Tuesday, November 13, 2018

OPERA MUSIC: History, Evolution, and Rebirth

English: Photograph of the facade of the Metro...
Photograph of the facade of the Metropolitan Opera House at Lincoln Center, New York
 (Photo credit: 
Wikipedia)
If you've ever attended an opera, chances are you were enchanted by the timeless allure and sense of sophistication of this beautiful style of music and performance.  It is truly amazing to reflect on the fact that this enduring genre has been going strong for over 400 years, and even enjoying a resurgence in popularity in the United States and abroad.

Opera's roots are firmly European.  The very first opera house, actually a theater designed to host opera performances, was built in Venice, Italy in the 1630's.  Composers of the day were mingling dramatic stories with music that ebbed and flowed.  Audiences clamored to experience this blend of music and literary art on stage, and thus opera was born.

In those years, singing and dancing were commonplace at most public gatherings.  Due to the size of crowds, strong powerful voices were recruited to perform certain singing parts, both male and female.  In time, singers were specifically trained for operatic performances, a practice that continues to this day.

As the 17th century dawned, the popularity of opera spread to other European countries, like France, Germany, and England.  Indeed, some of opera's most famous works come from composers not native to Italy, like Mozart, Richard Strauss, and Georges Bizet.

The Passion Blooms In The United States

As a land of immigrants, it is only natural that those coming to the United States brought along their skills and passions.  Certainly, this is clearly most evident in New York, where the Metropolitan Opera House opened in 1883.  Opera spread to other cities across the country, and audiences filled theaters nationally.  Later, well-known opera master like Enrico Caruso, Maria Callas, Luciano Pavarotti, and Giuseppe Di Stefano displayed their unique talents to a vast and appreciative American audience.

The Present Day

Opera continues to attract and enchant, witnessed by the fact that 135 opera companies operate in the United States today.  Recently, there has been a surge in opera's popularity, as these innovative companies reach out to those unfamiliar with this musical style.  An inclusive educational approach has taken hold and broken down some perceptions that opera is only for the elite.  Casual informative lectures, subtitles, and relaxed dress codes are just a few strategies opera companies use to attract attendees.

Most importantly, many of these same companies have developed training programs for young singers.  Many of these young artists are now performing and thriving in venues across the country.  It is hoped this continuing education approach will keep opera thriving and vibrant for generations to come.



Monday, November 12, 2018

How to Develop a Great FLUTE Embouchure

CatalĂ : Detall de l'embocadura d'una flauta tr...
(Photo credit: Wikipedia)
Learn how to develop a great flute embouchure and you are well on your way to being a great flutist.

Embouchure is a French term for the position of the lips and facial muscles used when producing a sound on a wind instrument.

Keep the following steps in mind...

1) The facial muscles and lips should be relaxed.

A tight embouchure with the corners of the lips pulled back and lips stretched produces strain and stress, a puny sound, and tires the player quickly.

Strained facial muscles inhibit the air from flowing freely out of the body. It's like putting your hand over a garden hose--the water is slowed down.

Try these exercises...
a) Pout as if you are unhappy or angry.
b) Imagine the corners of your mouth are reaching down to the floor. 
c) Roll your bottom lip out and try to hold a pencil with your bottom lip.

2) Keep the lower jaw relaxed as well.  Imagine this...
a) You are holding a golf ball in your mouth.
b) Your lower jaw is falling off your face onto the floor.
c) Try to yawn with your lips closed.

3) Concentrate the strength and power in your abdominal area. 

That's where the airstream originates.  You need a fast airstream pushed from the abdominal muscle up through your lungs and out the mouth. If your lips are strained, this gets in the way of that rushing air coming out and your tone is not nearly as vibrant as it could be.

Keep these important elements in mind and you will develop a great flute embouchure.



Saturday, November 10, 2018

How To Choose An ELECTRIC GUITAR

PRS Standard 22 Platinum Guitar
PRS Standard 22 Platinum Guitar (Photo credit: Wikipedia)
For a music aficionado, the electric guitar is the instrument that offers the greatest thrill. Many classes offering courses in guitar playing have sprung up. Hence purchasing the right electric guitar will help you to enjoy your learning experience. Here are some easy to understand tips that will enable you to make a correct decision in purchasing your electric guitar.

