, Chase met an untimely death in a plane crash near a small airport in Minnesota, Among the most famous trumpet sections of all time might have been in the Duke Ellington Orchestra. Cootie Williams and Cat Anderson filled soloist and high note roles, respectively, for Duke's band for many years. Duke often wrote entire compositions to feature Cootie (Concerto for Cootie) on trumpet.
The trumpet will always play an integral role within the realm of big band jazz ensemble music. Because of this, skilled lead players and gifted soloists will always be in demand in the jazz and commercial music industry.
By: James P. Martin To listen and view scores of original big band jazz music by a wide range of top jazz writers, visit http://www.pdfjazzmusic.com
University of Wisconsin Marching Band executing the Stop at the Top. (Photo credit: Wikipedia)
Before teaching moving commands, the band should be familiar with marching and executing stationary commands. An entire level of complexity is added when the band actually begins marching. These commands can only be executed while moving. They are presented in the order I teach them. There are many different ways to both teach and execute commands; I can only present what I know.
Marking Time
Today, most all bands use a low mark time. Much like a drag right, the toe remains planted on the ground, while the heel lifts up. In this case, the command is "mark time mark" and the response is "and one." The left heel lifts first two inches or more on the "and" beat and goes up on the "one" beat. This repeats for the right foot. Thus, in two counts both feet have moved up and down. Marking time only occurs when feet are together and shoes should rub against each other. Make sure to keep the upper body solid throughout this move.
Movement
Most high school Marching Bands now use the glide step as the method of choice when marching. Some bands still high step or double time, but that is pretty antiquated and rare, even though proper execution makes it neat. The glide step is synonymous with rolling the feet. Teaching just this concept should take a few hours.
The point is to take all of the wobbles out of the upper body when marching. This allows for the vibrato that occurs from the mouthpiece bouncing against the lips to be eliminated. Have the new marchers stick their left foot out with toes up as high as possible. Then, have them individually practice transferring their body weight from the left to the right foot. Start slowly sticking out one foot while the other rolls up onto the toe. Gradually increase the tempo.
Now that the new marchers can perform a glide step, it is important to cover a basic eight to five stride as well as cover points and dressing and covering ranks and files while marching.
Forward March
The most basic and essential step of the band, this step is what is practiced when learning to roll the feet. "Forward march" is the command and the response is "and one." Once the glide step is mastered, this command is easy. Marching always starts on the left foot and feet move one in front of the other. The step size should be eight steps per five yards or 22.5 inches per step. Feet should not lift off the ground, rather be pushed out from the body along the grass with as much force as possible. On beat eight, the shoelaces of the right foot should be in the middle of the yard line.
Backward March
Back marching is done from the standstill (lock, lift, step) or while changing direction (touch and go). The basic concept involves elevating the feet as high as possible. Keep toes planted on the ground, while the heels rise more than two inches from the ground. Move feet back so that each has its own "channel" and they do not cross each other. Slightly lift the foot off the ground for each step, but do not pick the foot up or bend the knees.
From the standstill, the command is "backward march" and the response is "lock, lift, step." On the "march" command of execution, the band says "lock" while stopping previous marking time or movement. During the first beat of the execution, the band says "lift" and elevates their heels as much as possible, while keeping toes planted. Finally, the first step occurs on the "step" beat, where the left foot pushes hardback from the lift position to take a large first step.
Transitioning between forward and backward marching is extremely difficult. One must still take a full last step with the right foot, keeping the shoelaces in the middle of the yard line. This is the "touch" response to the "backward march" command. The second beat is the "go" response and involves transferring weight from the right to the left foot and starting the back march with the left foot. The key is not to move the feet on the "touch and go" response. They should be in a good position from the eighth step of forwarding marching.
Shifts/Slides
A slide is a version of forwarding marching (usually). The purpose is to keep the horns pointing forward to the audience while changing the direction of the feet. Slides can only be called with horns up or at attention. The command is either "right/left shift hut" or "right/left slide hut" and the response is "and one." Key to this move is planting the right foot on the fourth count of the command with the toe still pointed up and turning on count one. The left foot is the one that always moves, no matter what slide direction. A left slide is easier as the left foot simply executes a ninety-degree snap turn. After the command, the movement occurring before the slide continues. For right slides, the left foot must snap over the right foot.
