Tuesday, October 30, 2018

MUSIC is experienced by individuals in a range of social settings ranging

English: Holophones during the second edition ...
Holophones during the second edition of Arte Scienza, a biennial of art, music and contemporary culture hosted in Rome by CRM - Centro Ricerche Musicali.
(Photo credit: 
Music is experienced by individuals in a range of social settings ranging from being alone to attending a large concert. Musical performances take different forms in different cultures and socioeconomic milieus. In Europe and North America, there is often a divide between what types of music are viewed as a "high culture" and "low culture." "High culture" types of music typically include Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.

Other types of music such as jazz, blues, soul, and country are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the division between "high" and "low" musical forms was widely accepted as a valid distinction that separated out better quality, more advanced "art music" from the popular styles of music heard in bars and dance halls.

However, in the 1980s and 1990s, musicologists studying this perceived divide between "high" and "low" musical genres argued that this distinction is not based on the musical value or quality of the different types of music. Rather, they argued that this distinction was based largely on the socioeconomic standing or social class of the performers or audience of the different types of music. For example, whereas the audience for Classical symphony concerts typically has above-average incomes, the audience for a Rap concert in an inner-city area may have below-average incomes. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, rap, punk, funk, or ska may be very complex and sophisticated.

When composers introduce styles of music which break with convention, there can be a strong resistance from academic music experts and popular culture. Late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first introduced.

Such themes are examined in the sociology of music. The sociological study of music, sometimes called sociomusicology, is often pursued in departments of sociology, media studies, or music, and is closely related to the field of ethnomusicology.

Monday, October 29, 2018

VIOLA PLAYERS Have the Last Laugh

Difference / Unterschied Violin - Viola (Alto)...
Difference Violin - Viola (Alto) 
(Photo credit: Wikipedia)

Viola Jokes don't discourage us from filling in the harmonies and living a quiet life in the orchestra pit

"Why is a viola better than a violin?"

"The viola burns longer."


As a viola player myself, I've heard hundreds of viola jokes and have earned the right to retell them ad nauseam. This violist ain't touchy about viola jokes and I'll even squirt milk out my nose when told a particularly nasty one I haven't heard yet.

What I find more frustrating than viola jokes is how many people don't even know what the viola is! It's bad enough to be ridiculed, but far worse when no one knows you exist! When prodded with the violin vs. violin joke opener, my inner music geek is compelled to ramble the viola gospel. "The Viola is the 'Alto' voice of the violin family, hence is tuned a perfect fifth below violin."

Blank stares await the real punch line. I need to get out more.

In truth, the viola is much like a violin, so much so that many symphony goers simply think they're just more violins. Visually the technique is identical to violin playing: held at the left shoulder and bowed up and down, but with more broad movements as the viola is slightly larger than a violin. A larger instrument allows for a longer string length and increased body /sound chamber to allow the low notes to reverberate properly.

Simply put, the viola is like a slightly larger violin who's high E-string was replaced by a low C-string on the low end. This is pretty much all that separates the violin from the viola. For violists size really does matter.

So what, it's bigger, lower pitched fiddle? Why the ridicule?

"Why are viola jokes so short?"

"So Violinists can remember them."

The viola is like the quiet middle child: ignored by its parents and overshadowed by its other, more active and successful siblings. A fate worse than "playing second fiddle," viola's role in a symphony or string quartet is to provide middle harmonies (aka, the leftover scraps of chords no one else wants to play) and rarely plays the melody, or tune.

"How do you get a violin to sound like a viola?"

"Sit in the back and don't play."

Even visually the viola is neglected. We can hardly see them on stage tucked between second violins and cellos and facing their instruments away from the audience. They get less air-time than first violins and cellos and spend the most time taking breaks from play than any other section of the strings.

This leads to a solo issue. There is not much solo repertoire written for viola, which has long been viewed as the "strong, silent type." The lack of repertoire is most likely due to its mellow, deep tone, which, being less bright and projecting less than the violin, was believed by composers of the day to be less suited to virtuoso display. Hence the viola is rarely showcased and has to resort largely to adaptations of violin and cello repertoire to get any attention.

"How do you get a violin to sound like a viola?"

"Play in the low register with a lot of wrong notes."

A gap between viola and popular acceptance among musicians is the alto clef. Viola is pretty much the only instrument to use the alto clef and only violists can read the darn thing, so it keeps many musicians from picking one up and learning to play.

It's like the notes are written in a code no one else wants to learn to decipher. More tragically (and poetically), violists are like a dying out race whose language is dying with them.

[Cue melancholy violin solo is rewritten for viola]

"What is the difference between a violist and a savings bond?"

"Eventually the bond will mature and earn money."

No matter how bleak the plight of the violist may be, the viola is still an absolute necessity in orchestral and string ensemble playing. You can't play a symphony without the viola section. Oh sure, you can draft some third violinists to play the part, but they can't play the low notes and get that throaty viola tone. This is where opportunity knocks and gives the meek violist an amazing advantage over violinists.

"What do you call a Viola player with half a brain?"


Simply put, it's a matter of supply and demand. There are gobs of violin players in the world and a startling shortage of violists. For example, in ten years of teaching over a hundred violin students, I've only worked with three viola students. You don't have to be a PhD to figure out the best way to get accepted into a music school or conservatory is to know how to play the viola and read the alto clef.

"What's another name for viola auditions?"

"Scratch lottery."

Picture this: There are 25 violin spaces and 5 viola spaces available in a first-year music program. 300 violinists and 2 violists have applied. Do the math and you can pretty much guarantee those 2 violists will make it in without much fuss from admissions staff.

"Violinists are a dime a dozen" turns into, "Invite two more viola playing friends and save up to 50% off your tuition! Call now!" The same speaks for scholarships available to violists only. They're rare, but they do exist.

"Classified Ads: Established string quartet seeking two violinists and a cellist."

Carry this concept forward to getting a position in a group. I had the privilege of playing at the BC Provincial music festival because a string quartet was short a viola player. I'm sure I never would have made it into the group as a violinist as the players were beyond my level, but I was the only gal around who could read that pesky alto clef!

Symphony auditions don't even seem as rigid for violists. "You play the viola? You can sit here," was pretty much the response I received when inquiring with the Kamloops Symphony. I joined the immense viola section of two other violists for one concert and managed my way into the first violin section where I stayed content for the rest of the season.

It is very apparent that there is far less competition involved and violists do have an edge.

"Did you hear about the violist who played in tune?"

