Since humans first walked this Earth we have been banging inanimate objects and noticing tonal harmonies in all that we do. Music evokes such a deep-rooted emotion in us, connecting with our inner being on an infinite number of levels.
From the depths of depression to the awesome high of life itself there is a music which can touch us in a profound manner at every single step of the way.
Someone once said to me "I don't like music" ... I simply couldn't fathom this concept of actually not liking music. I could obviously see how one could dislike a certain type of music but do not like any music at all was a totally alien idea to me.
I was lucky I suppose, growing up, I was privy to the tastes of my "60's generation" parents and all that hippy stuff, along with a fine selection of very early blues, reggae, jazz and some really raw grooves which have all but been lost to our super fickle modern generation. In fact, my Father owned one of the first copies of the first 45 from a label named Chess. Worth a fortune now no doubt. Music has always been a big part of my life.
So why does music reach us at this most basic level? What is it about the human being that makes us crave this "soul food"? Well, music is a multifaceted means of communication. It is possible through music to create all the acoustic features that we use in our everyday language. Furthermore, these acoustic features can be generated in a very definite way. This makes it possible for composers to reach us at our most primeval state, simply by structuring the music according to predefined patterns.
The most basic musical element that we respond to is a rhythmical beat or pulse. If you need proof of this then notice how a newborn baby will begin to rock or move to the beat without prompting. This is the human instinct naturally reacting to a rhythm, the roots of which are deeply embedded in all of us. This is the case whether you like music or not.
The next level of musical recognition is the conscious awareness of the interval between certain vibrations or frequencies. In other words the musical scale. It was not long before humans realized that certain notes work together and certain notes do not - harmonious sequences and discordant sounds.
In fact, not all that long ago a discordant sound was associated with the work of the devil because it made the listener feel quite uncomfortable. These days we have moved on with many modern jazz musicians purposefully using discordant sounds - something which horrifies the purists.
One level up from the musical scale is the combination of many different types of musical instrument. This is what we know today as pop music, orchestral music and many other genres. It pleases us when we hear harmonious combinations of many different types of instrument. These chords and harmonious sequences connect with us at our most basic level. It is these musical progressions which can evoke such strong emotions in all of us.
To this day, there are no generally accepted definitions of this musical complexity at a logical and objective level. Many people report that when they hear a piece of music they really like and which touches them emotionally they will feel the hairs on their arms stand on end. This is hardly a scientific observation but is one of the only indicators we have telling us when somebody is emotionally moved by a piece of music.
To be perfectly honest, maybe the scientists should just leave it alone - I believe some things were not meant to be explained. Music is music and it makes us feel the way we do because of some ancient connection handed down from generation to generation. The best thing to do with music is just to enjoy it!
Without music, the world would indeed be a very dull place.
Having a solid understanding of piano music theory is something that will put you above the rest as you learn to play the piano. Musicians who can recognize chord patterns, note values, rhythmic structures, and scales are immediately more successful when it comes to learning new music easily and playing along with other musicians. This is because a theory is the backbone of all music, and being able to understand these basic concepts is vital to learning and mastering all styles of playing.
If you are simply interested in gaining a new skill and enriching your artistic capabilities, learning to play the piano can be one of the most calming and satisfying things you do in your life. Music is a great way to escape from stressful things that are on your mind and focus on something that you really want to do. Finding the right musical instrument to play is a great way to try something new and experience music from a different perspective. Try out a few lessons and soon you’ll be hooked on the beautiful sounds you make while sitting in front of the piano.
Learning the piano while also taking piano music theory courses is a great way to incorporate theory while you are learning to play new songs. This way you can focus on the particular chords, notes, and scales that apply to individual songs. Understanding the mechanisms of each piece of music you play will become easier the more you practice and learn over time. Then you will be able to assess each song or piece of music before you try to play it because you will be able to understand the notes and rhythms within the music.
All it takes is a few music theory lessons and you will be well on your way to experiencing a difference in the way you learn and play the piano. You may also find that you are more confident when tackling new styles of playing or more difficult pieces once you have mastered basic theory concepts.
Above all, make sure that when you are learning online you move at your own pace. Once you have mastered one concept in music theory, then move on to the next. Piano music theory is essential to your growth as a musician, and it will help you succeed at playing anything you choose to tackle down the road.
At Hear and Play, we offer a variety of online courses designed to help you improve your piano playing skills including theory courses and programs that will help you learn how to play by ear. Contact us today at http://www.hearandplay.com to learn more.
Young couple dancing the cha-cha-cha at a junior Latin dance competition (Photo credit: Wikipedia)
Anybody who still believes the myth that ballroom dancing is for sissies has either been living under a rock or is simply using that as an excuse for their own fears.
Emmitt Smith of Dallas Cowboys fame and former Superbowl Champion waltzed away Wednesday night with another winning trophy to place on his mantle, this one the championship Mirror Ball Trophy from ABC's "Dancing with the Stars".
I am so proud of this man for shattering all the stereotypes, and offering a resounding response once and for all to the age-old question: what type of man learns ballroom dancing? The answer....a REAL man!
There can surely be no question as to this man's virility, nor his confidence in himself. Not only did he plunge wholeheartedly into unfamiliar waters, but he chose to do it on nationwide television, in front of millions of viewers. How many men (or women, for that matter) have the guts to do that?
