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50 Cent

2007-04-01T17:00:00.001-07:00

Curtis James Jackson, or more frequently known as 50 Cent, Fifty, or Fiddy, is one of the most prominent and successful rap musicians of the current decade. Though he has had a strong �underground� following in New York for some time, he rose suddenly to widespread recognition with the release of his first major album, "Get Rich Quick or Die Tryin��, in 2003.

50 Cent was born on July 6th, 1975 in South Jamaica, Queens, in and has lived in New York his whole life. His father left the family when he was still a baby, and his mother was shot dead during a drug deal when he was only 8, so 50 Cent he was raised primarily by his grandparents.

With dreams of becoming a heavyweight boxer, 50 cent instead became involved in the illicit drug trade as a teenager. He was arrested a couple of times for felony drug charges, but was able to avoid doing serious prison time by serving 7 months in an incarceration �boot camp�.

50 Cent began his rapping career studying under Jay Master Jay from Run DMC, signing on with his label in the late 1990�s. He then went on to sign on with Colombia Records in 2000 and recorded his first full length album, "Power of the Dollar". Unfortunately, in May of 2000, 50 Cent was shot three times in a drive-by style shooting. It is widely stated that he was shot nine times, though this is an exaggeration; he was shot at nine times and hit three times. Though not critically wounded, the incident won him enough attention to scare Colombia Records into dropping his deal without ever releasing the album.

After meeting with fellow rap stars Eminem and Dr. Dre, 50 Cent signed on with Eminem�s label Aftermath/Shady & Interscope. With Eminem and Dr. Dre�s backing, 50 Cent released his first major album, �Get Rich Quick or Die Tryin��, in 2003. The album was an enormous success, going nearly platinum in the first week, breaking records for the most units ever sold in a first week. In March of 2005, 50 Cent released his 2nd album, �The Massacre�, which has also been highly successful.

50 Cent now has his own record label, �G-Unit Records�. With the endorsement of popular rappers like Eminem and Dr. Dre, a large underground following, and the actual experience of having been involved in the kinds of violent crimes that are the subject of his music, 50 Cent is already an icon in the rap music industry and will likely remain as such for years to come.

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Aaliyah

2007-03-31T17:00:00.001-07:00

Aaliyah Haughton was an iconic American R&B singer, model, actress and dancer. She is best known for the numerous hit albums she recorded, her modeling work with Tommy Hilfiger, and for her starring roles in the movies "Romeo Must Die" (2000), and "Queen of the Damned" (2001). She died in a tragic plane accident on August 25th of 2001.

Aaliyah Dana Haughton was born in Brooklyn on January 16th, 1979, to parents Michael and Diane Haughton. She spent most of her childhood growing up in Detroit, Michigan, and attended performing arts schools at a young age. In 1993, she signed on with her uncle, Barry Hankerson�s label and released her first album, "Age Ain�t Nothing but a Number". To date, her first album has sold two million copies in the United States, and five million worldwide.

In something of a tabloid scandal, it was leaked to the press in 1994 that Aaliyah and R. Kelly, who had co-produced her first album, had been married. Aaliyah was 15 at the time, and had apparently claimed to be 18 so that the marriage could commence legally. Neither Aaliyah or R. Kelly ever confirmed that they had indeed been married, and any marriage they did have was promptly annulled.

Aaliyah released a second album in 1996, "One in a Million", which went double platinum in sales within its first year. The album was mostly written and produced by Missy Elliot and Tim Mosley.

With the attention she gathered from the major success of her second album, Aaliyah caught the eye of Tommy Hilfiger, and was signed on as a model. Over the next few years she would do a series of modeling campaigns and advertisements with Hilfiger, and made several guest appearances on the albums of other singers such as Missy Elliot and Timbaland (Tim Mosely).

In 1997 Aaliyah appeared on the soundtrack for the Disney remake of Anastasia, and performed the song in the Oscars that year having been nominated for an award. She also appeared on the Doctor Doolittle soundtrack of 1998, her song from that movie becoming a large success. In 2000 she began her acting career starring along side Jet Li in "Romeo Must Die", and followed it up with Stuart Townsend in 2001�s "Queen of the Damned".

While working on the production of "Queen of the Damned", Aaliyah recorded her third album, self-titled "Aaliyah". When it was released in July of 2001 and went gold within a month.