"Neither did I."

I don't intend to imply that as a violist you can get away with being a mediocre player. Far from it; you must have a command of the instrument which is both strong and sensitive at the same time. You must also have a feel for the instrument, which as legendary violist and conductor of Canada's National Arts Council Orchestra, Pinchas Zukerman, explained to me in an interview.

"The bow application is different on the viola," he said. "A slightly slower bow application is used on the viola because it's heavier and easier to control."

Zukerman also said, "Hearing the sonority of the instrument made me want to play the viola." And this is where many players are attracted to the viola. That wonderful, low C-string that reverberates in your bones.

"Why do Violinists switch to Viola?"

"So they can park in handicapped spaces."

I loved the viola before I even knew what it was. It was in my second year of violin when I bought the score to my favourite piece of music, Brandenburg Concerto No. 6 by J. S. Bach. Imagine my disappointment when I saw the solo parts written in a strange, alien clef. My school orchestra director kindly loaned me a viola and I learned the clef over the weekend so I could scratch out even the slightest bit of the music. I was hooked on viola from then on.

I've since worked to convince many of my violin students to switch to viola, citing the many wonderful opportunities mentioned above. It's got to be done! Viola players are just hard to come by otherwise. In my years teaching only one viola student learned viola before violin, the rest were violin transplants. This unforeseen anomaly is perhaps the only case of a violist who took up violin later.

"What do you call someone who hangs around musicians a lot?"

"A Viola player."

Who knows their reasons behind playing the viola, but many amazing and well-respected musicians have played the viola over the centuries including J.S. Bach, Beethoven, Haydn, Mendelssohn, Schubert, and violin virtuoso Paganini. Czech composer Dvorák considered becoming a professional violist but instead pursued composition where he wrote pieces which gave the viola a far more active role.

Some composers even preferred viola over the violin, such as Mozart who was said to have performed the Principal Viola solo at the premiere of his then ground-breaking "Sinfonia Concertante." And some greats had their musical start on the viola. Jimi Hendrix, perhaps the 20th century's finest and most innovative rock- started his musical career at an early age on the viola!

"Why did the violist marry the guitarist?"

"Upward mobility."

Okay, so smashing a flaming Fender is way cooler than playing the viola. Heck, you may lose a teeny bit of sex appeal and overall charisma when you take up the viola.

"Why is the violin smaller than the viola?"

"It's an optical illusion. They're actually the same size and appear smaller because the violinist's heads are so much larger."

In the end, it's not really the life of glamour and fame enjoyed by violinists. As the showy violinists clamour for a chance in the limelight, the humbled violists abandon any delusions of glory and accept their fate with a healthy mix of zen detachment and humiliation.

Ahh, but inside every viola player is a daring rebel. An individual who has broken away from the establishment. You see them slogging away in the bowels of the orchestra, playing their unique middle harmonies with knowing grins on their smug faces. "We're absolutely essential and we know it."

Let the violists have the last laugh.

    **Rhiannon Schmitt (nee Nachbaur) is an award-winning classical violinist/fiddler and music teacher who has enjoyed creative writing for years.

    Her business, Fiddleheads Violin School & Shop, has won several distinguished business awards and offers beginner to professional level instruments, accessories and supplies with exceptional personal service.  She has in stock a rare and stunning 15.5" viola by 2-time Gold Medal VSA maker Ming Jiang Zhu.  http://www.fiddleheads.ca

    Article Directory: EzineArticles

Saturday, October 27, 2018


English: American blues harmonica player Georg...
American blues harmonica player George "Harmonica" Smith
 (Photo credit: 
The harmonica is a very common element in blues music. It has the depth to go with the rhythm and for many people, it is what makes it what it has become. Learning to play the blues on the harmonica is much harder than one might think. Yet once you do so you will be very happy with yourself. 

One significant difference between blues harmonicas and others is the fact that the blues features twelve holes instead of the traditional ten that is found on others. This can take some getting used to when you pick up a blues harmonica if this isn’t the style that you first learned to play on. It is important to have the right type of harmonica in order to play the blues.

When it comes to playing the blues on the harmonica you have to be able to feel the music. You also need to know the basic notes on the instrument so you can apply them. This can be frustrating but make it a routine to practice at least 15 minutes each day. Try to play listening to a blues song you are attempting to copy. This will guide you to show you where you need to continue working as well as where you have certain parts of the song down correctly.

Many individuals who own blues harmonicas are more than willing to help others learn too. You can find them hanging out on the porch on warm afternoons working with each other. Many younger generations have learned the value of patience and bonded with older family members during the process of learning to play a blues harmonica. In fact, it is also common for these older musicians to buy young children a blues harmonica so they can start picking it up from a very young age. 

You will discover in your quest to buy a blues harmonica that there is no shortage of them out there to choose from. Take your time to try out several models that you can find at local music stores. You want to be comfortable with what you are going to be playing. Plan on spending at least $200 or more for a very good blues harmonica that you will love playing every chance you get. 


Friday, October 26, 2018

How to Play the TRUMPET - Even If You Already Play

Trumpet (Photo credit: Wikipedia)
There are some basics techniques that must be learned in order to learn how to play the trumpet. However, as with most arts, it's not always as easy as it seems. Most people figure that simply stated if they want to play the trumpet they have to learn two things: how to make a sound and how to play different notes. That's true, but that first one is a biggie. Being able to play notes on a trumpet is very different than playing musically, with an enjoyable sound. There's knowing how to play the trumpet, and then there's really knowing how to play the trumpet. It's that quality of the sound that trumpet players strive to improve and maintain, even after years of playing.

The basic sound of the trumpet is produced by vibrating the lips to make a buzzing sound. Other articles discuss making a good buzz, but here we'll look at how to really support that sound once a buzz is established. Three-pointers that support trumpet players over their entire trumpet career are:
  1. Keep the corners of the embouchure firm - this is the area that helps control your sound, your tone & your pitch.
  2. Take a deep breath - stand up straight or sit up straight, breathe deeply starting from way down in your abdomen. - A deep breath supports your tone and range
  3. Blow all the way through the trumpet - that might sound obvious, but the concept of blowing through the horn vs into or at it makes sure you're providing enough air supply.
These are your absolutely essential tools for playing the trumpet. Trying to play the trumpet without developing these skills is like trying to swim with your street clothes on. It's possible, but you'll work so hard trying to overcome that handicap you've put on yourself. On the other hand, having these simple skills is like getting that super sleek, racing swimsuit that should be illegal. It's not enough alone to make you a great performer, but it gives you a solid base to grow from and supports you rather than holds you back. Learning these fundamental ideas here at the very beginning will make everything come much easier as you progress. So let's take a look at each of these.