I've heard all the whiny excuses for not taking ballroom dancing lessons...I've got two left feet....dancing is for sissies... I don't have time to learn something new....what good does it do to know how to dance, I'll never compete...I'll look stupid....I'm no good at it...I don't like it....it's too expensive...and on and on "ad nauseum". It doesn't matter the words they choose, they're all saying basically the same thing..."I lack confidence in myself and I'm scared". How terribly, pathetically sad.
Knowing what I know about ballroom dancing, there simply is no excuse for not learning. I've seen men without legs on the ballroom dance floor. I've watched macho types, geeky types, and overweight men move with grace as they executed a beautiful promenade. I've known men who took on odd jobs to pay for continued lessons. I've witnessed men literally dragged into the studio against their will and watched with pride as they developed into, not just great dancers, but one even went on to become a phenomenal instructor. How much they all would have missed if they had let their fears keep them from trying.
There are many things in this world to be afraid of. Ballroom dancing isn't one of them. Don't be afraid to open yourself to new possibilities. The numerous benefits you'll receive may shock you.
Philharmonic Orchestra of Jalisco (Guadalajara, Jalisco, Mexico) (Photo credit: Wikipedia)
Symphony is probably one of the greatest musical compositions that you can listen to. This is a versatile form of music that is mostly intended to be performed by an orchestra. Some of the classical masters who have composed outstanding symphonies are Ludwig van Beethoven and Wolfgang Amadeus Mozart. When you try to look at the history of the symphony, you would find out that it has been in existence since the 16th century but has gained real prominence in the 18th century.
In the 18th century, symphonies weren’t considered as standalone performances. Back then, you cannot expect people to go to a certain venue just to see and hear a symphony being played. It was rather used as a prelude, a postlude or an interlude to some other musical event. The popular movement used was the three-movement which is a start from a fast, to a slow, to again another fast movement. Notable pieces of this form would include Mozart’s early symphonies. Soon, this three-movement became a four-movement. Notable composers during this era were Wolfgang Amadeus Mozart and Joseph Haydn.
Professional orchestras started to gain prominence. In the 19th century, another popular composer was born in the person of Beethoven. His famous works include Symphony No. 3 which has a strong emotional note to it. His Symphony No. 5 was well-loved and the most famous of all. His Symphony No. 9 became a choral symphony. Other notable composers of this era were Brahms, Schubert, and Schumann.
The 20th-century symphony saw some modifications to previous works. Long symphonies were created – large-scale in fact. More composers wrote such pieces and it has never ceased to grow from then on. There are still those who wrote using the traditional 4 movements. The 20th-century pieces, as well as the classical ones, are being played today by Toronto chamber orchestra
A symphony cannot be done justice when an incomplete orchestra performs it; this is why when being performed by Mississauga chamber orchestra, they make sure that they have all the right instruments and the right attitude.
Although there are other orchestral pieces that are being performed by Burlington chamber orchestra, the symphony would always remain as one of the best musical scores to be performed.
Hound Dog Taylor and the HouseRockers (Photo credit: Wikipedia)
Whenever I'm feeling down or just plain bad, I sometimes find it beneficial to listen to some good ole fashion blues. But not just any old blues will do. I need the music without the lyrics. Come with me now as we head out into the vast world of blues in search of the best blues instrumentals to drown your sorrows to. Here we go.
The #1 spot for our best blues instrumental music of the past belongs to "Phillip's Theme" by Hound Dog Taylor and the HouseRockers. Theodore Roosevelt "Hound Dog" Taylor was an American blues guitarist who originally played the piano. He is mostly known for his electric slide guitar and get down and boogie beats. I guess what really makes him stand out besides being an amazing blues guitarist is that he had 6 fingers on his left hand.
Moving on down our chart we come to #2 on my blues instrumental music chart with "The Supernatural" by John Mayall & the Bluesbreakers featuring Peter Green. John Mayall was not only a talented multi-instrumentalist but a songwriter and blues singer. He pioneered English blues and has a history that spans over fifty years. He has influenced tons of other musicians like Eric Clapton, Peter Green, and Mick Fleetwood to name a few.
As all good things must end, here we are at our final spot on my best blues instrumental music list with none other than "Little Wing" by Stevie Ray Vaughan. A Jimi Hendrix cover song spoken through an amazing blues-rock guitarist Stevie Ray. I love this instrumental rendition of Hendrix's song "Little Wings". Stevie Ray Vaughan is known widely for his warm bluesy rock sound and was ranked #7 by Rolling Stone magazine as one of the 100 Greatest Guitarists of All Time.
As we close my best blues instrumental music of the past, I just want to say you can never have too much instrumental blues. With that said, go out into the free world of blues inspiration and bring back a little for yourself. And remember once your hooked, there ain't no cure for the blues. Until next time...
Basic guitar toolkit by TT Zop (Photo credit: Wikipedia)
The following four adjustments can be made to all kinds of guitars to fix them. These adjustments will fix all guitars and make them playable. The adjustments are the amount of relief in the neck using an adjustable truss rod, the string height at the saddle, the string height at the nut and the intonation.
These adjustments should be made at least once on every guitar. Most manufacturers do not take time to properly do these adjustments. A manufacturer only does these adjustments for the average player, but not for the individual player.
