A Brief History of JOHANN SEBASTIAN BACH (1685 - 1750)

Photo by Stifts- och landsbiblioteket i Skara 

Johann Sebastian Bach was one of the top classical music composers of all time – so famous today so he is commonly known as simply “Bach“. A native German, Bach was a composer, organist and violinist and produced classical religious and secular works for choirs, solo instruments and orchestras.

Fixed in time in the Baroque music movement (1600-1750) Bach was a primary driver of change within it. Bach’s lifetime was one of fame, self-doubt and amazing achievement with a legacy that lasts to this day.

Childhood

Johann Sebastian Bach was born in Eisenach to Johann Ambrosius Bach and Maria Elisabeth Lammerhirt.

Bach’s mother died in 1694 with his father died shortly after leaving him an orphan aged 10 to be raised by his older brother Johann Christoph Bach himself an organist. There he learned to copy, study and perform music and receiving valuable tuition from his brother.

Adulthood

Bach remained in Germany for most of his life despite his contemporary and musical rival Handel moving to England to further his interests.

Bach’s first wife, Maria Barbara, died in 1720 leaving Bach to raise seven children. This apparently triggered Bach to seek the solace of work and held the coveted position of musical director for many princes and dukes at this period, leaving his children in the care of others.

In 1721, Bach married his second wife, Anna Magdelena Wilcke, and took up a position in a Leipzig school and a local church. Here he extended his already burgeoning family with a further thirteen children, with seven tragically dying before they reached adulthood.

Death

Bach died (aged 65) on 28th July 1750 after a period of ill-health. He became blind shortly before his death after an “unsuccessful eye operation” which may have contributed to his demise. Modern historians have argued that his death was a direct consequence of a stroke caused by pneumonia.

The Family Bach

Bach’s left behind a family that was also musically gifted, with his second wife being a talented musician and his eldest son, Wilhelm Friedemann Bach, becoming an accomplished organist. Many of Anna Magdelena’s notebooks survive today and contain many of the works composed by Bach’s family.

His Most Famous Works

Bach’s produced hundreds of pieces throughout his lifetime, many of which are still played today. Amongst the most famous are the Magnificat, the Partitas, the Mass in B Minor, the Well-Tempered Clavier, the St. Matthew Passion, the St. John Passion, the Goldberg Variations, the Musical Offering, the English and French Suites, The Art of Fugue, the Brandenburg concertos, the Sonatas and Partitas for solo violin, the Cello Suites. He also wrote over 200 cantatas (that we know of today) and approximately the same number of organ pieces such as the Toccata and Fugue in D minor and Passacaglia and Fugue in C minor.

Bach’s Musical Legacy

Bach’s classical music legacy is hard to measure in real terms, although there are a total of 1292 titles available to buy from the Chappell of Bond Street online catalogue (www.chappellofbondstreet.co.uk) at the last count including many such as “Jesu Joy of Man’s Desiring” that have been edited and arranged since his death and are now played regularly in churches, schools and independent choirs across the world.

Bach’s status as a master classical music composer was only really cemented in the 19th century when a revival of his music triggered the editing and arranging of many of his pieces which remain in that form to this day.

It has been said that it was, in fact, Bach that was the trigger for the move from the Baroque era into the “classical era”, leaving his mark on classical music with fans that transcend time and nationality with music that still to this day has the power to strike awe and passion in the youngest and oldest of minds.

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The History and Characteristics of the JAZZ COMBO

Studio Rivbea, NYC July 1976 (Photo credit: Wikipedia)

Jazz is an American art form whose roots date back to the mid-19th-century slave songs and chants. The early 20th century saw the art form blossom as instrumental music in the southern United States, mainly along the Mississippi River and specifically New Orleans, Louisiana.

Early instrumental jazz combos of New Orleans varied in instrumentation.  More often than not, these early jazz groups generally consisted of trumpet, clarinet, trombone, tuba and drums.  This instrumentation became what is known as the "Dixieland" combo, making its way up the Mississippi River to Chicago where the music became popularized by jazz greats such as Louis Armstrong.

Dixieland combos can be thought of as groups that play "polyphonic" improvisational music.  Each instrument is independent of every other instrument, with each player creating separate musical improvisations based on known melodies, or "tunes" of the day.

The players of these early jazz combos each had a separate role within the group.  The trumpet player was depended upon to state the melody of the song, while the clarinet would improvise complex lines above him.  The trombonist's role was to improvise or "fill in" the middle register with lines and notes that were essential to the chord changes of the song itself.  The tuba player (or bass player) generally laid down root notes (and 5ths) of each chord on beats 1 and 3 of each measure.  The tuba served as the harmonic anchor for the group. Lastly, it was the drummer's role to keep everyone together by keeping a steady beat throughout the entirety of the song.