Firm Corners -

The corners of the embouchure (the shape of the lips and surrounding muscles when buzzing) should be kept flexed enough to keep a consistent embouchure shape. The tendency for many players is to draw the lips back into a smile when playing higher notes. That embouchure needs to look nearly motionless as the trumpeter plays throughout the range. The jaw might drop a bit in the lower register, but the corners should stay firm. A good way to monitor embouchure movement is by watching in a mirror while playing, forcing a consistent position.

Big Breath -

Air support is one of the most overlooked 'skills' by people learning to play the trumpet. It's overlooked because it's possible to play the trumpet with shallow air support. Developing trumpet players often consider it a success when they can get through a song without missing any notes. However, insufficient air support can lead to a weak sound, inconsistent intonation (pitch), limited range, and poor musical phrasing. A big breath of air is the foundation of a good trumpet sound. Even when playing softly, a big breath will provide the support necessary to control the overall musicality of a trumpet performance.

Blow The Air Through The Trumpet -

This one may seem obvious. "If the air doesn't go through the trumpet, where else could it go?" The phrase is meant to describe the way to take that big breath and really use it to produce music, blowing through the trumpet, not at it. The idea may be analogous to the difference between humming under one's breath and performing an aria. One is significantly more musical than the other. Even at low volumes, the air through the trumpet will be smooth and consistent.

These three pointers are important in really playing the trumpet, and getting past just playing all the right notes in a song. Even advanced trumpet players often step back, resolve to really learn "how to play the trumpet", and take a serious look at their embouchure consistency and air support. Trumpet players who learn these skills and use them habitually are less likely to have to step back later and correct their fundamentals.

Thursday, October 25, 2018

Why LYRICS Are Important

Morrison's handwritten original lyrics to 1971...
Morrison's handwritten original lyrics to 1971's LA Woman.
(Photo credit: 
What makes a good song so appealing to the people who buy CDs and MP3 files? Is it the background beats or the guitar riffs played? Is it the voice of the lead singer or how high he or she can take his vocals to? The truth is that the most important part of most songs, techno possibly being an exception, is the lyrics, or the words of the song. The lyrics are the meat of any song and are usually the part that is most recognizable from any song. They are an integral part of any music tune and it would be a mistake for any artist to take them lightly.

As mentioned before, the most recognizable part of any song is usually the lyrics. What this means is that when someone is looking for a song they heard on the radio, they will probably remember some key lines from the chorus. They are not, however, likely to remember a well-done guitar solo or something of that sort. While the instrumental play is important as well, people usually link songs with the words inside the music. This is because words are not only much easier to remember than instrument music is, they are also easy to translate to someone else. For example, it would be much easier to find a CD if you know the words to a song that if you knew the drum beats from a song.

Lyrics are often commonly considered to be the single artistic part of music as well. While this is certainly not true from a musicians standpoint, as guitars and drums take a lot of practice and time to master, it doesn’t change the fact that many people feel that a good song must have quality lyrics. Good lyrics will relate to a person’s life and make them feel better about a bad situation. Bad lyrics will focus on trivial parts of life that really don’t matter and will have no deeper meaning to them after the song is over. Artists will find that after a while people tire of hearing the same old stuff about showing off gold chains and shaking behinds. Many music fans are looking for songs that have meanings, and this, in turn, means that artists need to spend more time on their lyrics.

Remember that before it was stated that lyrics are important because of how they can be recognized. This is double-fold when you consider that good lyrics in one song can sometimes single-handedly assure an artists legacy. The journey is one good example of this, as their biggest hit in “Don’t Stop Believing” is a pop culture hit that has never lost fans throughout the decades since it’s release. On the other hand, artists without a standout lyrical song will often find themselves fade out of the picture as their era in music ends.

All in all, lyrics are an important part of any song and the words are the part fans look to the most for inspiration and meaning. Artists who come up with great lyrics are usually the ones most revered long past their prime, so it is important that they focus on this part of a song!

Wednesday, October 24, 2018


Antique Saxophones - Photo: Flickr
A saxophone is a musical instrument belonging to the woodwind category. It is one of the youngest musical instruments, invented by Adolphe Sax, a Belgian, in the 1840s. Later, many people made their own alterations to the instrument. Saxophones were generally used in the military and in big orchestras but are now found in smaller bands as well. They are generally used for big band music, pop music and jazz. There are many kinds of saxophones but the four most common ones are: Soprano, Alto, Tenor and Baritone Saxophones.

Vintage saxophones may not be in great playing condition but are generally bought for collection purposes. Some suppliers also sell vintage saxophones that are repaired and in good condition. They can also be custom-restored to suit individual requirements. Some manufacturers offer one-year guarantees on restored saxophones.

Otherwise, vintage saxophones are sold in "as is" condition to retain their original and antique value. Vintage saxophones can have frills like hand engravings on them. They are also generally gold- or silver-plated instead of being lacquered like the new saxophones.

Here is a sampling of the vintage saxophones available at one dealer: King - super 20 and Zephyr; Selmer - Mark VII, Mark VI, super balanced action, balanced action, super, radio improved, and cigar cutter; Buescher - true tone, aristocrat, and 400 top hat and cane; Conn - Chu Berry, conqueror (26 and 30M), and lady face (4M, 6M, 10M, and 12M); Martin - handcraft, Magna and committee.

Vintage saxophones can be found at local music stores or in antique shops. They can also be found by browsing some special sites on the Internet, which provides hundreds of choices in vintage saxophones. However, some Internet dealers sell fake vintage saxophones. Some suppliers of vintage saxophones offer certificates of guarantee or even warranties.

Tuesday, October 23, 2018

Memories Are Made Of This : The Golden Years of The SIXTIES MUSIC Revolution

English: Jimi Hendrix at the amusement park Gr...
Jimi Hendrix at the amusement park Gröna Lund in Stockholm
(Photo credit: 
I suppose my first realization that music was something more relevant than learning the words to carols for the school Christmas concert was appreciating my Dad's collection of 78s'. He was a man with unusual tastes in music. My contemporys' parents listened to American crooners, like Bing Crosby, Dean Martin and the like, or the big band sounds of the day.