In slides, the most difficult part is keeping "square." This means that the shoulders continue pointing completely parallel to the sideline as marching continues. Hips should move thirty degrees, the torso should move sixty degrees, and the shoulders complete the ninety-degree turn. Such a distribution will help keep slide position throughout the move. Be careful when calling slides, as they can get tricky. For example, you can back march in a slide; the feet simply change direction. More confusing, however, is executing another slide while already sliding. When in a left slide, calling a right slide returns the move to forward march. You cannot call a backward march during a slide and expect people to return to the direction of the horns and back up. Instead, marchers should reverse the direction of their feet. Calling a left slide while already in a left slide is just asking for an "as you were sir"! (the error command)
Flanks
Flanks are simply snap turns. On the "right/left flank hut" command and "and one" response, the right foot plants on count four and the left foot initiates the turn to the right or left. Motion continues in the forward direction. Pivots occur on the ball of the right foot and weight immediately transfers to the left heel as the move is completed. The entire body turns in a flank and, thus, the horn is pointing in the direction of march. A right flank can be called to cancel a left flank. Multiple flanks can be called on top of each other; this is a difference from shifts. Because the body moves along with the horn, flanks can be repeatedly called without error.
A special kind of flank is a to the rear. The command is "to the rear hut" and the response is "and one." Instead of planting the right foot and turning ninety-degrees, the turn is 180 degrees. The left foot still is the one to complete the turn and it is executed to the left starting on count four with the right foot planting and finishing on count one with the turn. Motion continues in the forward direction after the turn. Be careful not to anticipate to the rear because it is a very quick turn.
Obliques
Obliques are unpleasant and often overlooked, for few field shows include them. The command is "left/right oblique hut" and the response is "and one." Instead of turning the body ninety degrees as in a flank, one turns forty-five degrees using a pivot turn on the ball of the right foot. The right foot plants on count four of the command and the left foot execute a snap turn forty-five degrees to the right or left on count one. The challenge with obliques is not starting the command, but marching in the new direction. Since you are moving at a diagonal, the step size is twelve steps every five yards. You now dress down the diagonal and cover to the left and right. To get out of an oblique, the Drum Major can call another oblique that results in a forward march or flank. Back marching can be called when in an oblique, but you cannot go from forward march to a backward oblique in one command. A good exercise with obliques is to make a diamond or stop sign shape with the band. Forward eight left oblique eight, left shift, right back oblique, et cetera. Doing this exercise with horns playing a scale is a real challenge and improves marching greatly.
In Sum and Other
In terms of moving commands, these are the most important. There is an entire list of stationary commands in another article that the band should also master. The biggest challenge is to vary step sizes: 16-5, 12-5, 6-5, 5-5, 32-5. There are also some other terms for commands that may be useful. For example, "march" can be replaced with "move." I think this sounds a bit ridiculous, but so be it. Also, the Drum Major can call a "band port arms" or "band trail arms" to move horns up while moving. Then, of course, there is high mark time. For resources directly related to your band, ask a Drum Major or your director. Marching style tends to vary by region, so make sure that what you teach is applicable to your band. Also, consider attending a Drum Major camp. There you will learn some of these commands again as well as more useful teaching methods.
This list of commands is completely my own; I used no resources or Internet sources just my own knowledge to compile it.
