SAXOPHONE Giants: LESTER YOUNG

Portrait of Lester Young, Famous Door, New York, N.Y. (Photo credit: Wikipedia)

Middle Man

Although throughout the history of jazz there has been a large number of incredibly talented saxophone players, it is a well-accepted fact among jazz scholars that three of the most important to the evolution of jazz saxophone were Coleman Hawkins, Lester Young and Charlie Parker, in that order.

Lester Young bridged the gap between the early jazz improvisations of Coleman Hawkins and Charlie Parker and the bebop revolution.  Coleman Hawkins was considered the King of the tenor saxophone players during the early Swing era with his big tone and mastery of chordal improvisation.  Lester Young arrived on the jazz scene with a totally new approach.

Mr. Cool

Lester Young rose to prominence out of Kansas City, during its musical boom years, while playing in the Count Basie big band.  His tone was very relaxed and soft sounding, and he played in a very lyrical fashion with phrasing that was unorthodox at the time.  His approach to improvisation was linear - he would play across the bar lines melodically instead of playing up and down the chords like Hawkins tended to do.

Pres

Lester Young became known as Pres which was a nickname given to him by jazz singer Billie Holiday. According to Holiday, "I always felt he was the greatest, so his name had to be the greatest.  The greatest man around then was Franklin D. Roosevelt, and he was the President.  So I started calling Lester the President.  It got shortened to Prez."

Post-War Blues

Much has been written about the level of Young's playing after his unwilling one year stint in the U.S. Army.  He had a tough time with the white authority figures and was then court-martialed for possession of marijuana.  He was dishonorably discharged after spending one year in the brink.

Because this was such a disillusioning experience for Prez he became more withdrawn and sullen after his military service, and many critics believe this had a negative impact on his playing.

However, one exemplary recording from 1946 shows him in fine form.  He recorded The Lester Young Trio with Nat King Cole on piano and Buddy Rich on drums.  A 1950 Downbeat magazine review of four of the cuts says, "Four magnificent sides...with Lester most often at his fluent best."

The Pres Leaves Office

Lester Young continued to perform and record throughout the 1950s with guest appearances with the Count Basie Band and at the Newport Jazz Festival.  His increasing dependence on alcohol led to declining health and to his death in 1959.  50 plus years later he is still considered to be one of the giants of the jazz tenor saxophone.

By Joel Krett Joel Krett currently plays 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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How to Play ORGAN Chorale Fantasy "Komm Heiliger Geist", BWV 651 by BACH in 9 Steps

Johann Sebastian Bach 

(Photo credit: Wikipedia)

Would you like to learn to play organ chorale fantasy "Komm Heiliger Geist, BWV 651 by Bach? If so, you will need to know the exact steps which will help you master this fantastic composition. In this article, I will share with you my recommendations on how to learn to play this piece and be ready for public performance.

Step 1 - Analyze the piece. In this step, you will have to analyze the key, the texture, compositional techniques used and tonal plan of the piece. This will help you to understand how the piece is put together.

Step 2 - Write in fingering. Writing in fingering will help you to know exactly which fingers to use.  This will definitely prevent many mistakes which would occur if you play with accidental fingerings.

Step 3 - Write in pedaling. In this step, you will need to know the rules of Baroque pedaling techniques. Early pedaling for Baroque pieces is different from the Romantic and modern pedaling techniques.

Step 4 - Ornaments. This step is very crucial if you want to play this piece in the Baroque style.

Step 5 - Articulation. Even more than the previous step, correct articulation will make your playing sound stylistically appropriate. Note that Baroque music generally is not played legato.

Step 6 - Tempo. With this step, you have to understand the correct ideal tempo for the performance of this piece and for practicing this composition. You have to also take into consideration the acoustics of the room which will determine the exact tempo for performance.

Step 7 - Registration. In this step, you will need to know which stops to use both for practicing this piece and which kind of stop combinations to use for concert performance or church service. The registration will be different on various types of organ - large or small.

Step 8 - Practice the piece. In this step, you will actually start practicing this composition. You will have to figure out the way to practice efficiently and effectively. This will allow you to learn this piece and be ready for public performance in the shortest amount of time possible.

Step 9 - Memorization. Memorizing this piece is optional and you don't need to perform this piece in public from memory. However, I strongly recommend for you to memorize it because this will help you truly perfect this fantastic composition and advance to a whole new level of mastery even if you choose to play it from the score.

Apply my tips in your practice and this will help you to master organ chorale fantasy "Komm Heiliger Geist", BWV 651 by Bach. I am sure you will have much fun perfecting the piece. This will definitely help you to advance in organ playing.

By Vidas Pinkevicius - Article Source: EzineArticles

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Best Loved OPERAS - PUCCINI's La Boheme

Composer Giacomo Puccini 

(Photo credit: Wikipedia)

Puccini's opera La Boheme is one of the most popular and loved pieces. It will sell out at opera houses around the world many times over. It seems opera lovers simply can't get enough of this work. Why is it?

Perhaps the story of love at first sight and the simply stunning music are two things that make it so popular. The story is one that many people can relate to. It is about real human emotions and situations rather than fairies and emotionally out of touch characters.

Most aspiring professional opera singers have one of the many arias from La Boheme on their wish list. Most characters have one or two outstanding songs which is also why you will often hear arias as well as duets from La Boheme sung at opera galas of popular opera.