But my Dad had individual tastes which included Eastern European folk music, Scottish bagpipe ballads and Welsh miners choirs; plus my first introduction to classical such as exciting pieces like Aram Khachaturian's "Sabre Dance".

My Mother, a dedicated Crosby fan, disliked these strange sounds to the extent that she banished any playing of the 'caterwauling' to our barn, a large wooden structure at the back of the house. This suited my Dad, and me, just fine.

He would mend bikes and tinker with machinery in one corner, while I would curl up on a battered leather sofa looking at pictures in old movie magazines, giggling at jokes in back copies of Lilliput and reading girlie type books (Little Women, Black Beauty etc.) while the haunting strains of Bulgarian women's' voices, Highland airs or the overwhelming sound of Welshmen giving it their all emanated from the old wind up gramophone; memories are made of this.

Musically I've come full circle. with the increasing popularity of 'world music,' I am, once again, enjoying Bulgarian women's harmonies and Welsh folk songs along with the exciting newcomers from African and Latin American roots.

Every generation, mostly, think that they have experienced the 'best' period of topical music, but I do feel that the sixties were a special case. Consider this; any weekend my friends and I had a difficult decision to make. Did we go 'up town' to Ken Colliers to see American blues stars like Big Bill Broonzy or jazz giants like Dizzy Gillespie; or perhaps to the Marquee or 100 Club to listen to the up and coming Britishers like Paul Weller in the Jam, Eric Clapton and the Yardbirds and Georgie Fame with the All-Stars.
English: Mick Jagger (right) and Ronnie Wood (...
Mick Jagger (right) and Ronnie Wood (left)
of the Rolling Stones in concert in Chicago
 (Photo credit: 

Or did we stay closer to home and go to the Riki Tik in Windsor and risk asphyxiation in the tiny room listening to an exciting new group called the Rolling Stones. And that was only the start; what about Osterley where you could hear John Lee Hooker, Sonny Terry and Brownie McGee and any number of other Southern American blues stars; or Windsor Drill hall where, on a Friday night you could enjoy the best of Cyril Davies and the All Stars, which usually featured one of my favorites, Long John Baldry.

And, if you were willing to risk parental wrath, it had to be Eel Pie Island in Twickenham, a den of iniquity where you could hear the best of new rhythm and blues; smell strange substances burning in the air and where I first encountered psychedelia in the shape of Pink Floyd whose innovative light shows of colored lava lamp blobs popping and forming ever different shapes were the precursor of the giant video screens of today. To say we were spoilt for choice is not to overwork a phrase.

I haven't even mentioned the many folk clubs sprinkled about which I visited with my friend Lucy as a guest singing duo, where we shared stages with the likes of Bert Jantz, Duster Bennett, Cat Stevens...  We would travel to isolated venues in the heart of the Berkshire countryside and find ourselves in a barn somewhere, with people sitting on hay bales and listening to the stirring voices and lyrics of Sandy Denny, Davy Graham and John Remborne, or even the Wurzels (bring your own cider!).

If you wanted to dance, but strictly not ballroom, you could stomp the night away at a selection of 'trad jazz' clubs. Bands of various styles were always on tap; Dick Morrisey, the aforementioned Ken Collier, Acker Bilk; It really was a golden age for live music of every kind. And it didn't cost an arm and a leg to indulge yourself. If we paid more than a couple of quid to get in we felt hard done by. Even special occasions, like seeing the Who or Cream at the Hammersmith Odeon were cheap at the price.

Wherever we hung out with our mates there was music. This was the age of the coffee bar, always with a jukebox in the corner belting out such classics as 'Dock on the Bay', or Buddy Holly's latest or Aretha Franklin, Jimi Hendrix, Joan Biaz; where to stop! Before the fashion for 'personalized music' (catered for firstly by the Walkman and now in it's the newest incarnation, the iPod) the latest tunes brought like minds together. A normal Saturday outing was to the local record shop where friends would crowd into a booth together to hear the latest in the 'charts'.

Maybe it was all just 'fashion' but, as the year's race by, that sixties music has stood the test of time. Many of our heroes are still household names. Our children still appreciate such giants as Bob Marley, Jimi Hendrix and Otis Redding. The likes of Paul Weller, Rod Stewart, the Rolling Stones still tour all over the world. Am I showing my age when I find it hard to appreciate modern-day offerings? Of course, I am but no more than any other person who has let music into their life.

From the moment the first caveman (or woman) discovered how to make musical 'sounds' from reeds or rocks, water or wood, we have enjoyed the privilege of a great gift. How to explain the catch at the back of the throat when we hear a familiar song or melody? How to describe the pure feeling of exhilaration and joy as many human voices come together to sing some particularly uplifting work. I dare anyone to say they have never felt that. And if some hardened souls insist that is the case; well I feel very sorry for them.

Monday, October 22, 2018

Clean your PIANO keys

Upright piano from ca. 1900 (A. Jaschinsky) , ...
Upright piano from ca. 1900 (A. Jaschinsky), inside. (Photo credit: Wikipedia)
I am sure that many of you would be passionate about music and might be having some of the musical instrument to enjoy this pleasant joy given to us. There are different sort of musical instruments that people usually owe such as guitar, trumpet, drum, woodwinds, strings or piano. Out of these pianos is the one that is not easy to play and also to maintain in comparison to the other ones mentioned.

So if you have a badly stained piano and you want to care for it then it doesn't require any professional cleaner or polisher but all you need is a regular soft buff with a lint free cloth. Any sprays or harsh chemicals will damage the surface of the delicate keys and shall also make the instrument look older and worn than what actually it is.

For cleaning the ivory keys you should not:
1. Immerse in water
2. Scrub with a brush or even a scouring pad
3. Use any type of chemicals or even washing up liquid can damage the previous surface
4. Spray with furniture polish
5. Use air-freshener anywhere near the keys or piano

Ivory should be gently wiped with a soft clean cloth and for stubborn marks or fingerprints you should first wash your hands and thereafter you can use a mild non-colored toothpaste on a damp cloth but ensure that you gently rub and never scrub. Rinse with fresh milk with another lint-free cloth and buff well.

You should leave the piano open on sunny days so that the keys stay bleached and don't turn yellow. Keys that are badly discolored or stained should be scrapped and recovered by any professional piano cleaner.