After filming a music video in the Bahamas, Aaliyah boarded a small Cessna airplane with the destination of Miami. Unfortunately, the plane crashed into a dense forest shortly after taking off and everyone on board was killed. It was later revealed that the plane was dangerously overloaded and the pilot had drugs and alcohol in his system. It was also reported that the pilot had faked his flying hours in order to get his license.

Though no longer with us, Aaliyah made a tremendous impact of the R&B world, and her albums are still popular around the world today.

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Danielia Cotton

2007-03-29T17:00:00.001-07:00

Music review - Danielia Cotton

I can recall several times in my life when I heard a song on the radio for the first time from a new artist and said to myself, "That's a hit." or "They're going to be huge." I did it with Joss Stone, Mariah Carey, Alicia Keys, Smashmouth, etc. Now, I'm no producer or talent scout(maybe I should be?) but I've got a pretty good track record. I've heard enough great music by great musicians that never "made it" to know that it isn't just the music that gets you to the big time.

It's luck. It's timing. It's the one big break. Unfortunately, sometimes you have to know someone on the inside.

All that being said, I'd like to direct your listening ears to Danielia Cotton. I listen regularly to a podcast called Bandana Blues that features great blues music, commentary and interviews with artists. I'll be doing a music podcast review in the upcoming days. On their last podcast, they featured a song called "Devil In Disguise" by Danielia Cotton and let me tell you, it absolutely blew me away. The song has power and raw emotion and her voice just rips through it and sends chills down my spine. I later found out that she also plays the guitar. Now I can't stop listening to her self titled EP and full album release, "Small White Town".

In the music and voice I hear touches of Janis Joplin, Black Crowes, Lenny Kravitz and Melissa Etheridge.

The Philadelphia Daily Local News says,

"Her music has the swagger of 'Let it Bleed' era Rolling Stones. Her singing has the raw emotional power of Janis Joplin. Her songwriting places her among the top new musical storytellers."

Essence Magazine said,

�She sings with raw intensity, ranging from beautifully tender to howling, not even caring if her powerful voice cracks�this Jersey girl who names Led Zeppelin and Tina Turner as influences confirms that rock is Black Music too.�

World Cafe Live also chimes in,

"What if Janis Joplin was Black and beautiful? Because Black isn�t always soul, blues, or gospel. Listening to Danielia Cotton, you�re bound to believe: Black is rock and roll."

From her bio she says that her early influences were AC/DC, Judas Priest and Todd Rundgren. She also mentions her mother who was a gifted jazz singer and the gospel music at church as influences. She's played all the big local clubs in NYC and has shared the stage with Living Color, Sister Hazel and others. Her debut album, "Small White Town" is aptly titled. She grew up in rural Hopewell, NJ. She ended up being the only one of 7 black kids in her high school.

Her big break is coming, that I know.

If you like Rock and Blues, you have got to give her a listen. You will be impressed. I'll stake my talent searching reputation on it!

"You're the devil in disguise and the last thing you're gonna see is my-my-my backside."

Electric Guitar Buying Guide

2007-03-28T16:59:00.001-07:00

Are you new to guitars and ready to make your first electric guitar purchase? Are you a seasoned player who owns several guitars and you find yourself adding to your guitar collection? No matter which category you find yourself in, getting the most from your instrument purchase is very important. It is also important to understand the types of electric guitars available.

The choices include:

1. Solid Body Electric Guitars

2. Hollow Body Electric Guitars

3. Semi Hollow Body Electric Guitars

4. Acoustic/Electric Guitars

5. Pedal Steel Guitars

6. Hawaiian Style Lap Guitars

Guitars, and particularly electric guitars are not created equal. There are many brands of electric guitars to choose from. Making the right choice when purchasing a guitar will depend on some basic factors, including:

1. Evaluate your particular situation.

2. Determine the specific application for using the guitar.

For example, if you are a beginner, there is little reason to consider investing several thousands of dollars into a pro level guitar such as a custom Les Paul or a Paul Reed Smith. Another example regarding a specific application would be if you are a traveling musician. Traveling guitarists may want to consider a slightly less expensive guitar to take on the road while saving their finest instrument for a studio environment. Regardless of your situation or the application, the bottom line is there are several factors to consider. Understanding your position as a potential guitar buyer will help you make the right decision and ensure that you make an informed purchase.

Here are 5 tips to help you in choosing the right electric guitar.

Tip 1. Evaluate your level of commitment to the instrument and the art of music.