By William J O'Brochta William O'Brochta is a recipient of the William T. Hornaday Silver Medal for Distinguished Service to Conservation in the Boy Scouts of America and William T. Hornaday Badge. He is an Eagle Scout with nine Eagle palms and has earned sixty-five Merit Badges. William is currently an Assistant Scoutmaster for Troop 17 in Roanoke, Virginia working with Troop elections, new Scout advancement, and Eagle projects. He also serves as an active member of the Blue Ridge Mountains Council Conservation, Advancement, Eagle Board of Review, and Troop Committees. He has been involved in Scouting for more than ten years. William attends Patrick Henry High School and the Roanoke Valley Governor's School and is ranked first in his class of 500. Currently, he is working on a three-year environmental research project dealing with using plants to remove pesticides from the soil. He has presented this research at the Society of Toxicology Annual Meeting. A musician, he plays trumpet and serves as Drum Major for the Marching Band. Committed to community service, he has volunteered for six months for Habitat for Humanity in Hungary and helped Breakell, Inc. General Contractors achieve LEED Platinum energy efficiency certification. William can best be contacted through his LinkedIn page: http://linkd.in/q8dXm0 Article Source: EzineArticles
Drawing of a double-reed mouthpiece for an oboe. (Photo credit: Wikipedia)
Let it be known that I like band directors and that without mine long ago I would not be sitting here writing about what I know about the oboe.
He was (and probably still is) a wonderful man who encouraged me, taught me what he knew but then was humble enough to say that he could take me no further. He recommended a professional oboist in town so I could continue learning the things he could not teach me, and I am forever grateful.
So, you could say I have a great deal of respect for band directors.
I know they are teaching a lot of kids a lot of different instruments, and there is no way anybody can be an expert on all of them. I give them credit for trying!
But there's something that has been coming up a lot in my teaching and even when fielding reed questions that has been bothering me. And although I am sure band directors aren't the only ones to "blame," that's where I am starting to work towards a solution.
The problem seems to be in advising the young band oboists in the selection of oboe reeds. Now, many a band director has bought handmade oboe reeds from me, so there are exceptions.
But to the majority out there, do you know how much easier teaching the oboe would be if you handed out handmade oboe reeds instead of fibercane or even those awful profiled music-store reeds?
The reason is plain and simple.
These reeds do not encourage good habits and make the oboe difficult to play, more difficult than it ever needs to be.
The idea I keep hearing is that somehow, good reeds are reserved for good students... but that is completely wrong. A good, handmade oboe reed should be provided for every beginning oboist on their very first day of playing the oboe.
Talk to a professional oboist and see if they can work with you in making reeds that young students can handle, or consult a professional reedmaking company (yes, like MKL Reeds) that can work with these requests.
Although we need "labels" on reeds so that we all know what we are talking about, these labels are perhaps the least helpful part of all of this. Find a place that can make reeds for beginning students, and that should be pretty much all you need to say.
I am on my soapbox lately about all this "hard, medium hard, soft" stuff!! There is also this very large misconception out there that once a student has been playing for more than a year they need to "graduate" to a "harder" reed... and by the time they have been playing a while they are being handed these "hard" reeds they can't even play!
I just don't understand where this all came from, thinking that increased ability on the oboe somehow means you should make it harder for someone to actually play.
Now, it's not entirely the fault of a band director. And the situation is not exactly helped by machine-made reed manufacturers that are labeling their reeds in this way either.
Here's my take on it:
An oboist needs a reed he can play, NO EXCEPTIONS!!
Buy oboe reeds for your students that are handmade and are not classified in this way, unless you can talk to someone and explain what you need.
What a more advanced student needs in a reed is resistance, which is much different that hardness. So, stop handing them hard reeds once they pass the year mark, and especially when they seem like they are struggling.
Unless you can scrape these reeds down for them, they should not be encouraged. Better yet, get reeds from a professional oboist because these will make your job easier and it will make your students improve faster and probably enjoy playing a lot more.
I can't imagine how hard a job it is to be in your shoes, but think of the amazing start you can help give to each and every kid that chooses to play the oboe.
By Maryn Leister Oboist and entrepreneur Maryn Leister helps beginner, intermediate and professional oboists become happier oboe players. She is an owner of the oboe learning company MKL Reeds and publisher of the Reed Report and Oboe Success Tips Newsletters. Each newsletter is full of straightforward tips on becoming a better oboe player and on taking control of your oboe reeds. Get your free subscription to the Reed Report newsletter and start your own journey towards a more rewarding oboe future right away. Sign-Up now and get your FREE Oboe Reed Tips ! Article Source: EzineArticles
A Metronome, made in West Germany. (Photo credit: Wikipedia)
Practicing with a metronome will improve your time keeping dramatically! What... you say you can already keep time? Try to keep time with a metronome for about twenty seconds. It will show you how good you really can keep time. If you have never tried it...try it! You will see there is room for improvement.