For cleaning plastic keys you should not:
1. Use chemicals
2. Leave the piano open for long period of time as this shall cause discoloration of the keys
3. Use furniture polish as this could be very harsh

Dust regularly and wipe occasionally with a soft solution of warm water and vinegar on clean chamois leather. Then buff well for added shine. If you want to clean the casework that usually gets very dusty you can use a vacuum cleaner attachment to get rid of any cobwebs or dust. It can take some time but it will surely be worth and remember not to use any water or liquid to clean the casework. For stains and marks, you can consult a professional piano cleaner or tuner.

Saturday, October 20, 2018

HARMONIUM - The Pipe Organ-Like Instrument

A harmonium. Operation of the two large pedals...
A harmonium.
Operation of the two large pedals at the bottom of the case supplies wind to the reeds.
(Photo credit: 
A Harmonium is a musical instrument, a self-standing musical keyboard, similar to a Reed Organ or Pipe Organ. It consists of free reeds and the notes are produced by air being blown through reeds that produce a sound similar to that of an accordion. The air is supplied by a hand-operated bellows alternately depressed by the player.

Description of the Harmonium
Harmoniums are in the family of free-reed aerophones. Harmoniums look like pipe organs, a rectangular-sized box with a key on the upper length. Each harmonium has a bellows at the back that is pumped with one hand while the other hand plays the keys. Inside they contain multiple compartments. There are different sections of free reeds in each compartment. The dimension of each reed in the bank produces a different pitch. Engaging Stops directs the pumped air to various compartments. Each playing Key and each Drone controls the air through the reeds within a compartment. When the Drones are engaged, they provide a lasting harmony note and are played in unison with the keyboard.

They used to be popular in churches and chapels where a pipe organ could not be used due to being too large or too expensive. Harmoniums are lighter than similarly-sized pianos and are not as easily damaged in transportation, thus they were also preffered throughout the colonies of the European powers in this period- not only because it was easier to ship the instrument out to where it was needed, but it was also easier to transport overland in areas where proper roads and railways were not existent.

The British introduced harmoniums to India during their ruling period. The instrument quickly became popular there: it was portable, reliable and easy to mater. Its popularity has increased to the present day, and the harmonium is an important instrument in many types of Indian music. It is commonly found in Indian homes. Though derived from the designs developed in France, the harmonium was developed further in India in unique ways, such as the addition of drone stops and a scale changing mechanism. A popular usage is by practitioners of different faiths, who use it in the devotional singing of prayers, called bhajan or kirtan.

There is at least one harmonium in any mandir (Hindu temple) around the world. The harmonium is also commonly accompanied by a drum known as the tabla or by the mridanga. Many Hare Krishna devotees have mastered this instrument and offer their services by playing beautiful music during the kirtana services and ceremonies at the temples.

    By Victor Epand
    Victor Epand is an expert consultant for Krishna art, religious gifts from India, and Hare Krishna books.
    Article Source: EzineArticles

Friday, October 19, 2018


Picture of a tiple
Picture of a tiple (Photo credit: Wikipedia)

Everybody deeply appreciates the great treasure that is Colombian musical instruments, such as Colombian tiple, made in coral wood, with clear lines and awesome authentic color, with twelve metal strings arranged in four courses. Any professional or student guitarist will find it easy to use in Colombian folk music, and in many Latin American songs. Musicians can use it in Latin American folk jazz music, but also in original songs as well. Tiple's ethereal and clear sound is also used in classical guitar music creations.

Colombian Cuatro is concert grade guitar; it is made of slices and blocks from curly maple. It has a violin shape and has a great pitch accuracy and finish. The 'seis' is a hybrid of the cuatro and a supplementary sixth course tunes a fourth below the usual fifth bottom course. It is also a very popular Colombian musical instrument. This feature allows an expanded bass range. It can be used also for guitar intervals as well, and it makes a awesome music, It sounds like a guitar, but sweeter, faster and louder.

Original Colombian music instruments

Spanish and African traditions are strongly represented in Colombian music. Traditional quena, a kind of flute, and Spanish guitar are very popular. Colombian bandolina has fifteen strings and its sound is beautiful, sweet and clear. It is usually made by hand, of unexcelled quality. The marimba is another Colombian musical instrument; it looks like a xylophone and its keys are made in wood. The arpa is a local version of the harp, the guassa is a rattle. The songs from the Pacific coast are using drums and are tinged with Spanish influence. Due to the Spanish influence, piano music is also very popular in Colombia. The newest music style in Colombia is "valenato", based on the European accordion.

Many Colombian musical instruments are beautifully crafted, from the ancient times until our century. The charango, a kind of guitar made in wood, the vessel whistle, the erkencho, a kind of clarinet, the chirimia, an oboe, are carefully made and original Colombian folk music sounds great with them. There are six ethnic zones in Colombia; the music is a hybrid between Indian roots and Spanish traditions. In some regions, there is also a strong Negro influence. Guitars, flutes and drums are always necessary; in the Caribbean zone, the most important Colombian musical instrument is gaita, a kind of oboe. In Colombia, music is a tradition. There is a habit to pass folk songs from one generation to the other.

Thursday, October 18, 2018

Great Moments In OPERA, Works of MOZART: “Cinque, Dieci, Venti, Trenta” The Opening Of Mozart’s Opera “Figaro”

English: An original poster for Wolfgang Amade...

An original poster for Wolfgang Amadeus Mozart's opera, The Marriage of Figaro
(Photo credit: Wikipedia)

The opera “Figaro” starts off with an aria which is explosive in its opening notes. It builds up to an enthusiastic first piece which is called “Cinque, Dieci, Venti, Trenta” (five, ten, twenty, thirty); these being the numbers which Figaro is using to measure a space in the room he hopes will be the one he and his wife to be; Susana will be sleeping in.

It is as Figaro is measuring a space for his wedding bed that his fiancée, Susana enters the room asking him to look at a hat which she has made for herself by saying “guarda un po mi caro Figaro, guarda un, guardo adesso il mio capello”, (take a look at my hat). The music at this point builds up as one can sense the almost ecstatic joy which Figaro and Susana feel knowing that they soon will be man and wife. It being as if they are in a climatic spiral, where things could not get any better than they already are; as they are on the threshold of the most wonderful thing the world has to offer.

Figaro, for his part, on the one hand, is glad that Susana has made herself such a lovely hat and that they will be getting married but on the other hand, is slightly annoyed that she will not let him concentrate on measuring the space in which he has planned to place what will be their wedding bed. Figaro, however, is won over by Susana’s near ecstasy, as he starts singing with her that her hat is indeed beautiful and all would appear to be made just for them in the sheer delight which surrounds them. It is in my opinion that this particular area captures almost to perfection the joy which most couples experience before they are about to get married as well as the general mood which encircles them before such an event.