As jazz music developed throughout the 1940s and 1950s, jazz combo instrumentation began to become more standardized.  The jazz "quintet" and "sextet" became very popular during this time.  The quintet consisted of trumpet and alto (or tenor) sax as the main melodic instruments while the rhythm section (piano, bass and drums) took care of rhythm and harmony.

The sextet added a trombone to form what essentially was a three-horn front line, with rhythm section accompaniment.  The extra melodic instrument of the sextet made it possible for the horns to add more harmonic depth to the sound of the group.  Each instrument had a role not only as a melodic voice but also as an integral component of the harmonic structure as well.

Modern jazz combos consist of a variety of instrumentation - 4, 5 horn combos are commonplace.  As the group grows in size, however, the name "combo" is replaced by "band" or "little big band".

The jazz combo has provided a musical and creative outlet for countless musicians over the last 100 years.  The jazz combo continues to provide jazz musicians the opportunity to work together to make music not only as a group but also to develop their own voice as individual jazz improvisers.  It is, and probably always will be, the perfect vehicle for learning the art of jazz improvisation.

Get original jazz combo and big band music by top writers for less than $20 by visiting PDF Jazz Music Article Directory: Article Dashboard

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Things To Consider Before Buying A HARP

New Salem Village re-enactors playing Celtic harps 

(Photo credit: Wikipedia)

If you are considering playing or purchasing a harp, you may feel overwhelmed by the different types and choices available. This article will provide a basic explanation of the different models and give you some points to consider before making a purchase or deciding on an instrument.

The pedal harp is sometimes also called a classical, concert, orchestral, or concert grand harp. It usually has between 41 and 47 strings and is typically the largest type of harp. A pedal harp has pedals at the base that allow you to play in different keys without having to restring the instrument. This allows you to play the widest variety of musical styles.

A non-pedal harp is basically a harp without pedals and is sometimes also called a lever, folk, or Celtic harp. Non-pedal harps have levers that let you adjust the instrument to different keys, although the levers do not provide quite as much versatility as pedals do. Lever harps can vary greatly in size, from lap harps to floor models up to 5 feet high.

Harps are usually either strung with wire or nylon. They may also be double, triple, or cross-strung. Double and triple strung harps have 2 or 3 rows of parallel strings, and one hand plucks each row of strings. Cross-strung harps have 2 rows of angled strings that cross over one another. This allows you to reach each set of strings with either hand.

Choosing a harp depends partly on what type of music you like to play. If you prefer classical or jazz, you may want to consider a pedal harp because of its musical flexibility. If you like folk, Celtic, or popular music, a non-pedal harp will probably suit your needs.

While the size of the harp may be a consideration for a child or small adult, smaller is not necessarily better. Lap harps, while smaller, also require you to balance the harp on your lap, and this may be challenging for a smaller person. Actually, with proper posture and sitting height, a child can play a floor harp, even if they can't reach all the strings just yet.

Another, and perhaps the biggest, consideration in choosing a harp is your budget. The cost of a harp varies greatly. Pedal harps are the most expensive. Non-pedal harps are usually less expensive, but of course the larger the harp, the more costly it is.

With so many things to consider, including personal preference, you are the only one who can decide which instrument you prefer. Once you make your decision, enjoy playing your new instrument, and take pride in your musical accomplishments!

By Rachel Beachy - Article Source: EzineArticles

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BALLET MOVES - Put The Grand In Grand Plie

A ballet dancer doing barre work. (Photo credit: Wikipedia)

Practicing ballet is great not only for your body but also for your mind. It teaches you discipline and determination.

Here is a great ballet move that also doubles as a great leg workout. Ever wonder how those ballerinas have such great legs?

Grand Plie

To do a grand plie, which is one of the most graceful ballet moves, you will begin at the barre. You want your back facing the bar, and one arm resting out on the barre.

You want your feet to be together at the heels, toes pointing away from each other. The further you can point your toes the better.

If you can't do it completely, where your feet are completely pointing away from each other, don't worry. With all ballet moves, practice makes perfect.

Next, you will perform the grand plie by allowing yourself to bend your knees slowly. While you bend your knees, your arm that is not on the barre will move slowly up until it is straight out and in line with your shoulder.

You can let your elbow on that arm drop some so that the movement is fluid and elegant. You want to sink all the way down, keeping your heels together, until your thighs and calves are touching each other.

You want to be in a complete squat. You will hold that position, and then allow yourself to come back up, arm going back down.