How do you adjust the amount of the neck bow? It is supposed to be simple. Every adjustable truss rod shares the same principles of operation. Every truss rod has a threaded nut tightened on a threaded metal rod. The tension in the rod changes the curvature of the neck in which the tod is embedded. To adjust the rod, you need to tighten or loosen the nut on the rod. When tighten the nut, the tension increases the tension in the rod as well the amount which the rod counteracts the pull of the strings. This should reduce the bow in the neck.
As far as adjusting the saddle height, you can do this either before or after adjusting the string height at the nut. You should start by measuring the distance from the top of the twelfth fret to the bottom of the sixth string. You should do this when the guitar's strings are at full strength. You should measure laying a 6-inch ruler, on edge, adjacent to and parallel to the string.
The ruler is supported at one end of the twelfth fret and along its length by adjacent frets, eleven, ten, nine, etc. You can use other methods to measure from the top of the twelfth to the bottom of the string.
Another thing that you might have to fix is the string height. You can start by using elementary geometry. You will find that the change in the string height at the twelfth fret needs to be about twice the of change at the saddle. If a string height at the twelfth fret is 4/32" and the desired measurement is 3/32", the change in height will have to be lowered by 1/32" at the twelfth fret is about 2/32".
After taking measurements, you should calculate the amount that each string needs to be lowered at the saddle. You should make adjustments the saddle must project at least 1/16" from the top of the bridge. This should make sure that the strings exert a sufficient downward force on the saddle to stop the strings from vibrating side-to-side on the top surface of the saddle. If you cannot maintain this 1/16" projection, it will be necessary to reset or shave the bridge. This should be done by a professional repairer or a skilled amateur. The last adjustment that you should make is to the string height at the nut.
The required tools are a short straight edge (ruler), a standard set of feeler gages, a set of calibrated nut files, an X-acto saw and a tear-drop needle file. You should start by measuring the height of the first fret. You measure the first fret by placing a straight edge on the top of the first two frets so it straddles on the first and second frets. The slide feeler gages should be place between the fingerboard and the straight edge until the gages fill in the space between the fingerboard and the straight edge. When it doesn't fit the required measurement for a string height at the nut, you should adjust it.
The Shakuhachi Flute is definitely one of the most popular musical instruments that people love to have in their homes and learn to play in Japan. According to musical history, the Shakuhachi flute has been traced back as far as ancient Egypt and is thought to have migrated through India and China before being brought back to Japan by monks who were studying abroad in China during the 6th century.
Even though Shakuhachi Flutes look different from other flutes of the world and it looks very simple, remember that it can be difficult to learn how to play. Be patient with yourself if you want to become proficient with this instrument. Your practice and work will be well worth it because the sound of a Shakuhachi is very unique and rewarding.
If you are interested in learning to play a Shakuhachi flute one option is to try to teach yourself. Yes, it is possible for someone to learn to play the Shakuhachi flute in their own homes like learning guitar and piano. If you don’t have time to spare for formal lessons, even those taken at home, teaching yourself the flute may be a good option. Fortunately, there are tons of resources that you can pick to gain knowledge and learning. If you don’t have time to buy musical books at the bookstore then you can browse and download instructions or guidelines from the internet. In fact, there are a lot of flute packages these days that can be purchased online that come with comprehensive instructions on how to play the flute.
Obviously taking flute lessons from an experienced player and teacher is definitely much better, just to make sure that you are learning the instrument properly and correctly. A certified and professional flute teacher can show you exactly the proper technique when it comes to playing the Shakuhachi Flute. There are many flute teachers out there however if you want to learn fast and easy make sure to think about the basic things before taking their lessons: see if they are certified and if they have been teaching flute for a while now.
Have they been working long enough to be known as one of the best teachers out there? Check with their previous students and get their feedback. Are they affordable or worth spending your money and time with? And lastly, do you feel comfortable learning with them? Good luck and have fun learning to play the Shakuhachi flute!
Ballet dancers will complain of some foot injury at some stage in their training, and professional ballet will often be plagued with chronic foot injuries, ranging from mild ones that are nursed for years, to severe injuries that may be career ending.
The truth is that much common foot and ankle ‘injuries’ occur as a result of poor “intrinsic” foot muscle strength. The “intrinsic” foot muscles are tiny little muscles that start and end within the foot, that help control the position of a dancer’s arch, and are responsible for the control of her toes within the shoe en pointe. If these small muscles are not working effectively, larger muscles called the “extrinsic” foot muscles that originate further up the leg become overused, as they attempt to perform two roles. This often leads to conditions such as “Anterior Compartment Syndrome”, “Stress Fractures” of the shin bone (tibia), or ‘Medial Tibial Stress Syndrome”, commonly known as “Shin Splints”.
Weakness in the intrinsic foot muscles and overuse of the extrinsic muscles will also result in the toes ‘clawing’ both when rising and en pointe. This is the biggest cause behind the nasty blisters that are often seen in photos of professional ballet dancers; however, this does not have to be the case. Control of the intrinsic allows the middle joint of the toes to remain straight while fully pointing the rest of the foot. This does not affect the look of the line of the foot, but does make dancing much more enjoyable when free of pain!