Are all the guitars the same?

No. There are many types of electric guitars available in the market. The right guitar depends on the sound that you are interested in. While some guitars can easily switch between jazz, blues and rock without any perceptible difference, the others cater to only one type of sound. Choosing the sound that you want will simplify your purchase decision. Besides, the sound you also need to take into account the location of the neck on the guitar. The two most common types of positions are the "set-neck" and the "bolt-on" necks. The set-neck allows you to keep on playing longer than bolt-on. The meeting point of the neck and guitar is tighter to allow the sound to move freely between the two.

The only disadvantage of set-neck is that it is difficult to repair or replace once it is damaged. The bolt-on style is available with the cheaper versions of guitars. The design is simple, locking the neck in a slot of the guitar body. Musical experts consider that this type of neck style does not give good quality sound and cannot be played longer, but this is more due to the type of materials used. If you don’t mind spending money for a superior quality sound but not a durable electric guitar, go for a set-neck.

What are frets?

You can choose the electric guitar based on how wide and long the neck is. 21, 22 and 24 are the number of frets that you can get with the usual guitars. The guitars from Stratocasters have 21 frets. This gives you a shorter neck but opting for large frets will let you play more easily. Jackson guitars have higher frets. The number of frets you should choose will depend on the number of notes you want to play. A higher number lets you play more sounds.



Friday, November 9, 2018

ORGAN REGISTRATION: 9 Tips for Registering BACH - Prelude and Fugue in B Flat Major, BWV 560

Cesar Franck
Playing the Prelude and Fugue in B flat Major, BWV 560 with convincing registration will result in more authentic performance. Organists who practice this piece should know general rules for choosing which stops to use. With this piece, the registration for public performance should be different than for practicing alone. If you are searching for the best ways to register this prelude and fugue, read the following 9 tips.

1) Do not change the registration in the fugue. Although it is possible to add a reed stop in the two-part cycle, such as this, the length of the piece does not suggest the need to stop changes after the prelude. Since this prelude and fugue last only about 3 minutes, it is better to play with one registration throughout.

2) "Organo Pleno" registration. The traditional way of registering a prelude and fugue in the German Baroque style is to use "Organo Pleno" registration or a principal chorus. This concept means that you should build a pyramid of principal stops, starting with the principal 16' or 8' and building upwards (4', 2 2/3', 2 etc.)

3) Use mixtures both in the manuals and the pedals. Try out the mixture alone on the main manual and see if it is based on the 16' (starts at 5 1/3' level) or 8' (starts at 2 2/3' level or higher). If it is based on the 16', then use 16' stop in the manual together with it. Otherwise, playing with 16' is optional.

4) Add flutes if the mixtures are too harsh. Check your mixtures and see if you like their sound. In some Neobaroque-style organs, the mixtures are really high-pitched and sound harsh. In such case sometimes it is OK to omit the mixture and use higher principals and mutations instead (1 1/3' and 1').

5) Check if the principals are not too narrow. In many Neobaroque-style instruments, the principals are quite narrow in diameter. In such case, try to add 8' and 4' flutes for more rounded sound. However, under normal circumstances, principals and flutes should not mix in the Organ Pleno registration.

6) Couple the manuals if you want. If you have more than one manual which has a principal chorus as well, you can couple them both. This way your registration will be even more powerful.

7) Add pedal reeds for more spice. Use the powerful 16' and/or 8' reeds in the pedal division, such as Posaune and Trompete. If you decide to use only one reed stop, the first reed you should add is Posaune 16' and not Trompete 8'. This is because in Central Germany in the Baroque period, even relatively small organs very often had Posaune but not Trompete.


8) Check the balance between manuals and pedals. Once you choose the manual and pedal stops, try to listen to the overall sound ensemble. Since it is a polyphonic composition with highly independent parts, both manuals and pedals should be clearly audible but not too loud in comparison with each other.

9) Practice registration. It is best to practice using only the soft stops, such as 8' and 4' flutes with 16' in the pedals. This way your ears will not become tired and you can practice for a longer period of time.