From my point of view, I also find this opening piece to be the one which sets the tempo of the opera, not only musically but of the story and its eventual happy ending which goes through several moments of humor before Figaro and Susana; can be declared man and wife. Apart from liking this aria another reason why I have chosen to write about it is because the opera “Figaro” will be performed this year in Warsaw’s “Teatr Wielki” for the first time and it is with tremendous hope that I might be escorted by my Joannuszka Slisznuszka that I try to point out the magnificence of this particular piece. It is one of many classics in the opera “Figaro” which in fact is one of Mozart’s most successful operas along with “Don Giovanni” and “The Magic Flute”.

    My name is Gianni Truvianni, I am an author who writes with the simple aim of sharing his ideas, thoughts and so much more of what I am with those who are interested in perhaps reading something new. I also am the author of the book entitled “New York’s Opera Society”.

    Article Directory: Article Dashboard

Wednesday, October 17, 2018

7 Great Reasons to DANCE

Ball gown and tailcoat are always worn when da...
Ball gown and tailcoat are always worn when dancing competitively.
This couple is dancing an international standard tango.
 (Photo credit: 
When it comes to dancing there are plenty of wonderful reasons that people elect to dance. The fact remains that far too few of us manage to incorporate dance into our lives nearly as much as we should. There are many wonderful reasons to dance and they do not all require copious amounts of alcohol and someone with a video camera poised for America's Funniest Home Videos greatness.

Below I will suggest 7 great reasons to incorporate dance into your life as often as possible. I hope that you will take some of these to heart and find a few reasons of your own to dance more often.


There are few greater reasons to dance than to show your love for your partner. You do not have to limit your dancing to your wedding night or an evening out with friends. All you need to dance with the one you love is some good music and a little bit of floor space. Dance while you prepare dinner, wash dishes, or just because it's raining outside. But dance with the one you love and do it often to keep those flames burning.


We always hear people talking about dancing for joy but how often do we really see that happen? What a shame it is that we actually take so few opportunities to dance in our society. Dancing is an outward expression of joy that is almost always infectious. Share your joy with the world and you just might find they will dance along with you. Even if they do not, you should at least be secure in the fact that at this moment in time you are much happier than they are.


When is the last time you've danced? Was it fun? I have found very few people (well other than young boys) who did not have any fun while dancing. The truth of the matter is that dancing is fun. Whether you are line dancing or trying the Tango it is great fun to dance.


What a wonderful way to flirt dancing can be! If you haven't tried it with the one you love, there is no time like the present to do so. Find some great fun and flirty music and dance for the one you love. If you're really lucky, you might even convince them to join in.

To Make Your Children Laugh

Really, there is no better reason on the earth than this to dance. My kids love to see me dance the moves that were popular back when dinosaurs roamed the earth and share their more modern moves with me. It's a great way to enjoy your children before they decide your evil or during those rare moments when you may be on the verge of neutral in their opinions. 


While dancing does a lot to lighten the mood and raise your spirits it can also help your heart in other ways as well. Dancing is a great way to get up and moving that doesn't feel as though it is really exercised. This means that you can help your heart by dancing a little while every day. The longer you dance, the better you will feel and the healthier your heart will become.

Meet New People

If you decide to take lessons for dancing, you will find that you have the ability to meet a bunch of great new people. Dancing is a great way that many people are discovering to have fun and stay fit. This means that more and more people are joining local dance classes for these very reasons. You might develop some lifelong friendships through your dance lessons that you would have missed out on otherwise. 

Of course, there are many more reasons that different people take up dance. In fact, you may find an all-together different reason to take up dance for yourself. Whatever your reason you decide to dance, do it often and have fun in the process.

Tuesday, October 16, 2018

JAZZ Music vs. CLASSICAL Music

English: montage of great classical music comp...
Montage of great classical music composers - from left to right: first row - Antonio Vivaldi, Johann Sebastian Bach, Georg Friedrich Händel, Wolfgang Amadeus Mozart, Ludwig van Beethoven; second row - Gioachino Rossini, Felix Mendelssohn, Frédéric Chopin, Richard Wagner, Giuseppe Verdi; third row - Johann Strauss II, Johannes Brahms, Georges Bizet, Pyotr Ilyich Tchaikovsky, Antonín Dvořák; fourth row - Edvard Grieg, Edward Elgar, Sergei Rachmaninoff, George Gershwin, Aram Khachaturian
(Photo credit: 
I want to first start off with the method by which music performers approach both genres. In classical music, there is a level of precision that the artist wants to achieve, a near duplication as to what the composer intended. When I studied classical music, my piano professors wanted me to understand the sounds and style as to which the composers wanted their music played. There seems to be a consistent thought process of hearing the architecture of the music according to the time period the piece was written.

In Jazz, of course, improvisation is a skill that almost every jazz musician lives by and there is so much experimenting with chord substitutions, scales and tonality that a listener can get a different feeling of the same piece when performed by someone different. So, much is left to the performer about how to perform a piece. Of course, you have to think about your tempo, articulations but there is more flexibility in performance, especially in slower jazz pieces such as ballads. A jazz piano teacher that I once studied under, left the improvisation up to me and my only guide was basically jazz albums and transcriptions if I wanted to spice up my playing with new ideas. However, there are times in which you have to play with a certain touch such as bebop music.

Much of the material in classical music seems to have starting points as seen in runs and the practice of scales. When you practice your scales, you always start at a point, go up and come back down since this is the way that sixteenth and thirty-second notes are played. This creates the mindset that you are aiming at accuracy and uniformity in your playing. In the music, you always know where your runs are starting and when you practice your technique, that is what you know and feel as well.

When you are improvising in jazz, soloing demands that you know your instrument so well that you should be able to start on any note, anywhere on your instrument and still be able to keep with the beat and form a musical idea. In certain jazz books, the method by which you practice your scales is different than in classical music. You are instructed to practice your scales starting on any note within that scale so that when you are soloing you are not restricted by certain stopping points.

In Jazz, there is an emphasis on the individual soloist in which the audience can feel where he/she is going with their music, often unscripted, from the soul and heart. The listener has to identify with the unpredictable and the exotic dance of harmony and melody. Make no mistake that in many jazz pieces, there is not always a wild, unpredictable element. Many jazz pieces can sound like other genres of music. Sometimes, a jazz musician has to make a decision as to how he/she will have to color a chord or measure with a certain flavor of sound. Now in classical music, the audience wants to feel Mozart or Beethoven through the performer in terms of being true and authentic. Any unpredictable elements will be expected as part of the composition.