Before you choose your electric guitar be sure you understand the level of commitment that you are prepared to invest into the instrument. Electric guitars can be expensive and understanding the level of dedication you plan to invest in the instrument should play a vital role in choosing your guitar.

Tip 2. Identify your particular application for the instrument.

If you are a beginner and just learning to play the instrument, your application will be quite different from an intermediate or advanced guitarist who is adding to their collection. Determine your particular situation and application for the guitar you will purchase. Consider whether or not you will be keeping the instrument at home or frequently traveling with it. For example, if you plan to keep the instrument at home for recreational use, you may want to consider including a less expensive case for the guitar. Road cases can be costly and will not be necessary if you do not travel with the guitar.

Tip 3. Identify your budget and include patience regarding your guitar purchase.

Many aspiring guitarists have wandered into the local music store only to be overwhelmed by the vast choices and different price ranges of guitars. As with any purchase, pre-planning and understanding your budget is critical. Prices for electric guitars range from a few hundred dollars to tens of thousands of dollars. If you are serious about playing the guitar, selecting your instrument will be one of the most important decisions you make. Be sure to take ample time during this stage of the process. Patience is more than a virtue when selecting your guitar.

Tip 4. Consult a professional to get tips on guitar quality and performance.

It is a good idea to take the time to visit several musical instrument dealers in your area. Retail guitar shops will be more than happy to help you understand what to look for when buying an electric guitar. Get several opinions if you are new to guitars. Most guitar outlets will have seasoned players on staff who will be happy to impart their experience and wisdom. Ask questions. Find out what you need to consider when selecting an electric guitar. Getting several opinions in this area will shed light on the overall picture and will be very beneficial information when it comes time to buy.

Tip 5. Include additional items and training resources to help you get started playing the guitar.

Once you have made the right guitar purchase, be sure to have additional items on hand that will be vital to the process of learning. You will need an extra set of guitar strings, some extra picks, a tuner and a stand for your guitar. It is also very important to purchase some beginner books that include chord charts, guitar tab and chord progression exercises. You can also find free guitar lesson videos on the web at Riff TV.com. Riff TV.com is an online guitarist community that provides free membership, free guitar lesson videos, chord progression exercises, scale exercises, scale charts, basic key/chord overviews and more. If you are a beginner guitarist and need free resources, training guides and tools, Riff TV.com is available and can be your virtual classroom. Be sure to stop by today and sign-up for a free membership.

Learning to play the electric guitar is fun and exciting. There are few things in life that will provide the relaxation and feeling of accomplishment you can experience by becoming proficient with guitar chords, guitar tabs and guitar chord progressions. Applying the knowledge you gain from the right learning resources to your favorite style of music is very rewarding. Carefully select your electric guitar.

Use your practice time wisely by taking advantage of great guitar resources such as Riff TV.com. Be sure to practice to develop skill, musical knowledge and basic music theory concepts. Apply what you learn on a daily basis and you will be amazed at the progress you will make with your new electric guitar.

About The Author

A. Wielder is a host and instructor at Riff TV.com. He is a guitarist and a guitar enthusiast. He is also a studio musician and producer. He has produced several CD's and radio

programs featuring his original music.

Ashanti

2007-03-27T17:00:00.001-07:00

Ashanti is an American R&B singer and actress who came into the spotlight during the early 2000s. She has released four char topping albums, has appeared on several television shows, and more recently has begun appearing in movies, such as "Bride and Prejudice" (2004), and "Coach Carter" (2005).

Ashanti was born on October 13th, 1980, in Glen Cove, in the Long Island area of New York. Her full name is Ashanti Shequoyia Douglas, though she uses her first name only professionally. Her father is a mix of Chinese and African American, while her mother is a Dominican African American blend. The results have worked out very well for Ashanti, she has a kind of exotic and rare beauty that is unique to her. Her mother was a dance instructor and her father a skilled singer; her stunning good looks and family background for performance made Ashanti an almost certain success in the entertainment industry.

Ashanti�s sang in gospel choirs from the age of six, and honed her vocals throughout her childhood. Before she was even in high school she had danced at Carnegie Hall, and a played a role in the Disney TV movie "Polly".

In 2001, Ashanti caught more attention when she appeared as background vocalist in Vita�s remake of the Madonna song "Justify My Love", and in Big Pun�s single "How We Roll". Then in 2002 she was featured in Ja Rule�s "Always On Time" and Fat Joe�s "What�s Luv?", which were both enormous hits and brought Ashanti a lot of recognition. At one time during the year, these two songs were at the number one and number two slots on the Billboard Hot 100 singles chart.