In order to be an outstanding drummer you'll need to keep good time, and practicing with a metronome can help you do that. A metronome can improve your time keeping almost by magic. And, we know how important timekeeping is, particularly for a drummer.
You may wonder what the big deal is and think, "No one is gonna be able to distinguish any small changes in tempo in the middle of a song." Well, that may be true, but the major importance of keeping good time is at three different places in a song...
1) The times when you break away for a fill and come back to the original rhythm.
2) If the song contains pauses and later returns to the original rhythm.
3) If the song contains different tempos and returns to the original rhythm.
A metronome is such a vital tool in music education that most teachers of guitar, piano, and violin all utilize the power of metronomes within their lessons. How then, even more, important for the timekeeper of a band to practice with a metronome.
I can't stress enough the importance of practicing with a metronome. Once you go out and invest in one, start out by setting it at 80 beats per minute and play along with a standard 4/4 disco beat. This is a good place to begin. It will give you enough time between beats to concentrate and land your beat in sync with the beat of the metronome.
You will see that when you first start practicing with a metronome it can become very discouraging, but then you will eventually get the hang of it and keep pretty good time. Then it may become a little boring. It's at that point where you must challenging yourself a little bit more.
Adjust your metronome to a few more beats and increase your speed. Not so much where you will sacrifice your form, though. You don't want to become sloppy. Once you feel like you are really getting good at staying in sync with the metronome using a 4/4 beat and at various speeds you should begin to practice a variety of different rhythms, also at various speeds.
Practicing with a metronome will improve your drumming dramatically, so if you don't have one, get one. You will be amazed at how much it will increase your level of playing.
Every day we listen to music. There are various music genres available on the market starting from pop, rock, jazz, folk and ending with classical music and hip-hop. Many of the songs are made with the help of an incredible musical instrument, meaning the guitar. The results are spectacular and this instrument is considered a truly great invention.
We all would like to learn to play guitar. But, there are few people who succeed, as this instrument demands tons of concentration and hard work. This is why there are some websites out there, provided by specialists, trying to make the learning process a little less difficult. They present the fundamentals in order to help one find out how to play guitar.
Their purpose is to prove to the world that to learn to play guitar can really be obtained after a serious time of practice. The guidelines are proper for beginners and advanced users as well, not to mention that some of them offer audio samples and many other helping steps. Information is available in a wonderful style online and there are lots of Internet users who become interested in learning how to play guitar.
Rhythm and timing are perhaps two of the most important parts of the process helping one to learn to play guitar. Absolute learning comes after some time and there are many things that need to be understood. For example, the basic guitar chords are significant for anyone wanting to learn how to play guitar. There are three major types: major, minor and dominant. All of them are important in the creative procedure of making a song and they help one get to the basics of discovering how to play guitar.
Besides guitar chords, there are many other crucial elements in order to learn to play guitar. There is a wealth of information about how to tune a guitar, major and minor scales, electric guitars and guitar effects. Moreover, you can check out the piece of info on popular topics such as guitar positions, fretting the guitar and fingerstyle guitar.
Also, you get to understand the need to use a pick and the various shapes that exist. It is vital to grasp that the pick can severely influence the musical performance in different ways, plus the thickness that can totally transform the sounds. Online there is a wide range of picks available, for anyone interested in learning how to play guitar.
There are many important aspects to the process of learning how to play guitar. Still, the simplest way to get beyond all that and learn for real is to keep on playing until you tire and then start again. Practice makes perfect, an old saying used to say and the idea continues to be perfect for any beginner. Musical instruments do not necessarily require an amazing technique but the mastering of the basic skills.
The Internet is the perfect place to locate all possible information about guitar playing and guides. The heaps of available data can be overwhelming and this is why it is for the best to select some useful resources. Choose the one that has the information clearly presented and that highlights the importance of everyday practice.