What is the story then? La Boheme is an opera in four acts based on a story of bohemian life set in the Latin Quarters in Paris in the 1840s. The world premiere was in Turin in 1896 and was conducted by a young Arturo Toscanini. Toscanini would later become one of the most well-known and highly regarded conductors of opera of all time. It was an instant hit and immediately became part of the standard opera repertoire.

Poster for Puccini's La bohème
Artist: Adolfo Hohenstein (1854-1928)
(Photo credit: Wikipedia)

The beginning of the opera sees four men in an attic space. There is Marcello (a baritone) who paints, the writer Rodolfo (a tenor), Colline (a bass) who is a philosopher, and the musician Shaunard (a baritone). They have very little or no money and in order to keep warm, they burn one of Rodolfo's failed manuscripts. The three men go out to Café Momus around the corner and Rodolfo will join them later after having finished the article he is writing. There is a knock on the door and Mimi (a soprano), a seamstress who also lives in the building, enters. She asks Rodolfo if he has any matches as her candle has blown out. This is the start of their great love story and it is where we hear two of the most famous arias ever written. First, there is Rodolfo's aria Che gelida manina (What a cold little hand) followed by Mimi's Si, mi chiamano Mimi (Yes, they call me Mimi) where they tell each other of their backgrounds and interests. This leads into one of the most well-known duets in the entire operatic repertoire, namely O soave fanciulla (Oh gentle maiden). The melodies are beautiful and the music is thick and bursting with emotion. There is something so simple and human about the love between Rodolfo and Mimi.

Act two starts with the four men and Mimi at Café Momus in the Latin Quarters. Soon, there is quite some commotion and a very elegant and sexy woman enters the scene. This is Musetta (another soprano), the former girlfriend of Marcello. She is now with an old rich man, Alcindoro (a bass) and it is quite clear she is fed up with him. When she sees Marcello she starts singing another aria which is one of the most popular ones ever written called Quando m'en vo (When I walk along) to make him jealous. In this very risque aria, she talks about how walking down the street everyone admires her and thinks she is amazing. Act two ends with a great ensemble in which Rodolfo and Mimi, and the now reunited couple of Marcello and Musetta, are singing together.

At the start of act three, Mimi is seen wandering the streets looking for Marcello whilst coughing severely. Rodolfo has left her and she is bereft. Later on, Mimi overhears Rodolfo telling Marcello that he left Mimi because he is afraid she is dying and he can't cope with it as he has no money to pay for doctors or medicine for her. He hopes she will find a rich man who can give her what he can't. Mimi's coughing reveals her presence and the two unite again for the time being. Here Mimi sings her second aria Donde lieta usci (From here she happily left), and soon after this Musetta arrives and is seen arguing passionately with Marcello. There is a very funny quartet where the two couples and singing together; the one couple reconciled and full of love, and the other one fighting and calling each other quite hateful words.

The final act sees the action back in the attic room from the start of the opera where Rodolfo and Marcello both mourn the loss of their respective lovers leaving them. Soon Musetta arrives with Mimi whom she found wandering around in the streets severely ill. Musetta and Marcello leave to sell Musetta's earrings in order to be able to afford medicine for Mimi. Here in the finale of this fantastic masterpiece of an opera, Rodolfo and Mimi recall their first meeting and their happiness together. Mimi dies in Rodolfo's arms and the opera ends with Rodolfo's crying out Mimi's name in anguish as he weeps uncontrollably. It is one of the most dramatic and heart-wrenching endings of all time. You can feel the despair and loss of Rodolfo and the sadness of all the friends who have arrived back in the attic room just as Mimi dies.

By Margaret Cooke - Article Source: EzineArticles

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How to Hold a VIOLIN in Rest Position

Yury Revich violin 

(Photo credit: Wikipedia)

A violin is usually not played in a rest position, but it is still important to understand how it can be properly done in an ensemble or during a concert. The reason is that the orchestra is not only an auditory sensation for the audience but a visual one as well, so it's very important to coordinate positions, bowings, and fingerings so that the players look and sound as uniform as possible throughout the entire concert. When every violinist is in a rest position, the orchestra looks like a single unit rather than a bunch of characters casually sitting on stage with instruments.

Rest position simply means holding the violin at your side. You do this by bringing the violin under your arm and keeping it there while supporting the fingerboard with your forearm and hand. You want to press the violin securely against you and should be able to let go with your left hand very easily even despite the fact that it should be holding the neck of the instrument. This is simply because the weight of your arm should be strong enough to support the violin without a struggle.

The appearance of rest position should be uniform in an orchestra setting and should happen at specific intervals to maintain a consistent postural alignment between all the players. When the conductor is not on the podium, all players should be in rest position. When the conductor moves to the podium, take your instrument from rest position to attention position, which is where the violin should rest on the knee. Finally, when the conductor raises his hand to dictate the downbeat, bring the violin up to your shoulder in playing position.

While some aspects of playing the violin are elementary and easy to pick up on such as this one, there are a number of techniques that are extremely challenging and take years and years of work in order to master. For that reason, I always advise every single person interested in playing the violin to get a good teacher and start learning as much from someone who is more knowledgeable than they are on the violin. You will only learn so much from yourself if you try to teach yourself how to play, whereas with a teacher your possibilities on the instrument will be unlocked by learning all the things you don't know that you don't know about the violin.

Eric Conklin - Article Directory: EzineArticles

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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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