Ashanti�s new found fame landed her a deal with the label Murder Inc. and she released her first album, self titled "Ashanti" in 2002. The album went gold in a week, and platinum many times over in the months to come. She won numerous awards for her work on the album, including a Grammy, and was without a doubt the hottest new female artist for the year.

Ashanti has released three albums since then, "Chapter II" in 2003, "Concrete Rose" in 2004, and "Can�t Stop" in 2005, though "Can�t Stop" was actually recorded in 1997. All of these follow ups have been very successful, but none have matched the sales she gathered on her debut album.

Ashanti made several television appearances starting in 2003 with a cameo on "Buffy the Vampire Slayer", and on "First Date". Her first film role came with the �Bollywood� movie "Bride and Prejudice". The movie role she is best known for came in 2005 with �Coach Carter� where she acted along with Samuel L. Jackson. She is scheduled to star in a 2006 movie, "John Tucker Must Die".

With many talents, a beautiful voice and amazing good looks, hopefully we�ll all be seeing plenty more of Ashanti in the years to come.

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Guitar Hand Positions

2007-03-26T17:00:00.001-07:00

Guitar hand positions vary according to technique and choice of music. But the generalities remain the same. Here are a few tips for using:

The Right Hand or Picking Hand

1. Experiment with different types and thicknesses of picks. General rule is to choose a thicker pick for a mellow sound and a thinner one for treble sounds. Most players prefer a medium pick.

2. Avoid too much arching of the wrist.

3. Avoid any kind of anchor that restricts freedom of motion. A little bit of an anchor for certain sounds or picking is acceptable but for the most part keep it loose and flexible.

Left Hand or Fretting Hand

1. Fingers should be arched and knuckles bent

2. The fingers should move straight up and down on the strings, like little hammers, at a right angle to the fretboard.

3. Lift the fingers just high enough to clear the strings, too high is wasted motion.

4. The thumb should ride approximately at the center of the back of the neck. Try to maintain a consistent relationship with the second finger.

Both Hands Working Harmoniously

The left and right hands must work in perfect unison. If the pick attacks first and the finger follows, you�ll hear two sounds which isn�t your goal. If the finger attacks first and the pick follows, again two sounds, still not acceptable.

You must pick and finger the note at exactly the same time. To reach that goal, play very slowly when you start to practice the scales or anything you like to play. Concentrating only on picking and fingering that note at the same time. Remember we�re not looking for speed when just beginning your musical adventure � but technique that�s vitally important in early stages of the music game.

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Avril Lavigne

2007-03-25T17:00:00.001-07:00

Avril Lavigne is a Canadian singer and songwriter, known for her �goth� and �punk� disposition. To date she has released two albums, both of which have ranked high on charts around the world, and have yielded numerous very popular singles in the �pop� genre of music.

Avril was born on September 27th, 1984 in Belleville, Ontario, Canada to parents John and Judy Lavigne. She spent most her childhood growing up in Napanee and early on took an interest to singing and music. She sang in a church choir, and taught herself to play guitar.

Her initial interest was in country music, and she was �discovered� by a management organization while singing a country cover at a bookstore in Kingston, Ontario. She was invited to perform at a New York City studio, where she was overheard by Anotonio �LA� Reid, a representative of Arista Records.

At just sixteen years old, she signed on with Arista Records and began work on her first album. After moving to LA and enlisting the help of the songwriting team �The Matrix� to co-write her album, the album itself was released in June of 2002. Went to the top of the charts in Canada, Australia, and the United Kingdom, and to the number two spot in the United States. It sold over four million copies within the first six months, and over 15 million copies worldwide within the first year and a half.

Her Canadian roots and rough, cynical image led many in the media to liken her to fellow Canadian performer Alanis Morisette. She won the title �Best New Artist� at the MTV Music Awards of 2002, four Juno Awards, a World Music Award, and was nominated for eight Grammys.

Avril Lavigne followed up her debut album with �Under My Skin� in May of 2004. It hit the number one position on charts across the world, including the United States. Avril reported to have had more artistic control in her sophomore album, and that she was able to express herself more freely. The music definitely has a matured quality to it, showing her growth since her sudden exposure to audiences around the world.

Rumors have been abound about a third album to be released in 2006, though Avril has been reported saying that she wants to take a break and enjoy her life a while first.