Aside from learning guides, one can also find online other interesting information about guitars. There are guitar buying tips, leads on used instruments and famous guitarists. These are many but few of the names worth mentioning include Jimi Hendrix, Nirvana, Julian Bream, and Andres Segovia. All of them are famous guitarists in the world and they have managed to succeed by constant work. It is up to you how you use your talents and your skills.
"How can I develop a vibrato singing voice?" This is a question often asked by aspiring singers. But firstly, what is actually singing in vibrato?
A vibrato is a slight variation of pitch tone caused by the free oscillation of the vocal folds from an open pharynx (open throat) along with the healthy closure of the vocal cords with the use of good singing muscle support system.
However, there are many singers singing with wrong vibratos resulting in awful pitching and tones. This is usually the results of the oscillations being too slow, which is called a wobble and when it is too fast, called a tremolo.
We often hear singers who have a wide and slow vibrato which is actually a wobble. This phenomenon is usually caused by a lack of correct resistance of the breath pressure or a lack of focus in the singing tone. A wobble can also be caused by a lack of proper adduction of the vocal folds.
On the other hand, some singers developed an overly fast vibrato that sounds just as awful as the wobble. This overly fast vibrato is called a tremolo and neither the wobble nor the tremolo is the desired vocal tone for good singing.
A tremolo can be caused by a pressure built up at the root of the tongue. This pressure can have its origin at inhalation or onset of sound production. It can also be the result of a lack of vocal cord approximation.
Many singers do not know that the vocal folds must close after inhalation. This lack of proper adduction of the cords can result in a faster vibrato speed and therefore, the creation of a tremolo. The improper use of the singing muscle support system is another cause for producing a tremolo voice.
A good vibrato is when the singing voice is vibrating at an even rate. An uneven vibrato may be the result of sudden changes in the sub-glottis breath pressure. These sudden changes in the air pressure are a result of even "body resistance" from the singing support system. The vocal cords then begin to separate and vibrate unhealthily.
Most singers started off having a straight singing tone (no vibrato) before developing the vibrato through good vocal exercises. Some straight tone singers have even sung in choirs where their choir masters insisted that they sing in a straight tone.
Singing this way can be damaging to the singing voice as it put too much stress on the vocal cords and nodules can develop from singing in a straight tone over a period of time.
A good choral vocal blend can be developed through vowel and acoustical alignment but not squeezing the singing voice into a straight tone. Most straight tone singers have problems with vocal cord closure because too much pressure has been held at the vocal folds over a period of time.
A good vibrato gets woven into the voice when the singer achieves a proper balance in the support muscles and when the feeling of the "oo" vowel is sustained in the pharynx. The feeling of the "oo" vowel allows a healthy adduction of the vocal cords without too much pressure at the glottis.
A diaphragmatic vibrato is the when the diaphragm pulsates during a sustained tone to create a false vibrato. Many theatre singers develop this bad vocal habit so as to have some sort of vibrato when no vibrato is actually present. A diaphragmatic vibrato is difficult to reverse because the abdominal muscles memorize the pulsating sensation and develop a muscle memory. However, it can be corrected through time with proper vocal exercises.
A healthy vibrato can be developed in a rather short period of time with the right vocal exercises. How long does it take for a singer to develop a good and healthy vibrato voice is usually dependent on the singer's mind/body coordination?
So if you want to develop a good vibrato singing voice, then go look for a good singing teacher or get the right vocal exercises and start practicing.
All people enjoy one or the other kind of music. Music has a soothing effect on the body and the mind. It also has some healing capabilities which medicine and science have been trying to decipher for years. Music can be enjoyed and learned by people of all age groups. A large number of music schools have come up in the recent years which teach interested persons how to play different types of instruments.
Before you set to buy a musical instrument or even learn one, you need to know about the different types of musical instruments that exist.