You should give the illusion that you are floating, and after practicing ballet moves such as this one, you will be able to perform it in one smooth movement. Here are some tips that you should pay attention to before you attempt to do ballet moves.

Make sure that you stretch completely before you start. You don't want to pull a muscle or injure yourself.

Warm up as well, with some type of exercise that gets you loosened up and ready for ballet. Jumping jacks, running in place and things like this are good warmings up exercises. You can do it if you practice and stay motivated.

Keep practicing these ballet moves and before you know it, you will have the Grand Plie down perfect. You will also have much stronger legs to boot. 

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Crystal CLARINET Mouthpieces

There are many different materials that clarinet mouthpiece can be made from. There is a significant difference in belief as to how much the particular material is really of importance when it comes to the projection of sound of the mouthpiece.

This topic is actually very controversial and frequently creates a significant difference in belief when being debated. There are many qualified professionals that are completely certain that the distinctions between the different materials used to make mouthpieces have no consequence on the way the clarinet sounds or plays. There are even more qualified professionals alike, who are certain that the different materials are vital to the way the mouthpiece sounds and plays. There have been large amounts of experiments and studies that have generated evidence that can be used to prove both sides of that argument.

Crystal mouthpieces are becoming more and more popular today. They are said to have a behavior like no other mouthpiece. They have a higher resistance and the sound they create is frequently described as "dark but colorful and flute-like". To balance their higher resistance it is preferred that softer reeds are used with it. An advantage of using a crystal mouthpiece is that crystal is very resistant, as it does not become warped because of dampness. Also, its chances of expanding due to heat is very low.

One of the most popular brands of crystal mouthpieces is POMARICO. The Pomarico Company is a family-owned business located just North of Milan, Italy. They are a small company but the quality and performance of their mouthpieces are prestigious. Some of the great players that use a Pomarico mouthpiece includes Chris Corbett, principal clarinet in the Deutsches Symphonie Orchester Berlin, and Corrado Giuffredi, international clarinet virtuoso and first clarinet in Italian Swiss' Orchestra. And there are many many more. Their mouthpieces consist of pure Italian crystal from Tuscany. And every Pomarico mouthpiece is completely handmade.

Pomarico's crystal mouthpieces are instantly responsive. They are perfect for chamber music and concerts. Pomarico's experience in the mouthpiece making business has led them to start making mouthpieces with crystal, which is what they believe to be the best. They believe that crystal is the best sound conductor. They also believe that crystal mouthpieces are the most germ-free, and as stated earlier they are not easily warped due to dampness.

Article Directory: EzineArticles

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What is an AMPLIFIER and What Are Amplifiers Used For?

Mixing Amplifier MA-35 (Photo credit: Wikipedia)

If you don't own a car with a custom stereo or any type of musical instrument than you probably are not aware of what an amplifier is and what it does. An amplifier is simply a piece of electronic equipment that takes the sound produced from a musical instrument or a stereo and increases or amplifies that signal and that electronic output comes through the speaker.

An amplifier is necessary for many musical instruments in order to connect them to speakers. Amplifiers also help produce unique sounds that you hear many musicians play, most notably guitar players.

Most guitar players can people with car stereos basically just want an amplifier to produce very loud sounds without a lot of distortion of the sound.

How good the amplifier depends on a number of specifications. The gain is the ratio between the output and the input and is usually measured in decibels.

Bandwidth is another important specification to consider. It is the range of frequencies that the amplifier can produce.

Another quality to consider it the efficiency, especially for car stereos. The efficiency tells you how much of the power that goes to the amplifier is actually applied to the output. Class A amplifier is the most inefficient, while Class AB amps are the best.

The bottom line is that people use amplifiers to make their cars and musical instruments sound very allow. More sophisticated musicians buy amplifiers to produce a higher and richer sound than what the instrument could produce just by itself.

Article Directory: EzineArticles

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How to Care For Your VIOLIN BOW

Turning the screw on a modern violin bow causes the frog (heel) to move, which adjusts the tension on the hair. - (Photo credit: Wikipedia)

It is important to develop good habits when caring for your violin bow. A good and responsive bow makes a huge difference in the sound of your instrument. There are several key points to remember to properly maintain your bow. Most importantly, always loosen the hair when you are finished playing. This is done by turning the bow screw counter-clockwise. You should feel the stick relax back into its original arch (camber). If the bow is left tightened for extended periods, the stick can lose its camber and can even warp. Furthermore, the hair can stretch out. If the hair stretches too much, you will not be able to tighten the bow to playing tension. It is vital to remember never to force a bow to tighten because it is possible to break the butt end of the stick by forcing it. If you can't tighten the hair, you should take it to your violin shop for a possible rehair. Bows should be rehaired depending upon use and the condition of the hair. There isn't one rule about how frequently to have a bow rehaired.