These elements of classical and jazz music are only my observations and we must keep in mind that you cannot put classical or jazz music into a box. Both will always be different and similar in ways but both will share a willingness to bring out the greatness of the music, fast or slow, happy or sad.

Monday, October 15, 2018

Helpful OBOE Tips and Stories!

An oboe
An oboe (Photo credit: Wikipedia)

The oboe can be a very difficult instrument to play. This is because it changes on a daily basis. For example, if you are used to playing in warm rooms, and you suddenly must play in a cold one (and visa versa), adjustments must be made. Here are a few (hopefully) helpful tips I have come across in my experience playing. These tips are assuming you have a decent familiarity with the oboe and how it works.

Do Not Over-Soak Your Reed!
When I was about 12 years old I remember a perfect example of what you are not supposed to do. My private instructor was the instructor of about 15 other students on different instruments. Once a season we would have a recital showcasing what we were taught. I had not been playing the oboe for long, and while she told me warned me of this exact tip, I still was unaware of how long I was actually soaking my reed. It was my turn to perform. I believe I was playing an excerpt of Marcello's concerto. The accompanist started, and when I came in it was just awful. I looked over at my instructor but continued to play the entire piece. I could see the look in her eyes -- pity. My reed was so over-soaked it barely made a noise, just enough of a noise to be considered playing. Luckily, the lesson was learned there and not in, say, an orchestra rehearsal. The point is, in many cases, do not soak your reed for more than 5 minutes. Of course, reeds will vary, some soaking faster than others.

Breathe With the Beat
A common hardship of the oboe is making a good entrance. If there is not enough breath support when it is your time to come in, the sound will be delayed and/or sound sloppy. One way to combat this and ensure you are coming in with the right tempo is to simply breathe the last beat of rest before you enter. Also, showing your breath allows others to see, and everyone will be more likely to enter correctly and simultaneously. What I mean by "show your breath" is move when you breathe. Make sure everyone around you sees your breathing but without looking over-the-top.

You Can Never Swab Your Oboe Too Often
Swabbing your oboe when you are not playing is key to not having your keys filled with water (technically it spits, but people just like the nicer version -- "water"). Some novice instrumentalists think that swabbing your instrument out should only be done when you are putting it away for the day. This is simply not true. Swabbing your oboe out wipes away that trickle of water that could lead right to a keyhole. Sometimes, oboist uses a huge feather as a swab. This works well in orchestra conditions because it tends to be a faster method. Silk swabs are preferred otherwise because little pieces of a feather can sometimes get stuck and silk swabs produce little to no lint.

Have More Than One Good Reed
Reeds come and go quickly if you practice and perform a lot. Having more than one backup is best. In fact, some oboist prefers to have 3 to 4 equally good reeds that they rotate evenly. This tends to make them all last longer. On the other hand, some performers tend to have a reed for every occasion. For instance, I know people who have a "2nd chair reed," a "soft reed," a "loud reed," and a "solo reed." Regardless of which choice is best for you, keep many reeds on hand. Who knows what could happen? A careless clarinettist could side-swipe the stand where your reeds are laying and could send them flying towards the principal flautist!

    By Jo Kro
    Jo Kro has been playing the oboe for almost 11 years and has been in a few orchestras including The Charlotte Symphony Youth Orchestra. 
    Article Source: EzineArticles

Saturday, October 13, 2018

Success and Grief: What Giuseppe VERDI's Life Reveals

Giacomo Brogi (1822-1881), Portrait of Giusepp...
Giacomo Brogi (1822-1881), Portrait of Giuseppe Verdi
(Photo credit: 
Giuseppe Verdi, the great Italian composer, was born in 1813 in a small village near Parma, Italy. When he was 12, he was appointed an organist in the village church. In 1832, when he was 19, a wealthy merchant friend of Verdi's father's was aware of his great talent and offered him a music scholarship in Milan. Accompanied by his father and his teacher, Verdi arrived in Milan in May 1832. A great disappointment, however, awaited him there: he applied to the Milan Conservatory, but after hearing him playing the piano, the school rejected his application.

The same year, he experienced another blow: his beloved sister Josephine died. And in 1837, another misfortune found him. From his marriage to Margherita Barezzi in 1836, he had a daughter, Virginia, whom he adored. But Virginia died when she was only a few months old. In a dispirited condition, Verdi isolated himself in his home, in Milan, and faced tremendous difficulties: he was jobless, had no money, and often could only eat once a day in miserable inns. As if all that were not enough, in 1839 his second child -a young son- also died. Verdi's life became unbearable. In 1840, he received the most tragic blow of all: his beloved wife, Margherita Barezzi, died. Grief-stricken, Verdi fled Milan for his village Busseto, so that he could find solace.

But impresario Merelli visited him there and asked him whether he would like to compose the music for a work titled Nabuchodonosor. Verdi of course, refused. He had lost his desire to compose music. Merelli insisted, however, putting the libretto for that work in Verdi's pocket. With half heart, he tried later to start composing. But the notes weren't appearing -or if they were, they were full of sorrow, like the composer's soul.

However, he finished it in 1841. Rehearsals on the opera Nabuchodonosor -or Nabucco as it turned to be named in the meantime- started early in 1842. But immediately it became clear that Verdi had composed a masterpiece. Nabucco was performed for the first time in La Scala in Milan on March 9, 1842. What followed was an unprecedented triumph. The enraptured audience responded with a standing ovation, demanding -with a frenzy of applause- repeated encores of the moving chorus song "Va, pensiero, sull' ali dorate," which still causes shivers of emotion.

Verdi -now 29- had suddenly become famous. People were singing the chorus song from Nabucco in the streets, while hats and neckties with Verdi's name inscribed on them were sold everywhere. Milan's wealthiest families opened their homes to him. The same year (1842), the composer became acquainted with a famous soprano, Josephina Strepponi, and developed a lasting relationship with her that persisted until her death in 1897.

During the next nine years, between 1843 and 1851, Verdi composed thirteen operas, which were performed in all the big cities of Italy -Milan, Rome, Venice, Naples, Trieste- as well as in London, and all had enormous success. The first of those operas was I Lombardi, which was performed at La Scala in Milan on February 11, 1843. The day of its premiere, enthusiastic crowds mobbed the theater, and the success of that opera was similar to Nabucco.