In many other sports, orthotic devices may be worn in the footwear required that will help stabilize the arch and settle symptoms related to poor intrinsic muscle strength. Unfortunately, in ballet slippers, these orthotics cannot be worn (although many have attempted this!) so the dancer is often left to ‘live with’ symptoms, or have repeated extended breaks from dancing.
With correct strengthening combined with gentle stretching, however, many of these ‘chronic’ injuries settle very quickly. “The Perfect Pointe Book” is a comprehensive collection of many exercises designed to specifically strengthen the foot muscles needed in any ballet dancer. While initially designed to help girls strengthen their feet before going onto pointe, this book is essential reading for any dancer, especially if they have had, or currently have any foot injuries. The exercises have been developed after years of working closely with ballet dancers and seeing first-hand what is most effective in regaining control of these small muscles.
Often ballet teachers find the specifics of training the foot strength needed for pointe work difficult as it came naturally to them. However, for many people, the isolated strength needed in the feet must be specifically trained, especially nowadays, as many children who grow up in cities spend little time barefoot on different surfaces, which naturally trains the tiny intrinsic muscles of the feet. Understanding how these muscles should work when dancing is imperative in a long, injury free, career in dance.
Ástor Piazzolla with his bandoneón in 1971. - (Photo credit: Wikipedia)
Astor Piazzolla's Oblivion was composed in the year 1982 as a chamber ensemble. This beautiful music piece was one of Astor Piazzolla's most famous Tangos, and it became most popular when it was released on the soundtrack of Marco Bellocchio's film Henry IV, the Mad King. Oblivion has been recorded in many different versions, including being rewritten for the klezmer clarinet, saxophone quartet, oboe, and orchestra.
It starts out with violins and cellos and is a beautiful, haunting piece that speaks of tragedy and love. It's one of the most famous Tango work ever done by Astor Piazzolla and remains one of his best. The string section enters instantly, with a subtle, arpeggiated accompaniment, and the melody is extremely melancholic and almost depressing. With long notes and beautiful, alternating notes and elegant figures, Oblivion is a song that spins a sad tale of love and woe. It is a beautiful piece, very elegant in structure, and sounds like a sad song.
Halfway through the song, the melodies change a little, with a contrasting theme, not as intense as the previous notes and melodies though. Astor Piazzolla's Oblivion is one of the tangos that he wrote with almost no jazz or rock influence, like most other of his pieces from that time. It is a piece that is very true to the original Tango, and Piazzolla keeps it at its roots. It has a bit of harmonic sophistication and elegance, and it sings a beautiful song of Tango and emotion.
For decades, from Motown to Funk, through Disco, Indie Rock or music by singer/songwriters, one of the elements which have made some tracks successful is the addition of stringed instruments to the mix. When used skillfully, this medium can lift a piece of music, giving it a unique character and sound, lending power and emotion to a song. Strings are also used to provide the 'hook' or counter-melody which adds a new dimension and variety to the music.
Many chart hits have a background 'wash' of strings, subtly used without being particularly prominent - and based on simple chords. There are also countless examples where sampled string sounds have been used to great effect - from the atmospheric Mellotron of the 1960s to more hi-tech solutions used in modern day music. Even synthesized strings - with no pretence at being the real thing have also distinguished many pops and rock classics.
Despite huge leaps forward in the technology of sampled strings, many producers and artists still prefer to use the 'real thing' - professional studio musicians drawing on their expertise to create a rich and authentic addition to a track. By using live players, it's possible to be far more versatile and include the articulations or 'up and down bowing' which only sound authentic on a real instrument.
The first thing to consider is that the family of stringed instruments which forms a standard string ensemble (violins, violas, cellos and double bass) all have a lot in common but work in different ways to the guitar or keyboard. They are tuned in 5ths - meaning that you count up 5 notes including the note itself to arrive at the next string. The violin shares it's bottom three strings with the viola, whereas the cello is exactly an octave below the viola. It is also important to know the range of each instrument. Approximately three and a half octaves will sound comfortable as a section, and it's important to understand how the sound quality is affected by the pitch of notes. High notes will sound thinner and more penetrating, whereas the lower register can sound thicker or richer. As an example, much disco music from the 1970s makes use of the higher register of the violins in particular.
The next consideration is the skilful and sometimes tricky business of spacing chords for a string section. This is where a lot of string arrangements can fall down - get it wrong and the effect can sound empty or thin. Violins are split into two sections - the 'first and second violins' - as found in a symphony orchestra. The first violins can often be in unison or an octave higher than the melody, with the second violins playing a supportive countermelody. Conversely, the first violins could be playing the countermelody with the three other parts filling in the chords. Note: in a chord, each instrument can take one or two notes depending on the fullness or effect required. Even in these chords, the string arranger needs to make sure the cello part doesn't leap around too much - although the bass guitar may still supply the bass line, the cello part will still be very effective in moving in step or as a melodic line.
Another important aspect is understanding the articulations required to bring out the best in stringed instruments. Think of it as being monochrome versus colour. Without slurs, staccato, spiccato and pizzicato (all standard effects that stringed instruments routinely play) - the sound can easily become dull and uncharacteristic. The best string arranging uses an intimate knowledge of the instruments and can sound vivid, exciting and detailed. Often, when a string section has been composed on a keyboard instrument, it can sound somehow fixed and mainly chordal in nature, without the moving parts that strings naturally have.