An additional key to caring for your bow is to remember never to touch the horsehair with your fingers, as dirt and oils can get on the hair that will cause it to lose its ability to accept rosin. In general, it is always a good idea to wash your hands before you play your instrument. Some peoples' hands tend to perspire profusely. Not only can the sweat remove the varnish from the stick, iit can also soil the hair at the frog. For those with sweaty hands, frequent hand washing is more than a recommendation -- it is a must. When perspiration builds up around the frog of the bow, it can attract grime that can cause the frog to get stuck in position on the stick. When this happens, the frog will not move -- even when the bow screw is turned to loosen the hair. If this happens, the frog should be taken off of the stick, using care not to allow the hair to become twisted. Then, the stick should be cleaned. If you find that your hand is "eating away" at the stick or the varnish, you can have your luthier apply a long leather to the handle of the stick to protect it. This is frequently done on fine bows to preserve the makers' stamp from wear and tear.

The frog glides back and forth on the stick by a simple mechanism of a bow screw and an eyelet. The bow screw is usually made of steel and the eyelet is usually made of brass. The brass eyelet is a much softer metal than the bow screw and can strip. If you find that you cannot tighten or loosen your bow, chances are good that they eyelet has become stripped. On occasion, it is possible to carefully remove the frog from the stick and turn the eyelet one-half of a turn, in order to locate some remaining thread left that has not yet become stripped. Then, it is possible to reset the frog back on the stick and reset the bow screw. This doesn't always work, but it is worth a try.

On the stick near the frog is the thumb leather and winding. The thumb leather is there to protect the stick from the thumb and thumbnail. Over time, your thumbnail can wear through the leather and start carving into the stick. If your thumb leather is warn, you should have it replaced at your next rehair. This will help preserve the stick and value of your bow.

The head of the bow is very fragile and under a lot of tension. At the head, you will find a tip plate. The tip plate can be made of metal, plastic, ivory or mammoth and is there to protect the head of the bow. If your tip plate is not made of metal, it can break when bumped or can crack if the hair isn't carefully inserted during a rehair. If it should crack or break, you should have it replaced immediately.

Using too much rosin is a common mistake made by many players. Rosin should be applied sparingly and only when needed. You should not see a white cloud of rosin come off the bow when you play. Once there is too much rosin in the hair, it is nearly impossible to get out. When you use too much rosin, it will build up on the strings and your sound can become very scratchy -- since you are essentially playing with rosin on rosin. Also, rosin can build up on your instrument and damage the varnish over time. To avoid this, it is important to wipe off your instrument, strings and bow shaft with a clean soft cloth each time you finish playing. Microfiber cloths work great for this.

Tightening the bow too much when you play is another common mistake. There is no rule for how tight a bow should be as it depends on the strength and camber of the stick and is different for every bow. If your bow is too tight, you will have trouble controlling your bow and it can become too bouncy when an even sound is desired. You can test how tight to make your bow by playing long and even strokes. The hair should just barely clear the stick at the middle of the bow. If you see a big gap between the hair and the stick, then your bow is too tight. You can keep experimenting with hair tension until you find that you have good control over the bow.

When you have developed good habits you will find it very easy to maintain your bow. Eventually, you should be able to do this without even thinking about it.

Sheila Graves - Violin Dealer - Article Directory: EzineArticles

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DAVID FOSTER - Award-winning Musician And Composer

David Foster speaking at a ceremony for Andrea Bocelli to receive a star on the Hollywood Walk of Fame. 

(Photo credit: Wikipedia)

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.

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How to Play the TRUMPET - The Business Is the Buzz

Trumpet player - (Photo credit: Wikipedia)

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! Article Directory: EzineArticles

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LEARN TO SING Correctly Every Time

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!

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A Magical Feeling to CHRISTMAS MUSIC

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.

By Dr Alice Cash - Article Source: EzineArticles

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SAXOPHONE Giants: DEXTER GORDON

Dexter Gordon in Amsterdam  (Photo credit: Wikipedia)

A Big Man With a Big Sound

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. Article Source: EzineArticles

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MUSIC : The Source, The Life Force

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.

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Have A Better Understanding Of PIANO MUSIC Theory

A piano (Photo credit: Wikipedia)

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.

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Real Men Aren't Afraid Of BALLROOM DANCING

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.

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The SYMPHONY through Time

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.

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Best BLUES Instrumental Music of the Past

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.

Blues guru John Mayall
(Photo credit: Wikipedia)

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...

Aaron - Article Directory: EzineArticles

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How To Fix A GUITAR

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.

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