Born November 1st, 1949, David Foster is an award-winning producer, composer and musical arranger, and has won 14 Grammy awards – and been nominated for 42 – over the course of his career. As a member of the musical group Skylark during the 70s, Foster gained the opportunity to work closely with many high-level celebrities and musicians, including John Lennon, Josh Groban, Mariah Carey, Whitney Houston, Michael Jackson, Andrea Bocelli, Madonna, Gordon Lightfoot, and many, many more!
Foster was also asked to compose the score for the film St. Elmo’s Fire and gained several additional hit singles off the movie’s soundtrack release. Through his own record label, Foster produced debut albums for several well-known musical artists who have since moved onward to very lucrative musical careers, such as Josh Groban, The Corrs, and Michael Buble. His label is known as 143 Records.
Foster was married in 1991 to Linda Thompson, and although they are no longer together, Foster and Thompson worked together on several pieces such as the song “I Have Nothing” from the soundtrack to The Bodyguard in 1992. This song was nominated for both a Grammy and an Academy Award, and in 1996, Foster’s composition “The Power of the Dream” with Kenneth Edmonds became the official theme song for that summer’s Olympics.
As an attempt to get into television, Foster and his two step-sons began a reality TV show called The Princes of Malibu, where Foster played himself, trying to convince his sons to shape up and make their own way in the world. The show failed and was cancelled soon after its debut. More recently, Foster was featured as a guest on the television reality show American Idol, as a mentor to competitors. He was also a judge on the show Nashville Star, as well as Celebrity Duets, a show created and produced for Fox-TV.
Some musicians, like guitar players, have it easy. They can make a great tone just by plucking a string. In fact, anyone who plucks Eric Clapton's guitar string will produce a tone nearly identical to Clapton's own. But if you want to play the trumpet, making a good tone is a little more complex. Trumpet players spend their careers practising and focusing on their tone. As a beginning trumpet player, it's important to recognize this fact and be diligent, yet patient in creating good tone.
Good tone is an essential, often elusive component of trumpet playing, and is best achieved by learning correct technique from the very beginning. One reason many trumpet players struggle with their tone is that of the way they learned to form their embouchure, or muscles of the lips area when playing. A poor embouchure set easily becomes a habit, and the longer it persists, the more difficult it is to change. We'll take a look here at how to form your embouchure to produce a nice, clear trumpet tone.
A short disclaimer here - learning to buzz and produce a nice trumpet tone by reading about it is like having someone describe the colours of a rainbow. The concept may come through, but the real thing needs to be experienced. That's why a good trumpet teacher or quality video lesson is recommended. Resources are available below. Now on with the details...
The way you produce a sound on the trumpet is by buzzing your lips together. The buzz is a concept that might be illustrated by going back in your memory, recalling a time when you were about 5 years old. Maybe you were frustrated or angry and you wanted to spit. You went - "pfft". Not an adult type of spit with lots of fluid and maybe a loogie (okay, sorry about that), but just a lips-together, relatively dray "p-p-p-p-p-p-p" kind of spit. Try it now without the trumpet by starting with a relaxed face. Then flex the corners of your lips and draw them back only slightly, stopping short of a smile position. Try to make a flat surface of the front of your lips. Now hold that position, keep the corners nice & firm. Take a deep breath, and blow, making a long, buzzing spit sound. Done correctly, this will sound somewhat like a bumblebee or mosquito, and might tickle the lips.
Your first efforts might result in a rough buzz sound with lots of sprays, but keep practising, and remember to keep the corners firm and the front surface of your lips flat. You don't want a puckered shape like you're kissing your Aunt Tilly. And even though I used the spit reference, you're not really spitting and you don't want a lot of sprays. Look at your self in a mirror and make sure that the underside of your lips, or the wet part, aren't visible when you make that buzz. Just like when you say 'mmmm..'.
Think about the mosquito buzz sound in contrast to a dirt bike. Sometimes the idea of spitting out a hair or a seed can help get the right concept. If you find that your buzz is pretty rough, really focus in on clenching those corners and keeping them nice & tight & firm.
The next step is to put a trumpet in front of the buzz. Keeping the corners firm, place the trumpet gently to your lips and play the buzz into the mouthpiece. Are you keeping firm corners? Without pressing any valves, you're likely to play one of two notes, C or G. Either is fine. Be sure though that you're not pressing your trumpet into your lips with brute force. You should be able to make a tone just holding the trumpet gently in place and using good, steady air. Pressing that horn into your lips is one common mistake that beginners make, and if it becomes a normal habit for you, it will really hold you back and hinder your ability to improve.
Practice making nice, long tones on any note that you can produce. Don't try to play too high or too loud, just aim for a consistent tone. Sounds simple, but that's a pretty tall order for a brand new player, so do your best with it.
This is just one note for now, but if you can start by playing one note really well here early on, you're way better off than playing 20 notes badly.
Back to the disclaimer, a written description on how to play the trumpet has limitations. The best investment a beginning trumpet player can make is in trumpet lessons, either in person or on video. A live personal teacher is great, but that can be expensive. Technology now allows for a good alternative in video trumpet lessons delivered online. Check your local resources and the internet for options that are right for you.
Brett Manges is the creator of http://etrumpetlessons.com, the video trumpet lessons online program. For more tips on how to play the trumpet, including a free sample of the video trumpet lessons, please click the links to visit us!
Portrait of Harry Belafonte, singing (Photo credit: Wikipedia)
Kids tend to find singing very amusing and never miss a chance to show off their singing talent. For some kids, the desire to sing does not wear off by getting older. In some cases, it grows even stronger and it becomes a passion they wish to pursue as adults. In this case, singing becomes a bit more challenging. It's one thing to make singing mistakes as a kid and quite different to become embarrassed in a karaoke contest. In fact, many people give up singing as adults, simply because they are afraid of the harsh criticism they may get.