Sound is produced in these instruments when a column of air is made to vibrate inside them. These instruments are further divided into brass and woodwind instruments. The length of the column of air and the shape of the instrument play a major role in determining the frequency of the wave generated. Different tones are produced depending on the construction of the instrument and method of tone production.
b) Percussion instruments:
Sound is produced in these instruments by simply striking them. The sound produced in this case may or may not be of high pitch. The cavity of the instrument surrounding the area where it is struck vibrates and sound is produced. The shape and material of the instrument also decide the type of sound produced form this instrument.
c) String instruments:
These instruments produce sound when the string is disturbed from its original position by the application of force. The length of the vibrating string, the mass, tension and the point at which the string is excited determine the frequency of the sound produced. The tone of sound produced by these instruments can vary depending on the shape and resonating cavity construction of each instrument.
d) Electronic instruments:
Sound is produced in these instruments through electronic means by imitating the sounds produced by other instruments. They resemble keyboards in appearance.
Sound is produced in these instruments when air is blown into a tube with different length or thickness to generate a wide range of sounds.
f) Keyboard instruments:
These instruments can use any of the above methods to generate musical sounds. Each key in the keyboard can produce one sound or the other. Keyboards are famous for producing a combination of different sounds and can also imitate the sound produced by other musical instruments.
You’ve probably seen videos and CDs for babies. There are some theories that classical music can make your baby smarter, and exposing your baby to music is part of what we do to introduce them to all the sights and sounds of their world.
Music can definitely help calm your baby down and put him in a restful state at bedtime or nap time. What are some good choices for a baby?
Almost anything you love or use for relaxation is good for a baby too. There are good collections of Mozart or Bach for bedtime. The music of Enya can be very soothing as well. Georgia Kelly’s harp music is also relaxing and peaceful.
When your baby’s awake, there are lots of nursery rhymes or music from kids’ movies that can stimulate his senses. We’ve known kids who respond to minimalist Phillip Glass’s music; it’s simple and rhythmic and when they get older, they’ll dance with it. Spirituals and soft gospel music are also good choices to help the baby get to sleep.
White noise, in the form of a fan (not directed right at the baby), or from sound machines that simulate the sound of an ocean or rain can be restful as well and can block out noise from the home. You don’t need to create an artificially silent environment for the baby, however, since that can make it harder for them to get to sleep when the home’s rhythms and noises get back to normal.
This is a great time for you to explore classical music as well if it’s not already part of your life. The same music that’s helping your baby get to sleep can help soothe your own nerves and provide a wonderful time of bonding and restfulness for you and your baby together.
The Art of Jazz dance is an amalgamation of different styles of dance that began between the 1800's, and the middle of the 1900's rooted in African American movement. One man known for this type of dance was the star of vaudeville Joe Frisco around 1910 who danced in an unrestrained fashion in close vicinity to the ground while tossing his cigar, and Derby in a juggling manner. The Jazz dance style up to the middle of 1950's was Tap dance which was always performed with Jazz music such as the Jitterbug, Swing, Boogie Woogie, Lindy Hop, and the Charleston. Katherine Dunham is renowned choreographer and dancer studied the cultural dances of Caribbean in Haiti, Jamaica, Trinidad, Tobago, Martinique and Shango making this African American dance a modern work of pure art.
She took this style to Hollywood and Broadway who embraced a more refined Jazz dance. Modern Jazz Dance is a smooth style of dance roots from Tap, Ballet and Jazz music which is performed in many musicals from the Pajama Game to Cabaret to Chicago to music videos and the Las Vegas showgirl performances. The usual technique for Jazz dance is that of a ballet dancer for balance and strength from doing slow movements. In contrast, the typical Jazz dance has sharp movements, but the skills of ballet smooth it down into a refined style.
Moreover, Jazz dance is such a versatile style that it can be combined with other dances from lyrical, contemporary and hip-hop. Jazz dance like Jazz music can be combined with other dance styles to enhance the dance to another level. For instance, The United Kingdom witnessed a new movement of dancers in the 1980's who danced when the Jazz and Funk music clubs was becoming unpopular known as Street Fusion Jazz Dance. Due to the new modern music scene, new groups who longed to keep the tradition of Jazz dance, and still leave room for the new styles.