Strings have been used in almost every genre of music, from jazz through to heavy metal, rap and of course classical music. Genres such as bluegrass, Cajun and folk often spotlight a solo fiddle (the name 'fiddle' is interchangeable with violin), with an idiomatic style based on sliding up to notes, the use of rapid double stopping (where more than one note is simultaneously played) and subtle trills with quick snatched notes. Sometimes single strings - one of each instrument as in a standard string quartet - can be an option to bring out the beautiful solo sound of each player. This can be used for more intimate styles of song, such as one with an acoustic guitar and voice.
Here, the use of solo instruments is often more appropriate than a large string orchestra, as it brings a soulfulness and adds a more contemplative mood. For larger style music, a string arranger might write a big orchestral type sound - such as for a rock ballad or film soundtrack. If budget is no option, a section of thirty to forty session musicians may well be used. In other cases, often a high quality sampled string library can give an excellent rendition of strings - though lacking the human touch, with many producers hiring in a handful of professional musicians to layer a few real takes on top to add the articulations and feel which make it sound more convincing. Where strings are only part of a mix with other instruments, this can be a more economical solution than hiring a full orchestra.
With modern studio technology, an increasingly popular method for those financing their own projects is to use a few musicians who can multi-track several overdubs to create a larger sound. However, it's highly advisable that players who are asked to do this are extremely accurate professionals, to ensure that the end result isn't untidy - they will also need to vary the quality of sound and bowing in order to add character, and imitate a variety of different players within the section. With this approach, players must have perfect tuning and an excellent range of sound to create a realistic end result.
The professional string arranger will get a feel for when the strings should be dominant in a track and when they should recede into a more supportive, background sound. The arranger should know when the texture should be sparse as well as identifying moments where the strings can come alive and be dense or intricate. Rather than adding just basic chords, the strings can be used to provide the hook or countermelody - and in some instances, this can completely transform a piece of music, making it instantly memorable.
Although many bands and artists have a grasp of music theory and orchestration, so do undertake their own string arrangements, it is important to remember that a specialised string arranger will have years of training and may get better results. After all, if a group are going to the expense of hiring in a real string section, they'll want to make sure they get the full potential from the players. Music needs to be scored and orchestrated correctly to suit the instruments so that any session musicians can just sit down and play it through the correctly first time - saving valuable studio time.
Vaughan Jones is a professional string arranger, violinist and violist. He leads a small commercial string section based in London. String Section supply strings for all manner of recording projects in all genres and their website is http://www.stringsection.co.uk
The main reason you want to find a good teacher is to get access to learning correct violin technique. Why do some violin players only perform in the local school halls while others grace national concert halls and world-renowned recording studios performing with symphony orchestras? A great deal has to do with correct technique.
Don't Be Fooled
Just because a musician puts an ad in the local paper advertising their services as a music teacher, does absolutely NOT mean that they may suitable or even appropriate as a violin teacher. Notice I didn't mention qualifications?
Once again, if a violin teacher has a BA in Music or a 4th grade "this "or 5th grade "that" may also not be a definitive indication that this violin teacher has herself been taught correct violin technique. So how do you judge?
The Best Advice Here
A virtuoso Australian jazz pianist who also was the head of music department at a prestigious art school in Australia always used to say in lectures - "It all comes down to; how well can you play your instrument" That may seem simplistic however that's where the beauty lies...
If you ever try to get a job with a symphony orchestra you'll find out that they're not that interested in the "pieces of paper" you have, but you can count on having an army of people sitting at a table watching you carefully and listening to your audition. Again, I pose the question - "How well can you play your instrument"
So, therefore a good teacher will have these:
Look for a professional performance resume
Most good violinists have delivered some notable performances at some point. These could include theater or concert, TV performances or traveling overseas to perform. Recordings or touring with artists who are publicly known is a good indicator that a musician has reached a proficient level.
Look for a professional teaching resume
Also, a good indicator is a violin teacher who has some teaching experience in a quality educational music facility. Some musician is so good that they don't make very good teachers mainly because they don't know how to break down complex musical concepts into small 'bites size pieces' for students to pick up and digest. You may find these quality education facilities as high priced private high schools or colleges.
A good idea might be to call up the school and ask who the violin teacher(s) there is. Then ask if they teach privately. Ask them about fees (also another good quality indicator - generally high prices indicate quality, but not always). Also, ask them for a professional resume or less formally in conversation "who do you perform with?" If they say an orchestra of some description, make a note and look them up. They may also say a string quartet. Again, look this up on the Internet.
Conclusion
Starting with a teacher that will teach you correct technique from the start is absolute GOLD! If your serious about learning an instrument, spend some time to find that teacher. Good luck in your endeavors.
Looking for the right salsa music is easy once you've been exposed to salsa beats long enough. But if you want to groove to the salsa rhythms, here are some recommended CDs that will have you dancing for days!
TONY VEGA GREATEST HITS - Tony Vegas has charm and Latin gentleman appeal that can be heard in his music. His musical style appeals to everyone. It is smooth and romantic yet energetic and upbeat This is an unmatched collection of Tony Vega hits from 1989-1994. His songs are infused with romantic tones and sensuous Cuban Mambo and Puerto Rican Salsa style beats.