If you can identify with the above situation, you'll certainly be glad to know that you can, in fact, learn how to sing properly, every time. Sure, good genes are a factor if you want to become a star, but anyone can learn how to sing impressively well if they devote the time and energy required to master the technique. Hence, the most important step you need to take is to decide if you are really determined to learn how to sing and everything else will follow with studying and practice.
You will have noticed that the word "studying" was mentioned in the above paragraph, along with practice. You see, in order to sing properly, you definitely need to learn some of the principles of voice production. Singing is a highly physical activity and professional singers know that. That's why they seem to be singing with their entire body rather than just their vocal cords. Pro singers can manipulate three types of singing voices, which are usually common to all people. The chest voice, the middle voice and the head voice.
The chest voice is the voice you use when you speak. With this voice, you can create a rich, full-bodied sound. The head voice is usually used for higher pitched notes, most frequently by female vocal artists. The middle voice acts somewhat like a bridge between the chest voice and the head voice. You can think of these different singing voices as the ABC of singing. Only after you've studied and learned your ABC does it make sense to practice. And if you practice with some solid guidelines in mind, be sure that you can learn how to sing correctly, every time!
During the Christmas Season, music is a key ingredient in creating holiday magic... for me and many others, I'm sure. Just the other day, I was out walking my little dog, Jolie, and enjoying the holiday decorations in my neighbourhood. The air was crisp and there appeared to be a few snowflakes in the air when suddenly, a nearby church began playing on their chimes, some familiar carols. I was thrilled!
I've always been a huge fan of Christmas music, and as a child, growing up in a minister's family, Christmas music was played and enjoyed throughout December! Singing the Advent hymns and carols up until Christmas Eve was always such a thrill for me and even now, the memories, images and smells rush back to me when I hear these melodies playing. When the bells started pealing as I walked down the sidewalk, it just was a magical feeling that transported me, musically, to another time and place. At that moment, thoughts of problems disappeared, thoughts of conflict and tragedy temporarily vanished, and I was totally in the moment with peace on earth goodwill to people everywhere.
Holiday music, no matter what holiday you celebrate, comes in the sacred and the secular varieties. There are literally thousands of songs, cantatas, musicals, oratorios, and symphonies that we typically hear during this season and, for me, they create a magical environment that is filled with memories of Christmases past and warm family holidays with laughter, smells of cookies, turkey, and pies baking, and visions of shiny bicycles and wind-up toys. Is there a person in the Western World that does not know "White Christmas," "I'll Be Home for Christmas," or "Silver Bells?" In our media-filled society, and with all the technological wonders like iPods and MP3 players, music is sung around the world and heard around the world. If anything, they probably hear them just a little sooner than they'd really like to. (I believe that playing Christmas music any sooner than November 1, is probably suspect, and what I suspect is commercialism gone awry!)
The power of a simple phrase of music to conjure up these kinds of images and feelings is nothing short of miraculous! Humans have known this for thousands of years, and that is why the key events and holidays in our lives have so much special and unique music associated with them! Take some time out of your schedule today and listen to some music that brings back happy memories for you. You'll soothe your anxieties, lower your blood pressure, boost your immune system, and improve your self-esteem.
There have been many great tenor saxophone players throughout the history of jazz, but one of my favorites is Dexter Gordon. Perhaps what I like best about Dexter Gordon is his big, beautiful sound. He stood 6' 6'' tall, and he had a saxophone tone to match his stature with a warmth and body to it that was unmistakably his own.
Under A Doctor's Care
Gordon was born in L.A. In 1923. His father's name was Frank Gordon, and he had the distinction of being one of the first African American doctors practicing medicine in Los Angeles. As luck would have it two of his patients were jazz greats Duke Ellington and Lionel Hampton. Dexter began playing clarinet when he turned 13. He soon switched to saxophone, and by his senior year in high school, this amazing talent was offered a job in the Lionel Hampton big band. Never hurts to have an in.
Paris Without Regret
After the Hampton band Dexter did stints with Louis Armstrong, Fletcher Henderson and Billy Eckstine. In 1960 Gordon started to record for the famous jazz label, Blue Note Records. During this period he recorded many acclaimed jazz albums including one of his favorites, GO.
In 1962 Dexter moved to Europe to work and live and resided mainly in Paris. Many notable jazz musicians of this era did the same because they were appreciated and respected more by the Europeans and experienced much less discrimination. He remained in Europe for the next 15 years until returning to the U.S. In 1976.
Round About Midnight
Upon his return to the States Dexter made a much-heralded appearance at the Village Vanguard in New York City and finally achieved the recognition as one of the great jazz tenor players that he had deserved for years.
In 1986 Gordon was nominated for an Academy Award for his starring role in the jazz film, Round Midnight. The role was tailor-made for Dexter as the movie was about an expatriate jazz musician living in Europe.
Musician of the Year
After coming back to the U.S. Dexter signed a deal with Columbia Records who promoted him heavily along with other jazz artists. His newfound notoriety and his high level of jazz saxophone playing led to his being named Downbeat Magazine's Musician of the Year in 1978 and 1980.
Dexter Gordon died in 1990 at the age of 67 from kidney failure after a lifetime of producing some of jazz's greatest tenor saxophone music.
By Joel Krett Joel Krett is currently playing tenor saxophone and harmonica with The Subway Show Band out of Morgantown. WV. and is an avid jazz fan.
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!