There are two groups known for street fusion jazz dance known as IDJ ( I Dance Jazz), Brother in Jazz and Jazz Cotech. Famous people of the world of Jazz dance is Fred Astaire, Jerome Robbins, Jack Cole, and Bob Fosse. In the world of Jazz Dance, there are terms people use to describe various dance moves.
Jazz Dance Terms:
Adlib, Axel Turn, Ball Change, Barrel Jump, Barrel Turn, Bounce, Cake Walk, Catwalk, Catch Step, Chasse`, Coffee Grinder, Contract, Curve Or Arch, Dolphin, Drop and Recover, Fall, Fall Over The Log, Fan Kick, Figure 8, Flick, Flick Kick, Freeze, Funk, Head-Roll, Hinge, Hip Walk, Hip-Fall, Hip-Roll, Hitch Kick, Hop, Jazz Drag, Jazz Run, Jazz Split, Jazz Square, Jazz Walk, Jump Over The Log, Kick, Knee Fall, Knee Slide, Knee Turn, Lay Out, Limbo, Mess Around, Moonwalk, Pencil Turn, Pitch, Pivot Step, Primitive Squat, Release, Ripple, Shimmie, Shiver, Shoulder Fall, Shoulder Roll, Sissonne Fall, Skate, Snake, Snap, Spins, Spiral, Stag Leap, Step, Switch, Table Top, Tilt, Touch, Tripplettes, Turns, Twists, and the Worm.
Some people think that if you want to change the world you don't become a bass player, but go into something more challenging and stimulating like the Post Office. But does this myth portray how bass players really are? Let's step back from our habitual way of seeing bass guitar players as necessary but boring members of the group. Like accountants.
Sure we acknowledge the fine contribution they make to their bands by supplying the bass lines and paying for the beer, but do they actually do anything really creative? This brief listing of some prominent men (and woman) of bass will allow you to see that this apparently self-effacing member of a musical group could be the creative powerhouse.
Let's start with the leather-jacketed but overpoweringly feminine Suzi Quatro. A vocalist and bass player who had a bunch of hits in Australia and Europe in the early seventies, her popularity in the USA stemmed from her role as Leather Tuscadero in Happy Days.
John Entwistle pioneered the use of the electric bass guitar as an instrument for soloists. His aggressive approach to the bass guitar influenced many other bassists.
Flea of The Red Hot Chili Peppers impressed a lot of musicians with his popping and slapping technique which was originally invented by Larry Graham of Sly And The Family Stone. Flea's innovative use of effects pedals has also influenced many bass players.
Jack Bruce wrote most of supergroup Cream's hit songs. Among his other achievements are fighting constantly with Cream's drummer, Ginger Baker and surviving a liver transplant.
Greg Lake is another artist of the early seventies who played with a number of innovators from the glam rock era. Lake is best known for his vocals, bass and guitar work with Emerson, Lake, and Palmer.
Rob Bailey is a bassist who plays loud and aggressive. His bass playing is an important element in the music of AC/DC.
Benny Rietveld, a Dutch musician who went to college in Hawaii, is admired for his musical and individualistic style of play. He worked with Barney Kessell, Sheila E, Huey Lewis, and Miles Davis. He has also made an album featuring Carlos Santana. Talk about diverse.
Paul McCartney played bass with The Beatles. Many bass players say he's quite good, but he changed the world with his romantic song lyrics.
Considered by some to be the king of bass players, Stanley Clarke employs a variation of the pop and slap technique to produce some truly innovative bass guitar music. His 1976 album, School Days, is acclaimed by many critics as one of the greatest bass albums ever.
A true bass lead guitar player, Billy Sheehan has won Guitar Player Magazine's "Best Rock Bass Player" readers' poll five times. Why a "bass lead guitar player"? Because Billy plays bass as if he were playing the lead.
So if you are not familiar with bass guitar players I hope this article has whetted your appetite. Why not spend your next rainy Sunday watching some of their work on YouTube?
Change (Taylor Swift song) (Photo credit: Wikipedia)
Some people have a knack for song structure. Taylor Swift, for example, began by writing poetry as a child. After teaching herself to play the guitar she began putting her poems to music, structuring them as songs. Of course, not everyone has Taylor’s innate musical skills. At the same time, you don’t need to attend college and earn a music degree or take years of lessons to learn the basics of how to create the perfect structure for your songs.