Remember these tips when you practice or perform the Prelude and Fugue in B flat Major, BWV 560 in public. It is a good practice to listen to different recordings of this piece on historical organs and to compare the registrations in each. Since every organ is different, try to follow your taste and ears based on your idea of the "ideal Baroque sound" for this composition. This way your playing will become more authentic and you will use your organ more convincingly.

    By Vidas Pinkevicius
    By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide.
    Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading.

    Article Source: EzineArticles


Thursday, November 8, 2018

History of UKULELE Music - You Can Get in on the Fun Too!

English: Martin Ukulele 1930 - Style 3K Martin...
Martin Ukulele 1930 - Style 3K 
(Photo credit: Wikipedia)


Instrumental ukulele music is on the verge of becoming just as popular as mainstream ukulele music is. People are finally starting to realize that the ukulele is capable of making very good music. This instrument has been around since 1879 and it is just now being realized how it can make such enjoyable quality music.

When the ukulele has first invented the Hawaiians were not impressed with the beautiful music that the instrument was capable of making. It wasn't until around 1915 that the ukulele popularity came over to the mainland. It was after that the craze of the ukulele began which raised the popularity of the instrument. No matter what the history is behind it, the ukulele is now Hawaii's most popular musical instrument.

There was a great demand for ukuleles, which meant that production had to increase substantially. Of the original creators, by 1910, only one of them remained and he couldn't keep up with the demand. New competitors entered the field after time offering unique designs. Although there was a great deal of competition, there were still enough orders that each business was still being flooded.

The competition took a turn when the mainland guitar manufactures started making ukuleles around 1915. The Hawaiians where angry when it was learned the mainland manufactures started stamping "Made in Hawaii" on their Ukuleles. The Hawaiian ukulele makers created an original stamp that the legislature backed. Sometime in the 1920's, mainland makers started mass-producing the ukulele.

Today we are seeing surges of ukulele music popularity coming back. Hawaii is home to many musicians who have devoted their lives to playing the music of the ukulele. The ukulele is very light and also very portable which means that it makes it very easy to practice it.

Even though ukulele music has been around for over 130 years and it is still a very popular musical instrument choice. The music has a lot of history behind it but no matter what the history is, it is now a very popular instrument in world-wide. Even now the demand of ukuleles is growing in South America and other unexpected places.

The ukulele is the little brother of the guitar family and is usually seen with four nylon strings. The volume and tone of the instrument depend solely on the size that it is. They come in four different sizes and are enjoyed by countless individuals all over the world. The three smaller ukulele sizes are the soprano, concert, and tenor, and are tuned to the Key of C with the reentrant "my dog has fleas" tuning. The largest ukulele, the baritone is tuned to the Key of G like a guitar and the baritone ukulele is tuned exactly as the 4 smallest strings of a guitar. All guitar players can immediately play the baritone ukulele, although they may not know it.



If you are looking for a really fun instrument to learn, you do well to find a ukulele.

There is a world of fun you can have with a ukulele. You don't have to be a musician. You do not need any special musical talent. We know this is true because we have been around ukulele folks for over 20 years now. We have repaired ukuleles, hunted ukulele parts, made banjo ukuleles for several years. And now we try to seek out ukulele items that are quality and worth their cost. And certainly, we will help you if we can.

Keep Strumming... Keep Smiling...




Tuesday, November 6, 2018

BOB MARLEY Quotes - A Man With Something to Say

One Love: The Very Best of Bob Marley & The Wa...
One Love: The Very Best of Bob Marley & The Wailers (Photo credit: Wikipedia)
Few musicians are as well known in the field or ska or reggae music as Jamaican singer-songwriter, musician and Rastafarian Bob Marley. In addition to his unique and powerful musical style which is still popular nearly 30 years after his death, Bob Marley quotes taken from his music and from his comments resonate with many people who have experienced aspects of his living. Like many other famous people who are quoted on viewpoints they may hold, Bob Marley quotes run the gamut of emotions and philosophy from joy to pain to philosophy.

Favorite Bob Marley quotes will probably vary depending upon the life experiences of the person who listens to them. Many of his quotes have to do with music, which is to be expected, but many are quotations about life in general expressed in his music. He states "Who are you to judge the life I live? I know I'm not perfect and I don't live to be. But, before you start pointing fingers, make sure your hands are clean."