Rough Guide: Salsa Dance ~ various artists - A huge selection of musical compilations put out under the Rough Series. Rough Guide: Salsa Dance is one of the hotter Latin music themed albums to be released to date.
Rough Guide: Salsa Dance vol. 2 ~ various artists - An upbeat album that will have you dancing the instant you hear it! This album is sizzling HOT. You won't stop dancing because the music is electrifying!
SALSA FRESCA - This is an excellent CD "for those who love to dance salsa, not just listen to it." This compilation CD has you grooving salsa style all night long. Its inviting rhythmic beats are particularly good for those who love to Mambo. This CD is even a keeper for non-dancers. A must have for your CD collection!
Ultra Mix: The Best of Salsa - This is a must-have CD for any salsa. Some say it's best suited for listening, while others are convinced it's one of the best compilation discs for salsa dancing. Go to your local music store or check it out online. You'll be glad you did.
These CD selections are a great way to begin your salsa music collections. However, some other great tips to finding great salsa CDs is by listening to local radio shows that feature Latin American, Cuban and Afrobeat. Most likely you'll also be able to hear some salsa beats you've never heard before. Listening to these types of radio shows exposes you to the different sounds and usually makes mention of the artists that are being played. This will make your shopping experience so much easier.
Also, consider checking out your local salsa dance bar or salsa dance studio. The DJ or dance instructor would be happy to tell you what albums and/or songs they are playing.
Check out your local music store or go online to find the above-mentioned CDs. I guarantee your neighbors will be banging on your door wanting to know what it is you a replaying. These salsa CDs are that good!
Happy Shopping! Oh, but don't forget to check out www.salsadancedvd.com where you'll hear the above-mentioned artists and more. But you will also get the best salsa dance training available. Don't forget to check it out!
The 'Karaoke' is a very popular form of entertainment. The Karaoke allows the singer to sing along with the favorite recorded soundtracks. The origin of the word 'Karaoke' is from Japan which means 'empty orchestra' or 'virtual orchestra'. Now a day Karaoke machines are widely used as an alternative playback device in films and even in computers and mobile phones.
Overview of Karaoke Machine
A Karaoke Machine is built-in with a karaoke player, amplifier, speakers, and often a TV monitor. The karaoke player is generally a CD or DVD player that comes with the various added function of graphics output. The Karaoke Player allows playing 'Karaoke' which further is needed to get connected to other karaoke equipment such as a TV monitor, sound system, etc. in order to function. The Karaoke Players generally come in two types i.e. portable and component style.
The portable Karaoke Player is basically an all-in-one system which is very easy to operate. The portable Karaoke systems which are great home entertainer are mainly used at home parties and at small entertainment venues. These systems generally consist of a CD player, a microphone, a pitch and echo controller and external speakers with built-in amplifiers.
Other than the portable Karaoke Machine these players also come in component style. The Component Karaoke systems are similar in size and function to that of portable systems but have several additional features. The component players are basically multi-disc systems. These systems have several microphone inputs with separate volume controls for each microphone. The component Karaoke systems do not have any speaker or amplifier. Therefore these systems are usually connected to either home or any professional sound systems.
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The Technology behind the Karaoke Machine
A standard Karaoke generally consists of an audio input and an audio output and act as an audio mixer. In a Karaoke Machine, regular songs can be fed into the machine and the voice of the original singer can be suppressed. Sometimes karaoke machine uses a special type of compact disc which has graphics capability and this disc is popularly known as CD+G disc. The CD+G players are generally used to display the lyrics and pictures on the screen along with the music, while both audio and video are displayed in the other formats of karaoke. With the help of different technologies, the karaoke machines are capable of changing electronically the pitch of the music. This technology helps the amateur singers to sing along with any music source most appropriate to their vocal ranges.
There are many series, suites and cycles of pieces which can be considered "up there" in the pianist's standard repertoire: Bach's '48', Schubert's Impromptus and Moments Musicaux, Schuman's Carnaval and Kreisleriana, Chopin's Etudes and Preludes, Liszt's Années or the Transcendental Studies, but none can quite come close to Beethoven's 32 Piano Sonatas, usually referred to as the 'New Testament' of piano music (the WTC is the 'Old Testament'!). Perhaps the primary appeal of these pieces, aside from the sheer Herculean effort of learning and absorbing them, is that they offer both a far-reaching overview of Beethoven's musical style and a glimpse into the inner workings of his compositional life and personality. Urban legend has it that Beethoven was a rough, irascible, grumpy and unapproachable sod, but this does not tell us much about his music. Living with his music, spending time with it to understand what makes it special, allows a more honest, rounded view of him, and, perhaps of all his music, the piano sonatas offer a really candid autobiography.