What does song structure actually mean? Structure refers to the way the sections of the song are arranged. Structure gives the song its form and optimizes the emotional or musical impact. Different genres of music have a different structure. For example, a symphony has a different structure than a pop song. An R&B ballad has a different structure than a rap. So the type of genre you write in will affect the ultimate structure of your song.
Typically, songs employ repetition to make them catchy and to emphasize the song’s emotional point. A structure is also used to enhance the storytelling element of a song, making the listener want to hear what’s coming next.
Before you can decide on the structure of your song, you need to know the components to use:
The Introduction: Usually instrumental using chords from the verse or chorus but famous lyricists like George Gershwin regularly started his compositions with a sung intro.
Verse: Usually contains four to 8 chords. In songwriting terms, the story of the song is told through the verses.
Chorus: Also called the refrain, the chorus is also usually four to eight chords and has a primary musical phrase which is repeated. In Red Hot Chili Peppers’ “Dani California,” the refrain is:
California rest in peace
Simultaneous release
California show your teeth
She’s my priestess, I’m your priest
The chorus as a distinctly different musical dynamic that the verses. In songwriting terms, this is the emotional center of the song. Typically, a phrase from the chorus is what people remember.
Bridge: a musical connection between a verse and chorus or between a chorus and verse. This is especially useful when you have a key change from one to the other, or the transition from verse to chorus or vice versa isn’t particularly smooth.
Middle 8: A musical or lyrical interlude that can prevent a song from seeming monotonous or to add a different emotional element.
Outro: The “bow out” of a song. Often it’s just a reiteration of the verse or chorus but can be totally unique. The elements of the structure are just a guideline. How you use them is based on your talent and artistic vision
Duet playing between Native American flute players is a fairly simple task. The players usually select the key in which they choose to perform, and take turns in listening and playing. As long as the flutes are tuned to the same pitch, the compatibility of the instruments will be pleasing. Pairing an Anasazi-style flute with a Native American flute (NAF) presents a different problem due to the way keys are designated for each kind of flute. The root note designation for Anasazi-style flutes denotes the beginning of a major pentatonic scale. Common keys for Anasazi flutes are A, G# (or Ab), and some higher pitched versions in C and D.
Unlike almost any other Western key-tuned flute, the NAF is named by a minor key rather than the major, because of the pentatonic minor scale structure of the NAF. Flute players fill in their collections by acquiring instruments in various root notes (F#, G, A, etc.), and that root note designation refers to the minor key of that note. For example, the NAF in A is really A minor, no sharps or flats. The major key with no sharps or flats is C, and with the right fingering the NAF in A minor can also play the major C scale (also called mode 2 for the NAF).
The Anasazi scale is based on a pentatonic major scale based on the lowest note of the flute. This distinction is important because a NAF flute in A (minor), no sharps or flats, is not compatible with an Anasazi flute in A (major), 3 sharps. And while it's worth noting that the Anasazi flute can play in a minor mode, a greater number of compatible notes between the two kinds of flutes are available if you use flutes with the same number of sharps or flats in their scale structure.
In music theory, each set of sharps and/or flats in a major key have its minor key complement (called a relative minor). The musical distance is a minor 3rd apart. If you pair a NAF with an Anasazi flute, use this as a guide:
Anasazi A with NAF F#m (3 sharps)
Anasazi G# (Ab) NAF Fm (4 flats)
Anasazi C with NAF Am (no sharps or flats)
Anasazi D with NAF Bm (2 sharps)
Take a listen to Welcome Dance and Two Hearts in the September 18 post at http://www.anasazidream.com. The overdubbed recording is played with an F#m NAF with an A Anasazi Dream flute. Because both instruments share the same key signature, the pieces hold together musically.
Mark Purtill is an educator, artist, composer, performer, and author and maker of Anasazi flute replicas as well as other rim blew flutes. http://www.anasazidream.com Article Directory: EzineArticles