Finding quotes about the subject of music is not difficult. Often, even the most devoted scientists and philosophers of great note recognized the importance of music in our lives. Music quotes are simply a recognition of its power and strength to impact lives and to change the life. You would expect music quotes from one of the music masters such as Johann Sebastian Bach, but a quotation on the subject of music coming from the likes of Albert Einstein has even more impact because it is so unexpected. Einstein stated "If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music... I get most joy in life out of music."

Another popular source of quotes about today's life and culture comes from the television show "Sex and the City". Sex City quotes are popular both as humor and as commentaries on the culture and social mores of today. The writers of the program began by writing about women they knew and made the show work because it was portraying real women living and working in the city. Sex City quotes have a way of describing this lifestyle in an honest and pithy way.

The viewpoints of all these people are reflected in the quotes they leave for posterity, and yet the quotes we remember and use over and over are the ones that are most like our own viewpoints. To be able to point at a quote from a famous person such as Bob Marley and realize that this famous person has expressed MY viewpoint on the specific subject tends to validate my own viewpoint to myself and to those around me. Even if their viewpoint as expressed in their quotes is different than what is currently held by oneself, it may be the avenue to a change in viewpoint, or at least a more reasoned foundation for the existing philosophy.



Monday, November 5, 2018

Contemporary Or Classical MUSICAL INSTRUMENTS?

20140317-30 SHS March Orchestra Concert 2014-Edit
Photo by Meredith Bell
Playing a musical instrument is a gift to all those who hear it. Does it really matter if you play a classical musical instrument or a contemporary musical instrument? It can. First and foremost, playing a musical instrument should be fun and rewarding. If it’s not, you are not likely to practice it at all and eventually you will lose interest.


Playing classical music with a classical instrument can be remarkably challenging and rewarding. As a general standard, classical music is more intricate that contemporary music, although there are naturally exceptions to every rule.

Playing contemporary music with contemporary instruments can also be tremendously satisfying and rewarding. While not everyone may agree that contemporary music is a gift when they hear it, those who appreciate it will appreciate it deeply.

One of my favorite trends as of late is to either play contemporary music with a classical instrument or classical music with a contemporary instrument. Both sounds are considerably remarkable and both aspects take quite a bit of talent and practice. Creating this interesting twist can ultimately please more crowds, as classical music played with a contemporary instrument can reach the younger generations and actually turn them on to classical styles. The same can be said about contemporary music that is played with classical instruments.

When choosing between classical or contemporary instruments, the best method of decision making is simple preference. When choosing for a child, or helping a child make the decision, preference of course still matters, but opening the doors to new music and different experiences can really benefit the child tremendously. The basic goal for choosing an instrument, either classical or contemporary, is finding an expression that works well with the personality. Children who learn at least a little of both classical and contemporary expression are more equipped to make the decision for themselves later on.



Classical music and instrumentation can teach strong basic skills, while venturing into contemporary music and instrumentation can be both inspiring and fun for kids, especially older children.

Being well versed in classical music can actually provide a better platform for kids or adults who want to play a more contemporary instrument. Contemporary music is often written with the use of only a few chords and a basic beat while classical music demands a higher level of instrumentation. If we never teach kids the classical instruments or the classical music, the classical arts are destined to die.



Saturday, November 3, 2018

The Value of a DRUMMER

English: Nels Dielman, Drummer, Urban Family Dog
Nels Dielman, Drummer, Urban Family Dog  (Photo credit: Wikipedia)
Drums are the backbone of most bands. Because of this fact, the other musicians rely very heavily on the drummer to provide a strong beat that will keep a song together. A drummer who is offbeat, or off tempo, will lead the entire band astray. Therefore, if the drummer is weak, the whole band will be weak. Since the drummer provides the foundation for the other musicians to follow, the drummer is the anchor of the band.

Being the anchor of the band, the drummer must have confidence. Confidence is what makes a good drummer a great drummer. When you have confidence in your ability to play and confidence in your instrument, success is inevitable.