As pianists, whether amateur or professional, advanced or intermediate, or even just beginning on the great journey of exploration, we have all come across Beethoven's piano music, and many of us have played at least one of his sonatas during our years of study. As an early student, a taster of a proper sonata in the form of one of his Sonatinas (something my father is grappling with at the moment - and refusing any helpful advice from me!). Later on, we might encounter one of the "easier" piano sonatas, such as the pair of two-movement sonatas that form the Opus 49 (nos. 19 and 20), which are roughly Grade 5-6 standard (but don't be fooled by the comparatively "easy" notes!). As part of my Grade 8 repertoire, I learned the No. 5 (Opus 10, No. 1, in C minor), which prefigures the far more well-known and well-loved Pathétique in the flourish of its opening measures, the "beautiful melody" of its slow movement, and its febrile final movement. A quick glance through the Diploma repertoire lists for any of the exam boards (Trinity, ABRSM, RAM etc) and there is a generous handful of sonatas to choose from, from well-known to less popular, to suit each level of Diploma right up to Fellow.
It is generally accepted the pianistic wisdom that Beethoven composed the piano sonatas during three distinct periods of his life, and as such, like the Duo Sonatas for Piano and 'Cello (read my earlier post here), offer a fascinating overview of his compositional development. Setting aside the three "Electoral" sonatas, which are not usually included in the traditional cycle of 32 (though Beethoven authority, Professor Barry Cooper, who has edited new the ABRSM edition of the sonatas, argues that there is a case for including the three sonatas that Beethoven wrote when he was 12 in a complete edition), the early sonatas are, like the early duo sonatas (for violin and for 'cello), virtuosic works, reminding us that Beethoven was a fine pianist. While the faster movements may nod back to his teacher, Haydn (though Beethoven would strenuously deny any influence!), it is the slow movements which demonstrate Beethoven's deep understanding of the capabilities of the piano, and its ability, through textures and colours, moods and contrasts, to transform into an instrument he wishes it to be. Some of the writing could be for string quartet (Op. 2 No. 2). In the early sonatas, Beethoven's mastery of the form is already clear, and many look forward to the greater, more complex, and more revolutionary sonatas of his 'middle' period. His distinctive musical personality is already stamped very firmly on these early works.
The sonatas from the middle period are some of the most famous:
The 'Tempest' and 'La Chasse' (Op. 30, Nos. 2 and 3). The first with its stormy, passionate opening movement, the second of the opus rollicking and somewhat tongue-in-cheek.
The 'Moonlight' (Op. 27, No. 2): the first piano sonata to open with a slow movement. Too often the subject of clichéd, lugubriously romantic renderings, this twilight first movement shimmers and shifts. An amazing gesture, created by a composer poised on the threshold of change.
he 'Waldstein' (Op. 53). Throbbing quavers signal the opening of one of the greatest of all of Beethoven's piano sonatas, while the final movement begins with a sweetly consoling melody which quickly transforms into daring octave scales in the left hand and a continuous trill in the right hand. This is Beethoven at his most heroic.
'Les Adieux' (Op. 81a). Suggested to be early 'programme' music in its telling of a story (Napoleon's attack on the city of Vienna which forced Beethoven's patron, Archduke Rudolph, to leave the city, though this remains the subject of some discussion still). It is true that Beethoven himself named the three movements "Lebewohl," "Abwesenheit," and "Wiedersehen". One of the most challenging sonatas because of its mature emotions and technical difficulties, it bridges the gap between Beethoven's middle and late periods.
Late period:
The 'Hammerklavier' (Op. 106), with its infamous and perilously daring grand leap of an octave and a half at the opening (which, of course, should be played with one hand!); its slow movement of infinite sadness and great suffering; its finale, a finger-twisting fugue, the cumulative effect of which is overwhelming: an expression of huge power and logic.
The Last Sonatas (Opp. 109, 110, 111). I have written about these sonatas previously. They are considered to be some of the most profoundly philosophical music, music which "puts us in touch with something we know about ourselves that we might otherwise struggle to find words to describe" (Paul Lewis), which speaks of shared values, and what it is to be a sentient, thinking human being. From the memorable, lyrical opening of the Op. 109 to the final fugue, that most life-affirming and solid of musical devices, of the Op 110, that peaen of praise, to the "ethereal halo" that is contained in some of the writing of the Arietta of the Op 111, the message and intent of this music is clear. And this is Beethoven's great skill throughout the entire cycle of his piano sonatas.
So, what is the perennial attraction of performing a Beethoven Sonata Cycle? Glance through concert programmes around the world and it is clear that these sonatas continue to fascinate performers and audiences alike, and no sooner has one series ended than another begins, or overlaps with another. Playing the Sonatas in a cycle is the pianistic equivalent of reading Shakespeare, Plato, or Dante, and for the performer, it offers the chance to get right to the heart of the music, peeling back the layers on a continuous journey of discovery, always finding something new behind the familiar. One does not have favourites; just as when one has children, one should never have favourites, though certain sonatas will have a special resonance. The sonatas are like a family, they all belong together - and they are needed, ready to be rediscovered by each new generation. You can play the sonatas for over a quarter of a century, half a century, and yet there are still many things in these wonderful works to be explored and understood, things which still have the power to surprise and fascinate.
Every pianist worth his or her salt knows that presenting a Beethoven sonata cycle represents a pinnacle in one's artistic career (ditto the five Piano Concertos) and an important stepping stone to other great cycles (Schubert's sonatas, for example, which are, perhaps, less satisfying to play than Beethoven's because of problems such as incomplete or different versions of the same work), but once a cycle is complete, one cannot truly say one has conquered the highest Himalayan peak. And that is what is so special about this music: you can never truly say you have "arrived" with it, while its endless scope continues to reward, inspire and fulfil.