Opera Ernani followed in 1844, based on Victor Hugo's work of the same name. It premiered in Venice on March 9, 1844, to great acclaim. Exuberant Venetians lifted Verdi to their shoulders and carried him triumphantly around Saint Mark's square. With the money he earned from Ernani, Verdi was able to buy a small farm near his village. Opera Jeanne d' Arc (Giovanna d' Arco) followed in 1845, with equally great success. Verdi had now so much money that he acquired a mansion in his village Busseto.

Other accomplishments included the operas Attila in 1846, and I Masnadieri (The Bandits) in 1847. The Bandits' premiere was held in London with a particular fanfare: Queen Victoria and almost all the members of Parliament were present. The opera was a big hit, and Verdi made staggering amounts of money. He bought a large farm with woods and vineyards near Busseto, and an apartment in Paris, where he retreated from time to time to relax with his companion, Josephina Strepponi.

The tension between Italy and Austria was mounting in this period, and to stir up patriotic sentiments, Verdi composed the opera La Battaglia di Legnano (The Battle of Legnano). That opera was first performed in Rome in 1849. Tickets for the premiere were sold out. It was another smash hit. Ecstatic, the audience demanded as an encore the repetition of the entire fourth act. Verdi had become a national hero. At the end of the same year, a Verdi opera was performed in Naples, too: Luisa Miller, based on Schiller's tragedy of the same name.

During the next eight years (1851-1859), Verdi composed his extraordinary masterpieces, the operas Rigoletto, Il Trovatore, La Traviata, Les Vêpres Siciliennes, Simon Boccanegra, Un Ballo in Maschera, and others -and he arrived at the culmination of his glory. He finished the first of those masterpieces, Rigoletto, early in 1851, and its premiere was staged in Venice on March 11 of the same year. All night, Venice's canals resounded with the voices of gondoliers' singing "Feather in the Wind," a song well known even now. After 21 performances in Venice, Rigoletto began to be performed all over the world.

In 1851, Verdi also began to compose his next masterpiece, the opera Il Trovatore, which he completed the following year. The premiere was held in Rome in January 1853, again to great acclaim. Two months later, his third masterpiece - the opera La Traviata- premiered in Venice. It was again an instant hit and was even performed in America.

In 1855, Verdi finished the opera Les Vêpres Siciliennes. Its premiere was held in L' Opera de Paris; in 1856 it was performed in La Scala in Milan with tremendous success. Its ardent patriotism stirred the souls of Italians. In 1857, the opera Simon Boccanegra was performed in Venice, and the same year, Verdi composed the opera Un Ballo in Maschera. The latter opera was performed in Rome in February 1859 with great success -the ticket prices were seven times normal.

Verdi had arrived at the pinnacle of his career; at the age of 46, he was considered Europe's greatest composer. To make his success complete, he married early 1859 the woman with whom he had lived for the last 17 years, Josephina Strepponi.

In the next years, Verdi composed a lot of other operas. In 1862, he finished his work La Forza del Destino (The Power of Destiny), which the Russian Theater of Petrograd had commissioned. In March 1867, the opera Don Carlos was performed for the first time in Paris. At the end of 1871, his opera Aida was performed in Cairo. The performance lasted more than eight hours -from 7:00 p.m. to 3.00 a.m.

In 1874, he expressed his feelings in his next work, the mournful Messa da Requiem, performed in May 1874 in the church of St. Mark in Milan. Next year, sorrowful da Requiem realized enormous success. After having conquered all of Italy, it did the same in the rest of Europe, while in London an unbelievable chorus of 1,200 voices would participate in the performance, a fact that moved the critics to write rave reviews.

Verdi -now aged 62-began to enjoy the delights of life. He became acquainted with a young intellectual, Arrigo Boito, who shared the pleasures of culture with him, exposing him to the new intellectual currents and fashions. In 1876, Verdi conducted his opera Aida in Paris, and soon the opera was performed triumphantly all over Europe. In 1881 he rewrote his opera Simon Boccanegra, which was performed that same year in its new form with great success.

From 1879, he had started setting the music for Shakespeare's Otello, which he finally finished in 1886. The premiere took place at La Scala in 1887. Celebrities from all over Europe arrived for the performance, and tickets prices reached unprecedented heights. At the end of the performance, the audience's cries of joy could be heard blocks away. When Verdi came out of the theater overcome with emotion, the people unhitched the horses of his carriage and drew it themselves to his hotel. Between 1888 and 1892, Verdi composed another masterpiece, the opera Falstaff, again based on Shakespeare. Falstaff was performed in La Scala in 1894.

In 1897, Verdi's beloved companion, his wife Josephina Strepponi, died. From then on, his health crumbled, and the year 1900 found him confined to a wheelchair. In 1901, the great composer -one of the greatest in the world- departed from this life, at the age of 88.


Verdi's life reveals that sometimes grief can lead to enormous success. As you can recall, when Verdi was 24, in 1837, his beloved daughter Virginia died, and two years later, his second child also died. Next year, in 1840, his beloved wife Margherita Barezzi died, too. Grief-stricken, he fled Milan for his village. But impresario Merelli visited him there and asked him to compose the music for the opera Nabucco. Verdi refused, but later he started composing, though he was full of sorrow. The outcome was a masterpiece. When Nabucco was performed, it was an unprecedented success. Grief had led to triumph. From now on, Verdi became one of the greatest composers in the world.

On the subject of this article I have written a whole book titled The Seasons of Our Lives, in which I explain how our life's seasons alternate from good to bad -and vice versa- based on the way the good and bad seasons have alternated in the lives of lots of famous men and women, whose the biographies I cite in the book (Verdi's included).

The moment you have finished reading this book, you will be able to know whether the years just ahead are good or bad for you, and how long this season will last. You will be able thus to act accordingly: if there is a storm on the horizon, you will take shelter in time. If sunny days loom ahead, you will take advantage before the opportunity passes. The book is published by Heart Space Publications, an Australian publisher, and you can find it at Amazon under the words: The Seasons of Our Lives Kouloukis paperback, or at my website: http://www.gpkouloukis.com.

    By George Kouloukis
    George Kouloukis is a Greek attorney-at-law, a barrister. As a member of the Athens Bar Association, he has offered legal services to Ionian Bank of Greece, the Greek Electric Railways Company, and other corporations.
    Article Source: EzineArticles