Many wanna-be musicians are drawn to the drums for the opportunity to learn an easy instrument. Even though the drums are one of the few instruments that can be self-taught, the drums are not easy instruments to play. The techniques and concepts relating to drums are fairly easy to understand, but learning to play the drums takes great coordination, a sense of timing, and patience. All of which can be developed with time.


If you are a drummer in a band, then you are the anchor of the band. The other musicians are relying heavily on you to provide a strong beat that will keep everything together. Other musicians may be able to cover their flaws when playing their instruments as a group, but not you. Everything you do behind your set will not only be heard but felt. There will be nowhere to hide if you are a poor drummer!

The drummer is vital to a band, and a great drummer can make up somewhat for other musicians who may not be at the same level of expertise. So, continue to practice daily, and never be satisfied with your level of progress.

    About The Author
    Copyright 2006 Daniel N Brown
    Source: ArticleCity


Thursday, November 1, 2018

DANCE to Your Health

Bent Creek Ranch Square Dance Team dancing at ...
Bent Creek Ranch Square Dance Team dancing at the Mountain Music Festival
(Photo credit: 
Wikipedia)
We as a world are more aware than ever of the importance of physical fitness to our overall health. While we remain aware of the need for physical activity far too many of us find far too few reasons to incorporate physical activity into our daily lives and routines. There are many reasons that we procrastinate in this particular effort. For some time is the defining factor while others will readily admit that they have no appreciation whatsoever for those activities that come to mind when exercise is considered.

Whatever your reason for not incorporating exercise and physical activity into your daily routine, have you considered dancing for your health? There are all kinds of wonderful reasons to dance though I can think of very few that would be better than dancing for the sake of your health and physical well being. The good news when it comes to dancing is that in most instances it doesn't feel as though you are getting exercise and the burning of calories doesn't sting nearly as much when you're having fun burning them.

Dancing has evolved a great deal and while the history of dance is a long and noble history. Even, one might add, a quite manly history for those men who haven't considered dancing in the past.

Benefits of Dancing

In addition to burning calories, a good thing for dieters everywhere, dancing also helps strengthen your muscles and bones. It can provide either a low impact or high impact workout according to your wishes and the music you select, it can be entertaining and feel like fun rather than a chore-this means you are more likely to actually do it than many other exercise programs, and it can help tone all areas of your body rather than focusing on one particular area as many exercises do.

Dancing also provides an excellent opportunity to socialize and meet others if you take classes while in the process helping you gain a better sense of balance and grace (those like me who have absolutely no sense of grace could greatly benefit from this alone). Dancing and the physical activity alone can help you ward off potential illnesses that are often associated with excess weight and too little physical activity. Even as little as thirty minutes of dance 4 days a week can bring about profound results when it comes to your overall health and well being.

More importantly however than any of these benefits of dancing mentioned above dancing is fun. This means that you will enjoy life a little, laugh a little, and accidentally work a little physical fitness into your life without feeling as though you are suffering for the sake of doing so. So many people get very little physical activity because they do not see physical activity as fun.

If you are wondering what sort of dance is right for you, there are many from which to choose. Square dancing is great fun for couples as are ballroom and swing dancing. Line dancing, contra square dancing, clogging, and tap dancing can be great fun in larger groups or as a participant in a class. If you want something a little sexier for your dance efforts you can always try Salsa dancing, Flamenco dancing, or belly dancing.



If you live in or around a relatively large community it is quite likely that you can find classes or teachers for private lessons for each of these forms of dance quite easily. You do want to make sure that anyone you take lessons from knows what they are doing. You can also look in your local paper for square dancing groups or bars or clubs that offer line dancing classes on designated nights during the week.

Whether you have been dancing all your life or are a rank novice when it comes to dancing, this is a great way to bring physical fitness into your life and improving your health without feeling as though you are really working for it or experiencing a sense of dread at the very thought.



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: 
Wikipedia)
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."

Ba-Du-Bum!

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?"

"Gifted."

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

Blues HARMONICAS

English: American blues harmonica player Georg...
American blues harmonica player George "Harmonica" Smith
 (Photo credit: 
Wikipedia)
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. 


Musicnotes.com


Friday, October 26, 2018

How to Play the TRUMPET - Even If You Already Play

Trumpet
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: 
Wikipedia)
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

Vintage SAXOPHONES

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.