I have never heard a complete Beethoven cycle performed by a single performer, but I have heard plenty of concerts which form part of the whole: in the 1980s, it was John Lill, now one of the "elder statesmen" of British pianism; before him, my parents would have heard Brendel and Barenboim. Following in their footsteps, I heard some of Barenboim's concerts when he played a complete cycle at the Festival Hall three year's ago. At the same time, Paul Lewis was just finishing his own cycle at the Wigmore Hall (and beyond). I heard him play Nos. 15-18, some of the early sonatas, and the Last Sonatas. Then there was Till Fellner, a young Austrian with a clean, fresh approach, whose cycle began in 2008. On LP, I had Lill's complete cycle, released the same year as I heard him at RFH. On CD I have Arrau, whose account is hard to match. But I also have recordings of favourites, such as the Opus 10's, played by Angela Hewitt, or the Opus 110 (my absolute favourite), played by Glenn Gould and Mitsuko Uchida (whose Mozart playing I adore).
In concert, the sonatas are presented in halls large and small, famous and lesser known. The size of the hall can affect one's appreciation and understanding of the works. For example, sometimes the earlier sonatas, which were written for the salon, can be lost in a venue as big as the Royal Festival Hall. One's connection to the music is also affected, of course, by the performer. Lill, I remember, brought an extraordinary closeness and intimacy, something I have never forgotten, a sense that it was an entirely shared experience; while with Barenboim it felt as if an invisible barrier had been erected between us, the audience, and him the performer (I suspect he neither intended nor engineered this; rather, the over-awed audience brought it upon themselves!).
Further reading
Playing the Beethoven Piano Sonatas - Robert Taub. "Offers the insights of a passionate musician who performs all 32 of Beethoven's well-loved piano sonatas in concert worldwide. This book presents his intimate understanding of these works with listeners and players alike." (Amazon)
The Beethoven Sonatas and the Creative Experience - Kenneth Drake. "Drake groups the Beethoven piano sonatas according to their musical qualities, rather than their chronology. He explores the interpretive implications of rhythm, dynamics, slurs, harmonic effects, and melodic development and identifies specific measures where Beethoven skillfully employs these compositional devices." (Amazon)
Bansuri, a bamboo flute popular in India. The picture shows a 23-inch long flute often used in concerts (Photo credit: Wikipedia)
Want to know how to make a bamboo flute for your own homemade music? Flute making with bamboo can be really simple, as most of the work is done for you by way of the natural hollows that are grown into the bamboo. However, there's just a little bit of math involved in figuring out how to make a flute the right length for the fundamental note (the lowest not that you can play, with all fingers covering every hole), and for how to make flute finger-hole placements precise, as well as the embouchure (blowing edge hole). The one, simple, all-important mathematical formula to do the job, is really very easy to understand. Allow me to show you...
To understand how to make a bamboo flute, you'll need to be aware of two basic numbers in flute making in order to make perfect homemade music. The numbers to know for how to make a flute with perfect tuning are; the linear measurement for how far sound travels per second, and; the number of Hertz (the vibratory frequency) of any particular notes you will have the flute play. But to correctly gauge the sound, first, we need to know how to make flute embouchures. For this example, we'll use a transverse (or "side-blown") flute. It's very simple - make the hole for this be about half the width of the bore diameter, and have the hole's center point be situated at one bore diameter's distance from the inside of the closed end. Bevel one edge on the inside at an acute angle for the best "airstream splitting edge".
Okay, now for the numbers and how to use them in making our bamboo flute, and superb homemade music. The distance sound travels per second, at sea level, and at about 70 degrees F (or 21 degrees C), is 13526.5 inches (or 34357.31 centimeters). Now you take the frequency number of the note, which for this example we'll say the fundamental note will be "A", which would be 440, and divide the previous number by this one. What you will get is the length of one wavelength for this note, in this case, 30.74 inches, or 70.08 centimeters.
How to make a flute body the correct length for this is now to divide this measurement by two, which would make it about 15 3/8 inches, or 35.04 centimeters. You'll find that due to other factors in flute making, such as bore diameter and flute body wall thickness, you may need to shorten this a little bit more to get the note precisely - do this a little at a time. Use this same formula to find out how to make flute finger-hole placements along the length according to the notes you wish them to play, and there you have it!
If you'd like to learn more about how to make a bamboo flute, flutes of various types and varieties, or any homemade instruments of woodwinds, percussion instruments or strings with precision, feel free visit my website on how to make your own music with professional quality homemade musical instruments that you can make yourself, at http://rockfreakinsolid.com - these ain't your children's paper plate tambourines, shoebox and rubber band guitars, or butter bucket drums!
- Robert Taub. "Offers the insights of a passionate musician who performs all 32 of Beethoven's well-loved piano sonatas in concert worldwide. This book presents his intimate understanding of these works with listeners and players alike." (Amazon)
- Kenneth Drake. "Drake groups the Beethoven piano sonatas according to their musical qualities, rather than their chronology. He explores the interpretive implications of rhythm, dynamics, slurs, harmonic effects, and melodic development and identifies specific measures where Beethoven skillfully employs these compositional devices." (Amazon)
- Charles Rosen. A very readable analysis of all 32 sonatas by respected pianist and writer.