Whether or not her music is your cup of tea, Avril Lavigne is a talented young rock/pop artist that is destined to make an impact on pop performers to come.

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Beyonce Knowles

2007-03-24T17:00:00.001-07:00

At the writing of this article, Beyonc� Knowles will be in direct competition with Mariah Carey and Alicia Keys�for Beyonc� Knowles, 24-year-old songstress, is nominated for a Grammy Award in the category of Best Female R & B Vocal Performance, for �Wishing on a Star.�

And Beyonc� is also nominated in another category as well�Best R & B Performance by a Duo or Group with Vocals, for �So Amazing.�

Those of us who first encountered her found Beyonc� singing with Destiny�s Child, the Star Search-discovered singing group Beyonc� co-formed, produced, and was the chief songwriter and lead singer for.

Others will recall first hearing Beyonc� at the 46th Grammy Awards, where she performed (with Prince, a surprise show) a medley of pieces including her �Crazy in Love� and three of Prince�s Purple Rain hits; or Beyonc� performing �Believe,� �Look To Your Path [Vois sur ton Chemin],� and �Learn to be Lonely� at the 77th Annual Academy Awards; or Beyonc� singing at any number of the awards shows�where she was often a winner.

Her talent and consistent performance record, that is, is known and greeted with as much gushing, gratitude and applause as is her winning record: in five short years she has rocketed to stardom with such awards and accolades as those from ASCAP Awards; BET Awards; Billboard Music Awards; Black Reel Awards; Brit Awards; Capital FM Awards; Grammy Awards; MTV Awards; People�s Choice Awards; Radio Music Awards; Soul Train Music Awards; Vibe Awards; and World Music Awards.

In addition, Beyonc� Knowles the actress, the celebrity, and the humanitarian has won image awards, NAACP awards, Teen Choice awards; and Kids� Choice awards.

However we each first �met� Beyonc� Knowles, her fans will tell you what�s more important is her skill and appeal as a stylized performer, her grace as a high-profile celebrity, and her beneficent contributions to charities and non-profit causes. And her R & B singing, her range, her versatility, and her beautiful and graceful stage presence all contribute to the star�s gifts and, subsequently, to her popularity.

Will Beyonc� Knowles win her 49th (and 50th) awards this year? Her competition, of course, is stunning in their own right. But if you listen to her fans, you might likely champion Beyonc� as the winner�for according to one statistic, a Universal Music poll conducted in early 2005, Beyonc� was granted�over Britney Spears and Christina Aguilera�the moniker �Princess of Pop.� And the fans know best.

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Alanis Morissette

2007-03-23T16:59:00.001-07:00

Alanis Morissette is a famous Canadian singer, composer, and actress, most famous for her chart-topping album �Jagged Little Pill�, which to date has sold over 30 million copies around the world. She released three follow up albums, all of which have been huge successes, though none have sold as �Jagged Little Pill�.

Alanis Morissette was born on June 1st, 1974 in Ottawa, Canada. Though she is best known for her music, her performance career began with a series of appearances on the Nickelodeon kids show �You Can�t Do That On Television�. Shortly after she recorded and released her first single, �Fate Stay With Me�, using her own funds. With her growing recognition, Alanis landed a number of gigs around Canada, and even a spot on the American talent show, �Star Search�, though she lost after the first round of eliminations.

Morissette�s first full length album, �Alanis�, came as a result of a two album deal she signed with MCA records. The album sold over two million copies, and several of the songs on it topped charts in Canada. Her second album, �Now Is the Time�, came in 1992, completing her deal with MCA Records, though it was far less successful than the first.

In 1993, Alanis Morissette moved to Los Angeles in the hopes of connecting with other musicians, and effort that initially proved fruitless for her. She eventually met the producer and composer Glen Ballard, however, and the two �hit it off�, artistically speaking.

Ballard and Morissette together recorded the music that would make up the international success, �Jagged Little Pill�, Ballard playing the guitar and Morissette singing. For some of the songs, they literally recorded them as they wrote them. During this period, Alanis was robbed at gunpoint in LA, coming home from a grocery store. She was unhurt, and latter was reported saying that her only concern at the time was the book of lyrics she had been holding. The lyrics were fortunately untouched.

In the spring of 1995, Morissette signed on with Maverick Records, and �Jagged Little Pill� was released. The album started off slowly, reaching 118 on the Billboard 200 chart, but when a LA DJ from a popular radio station came across one of the songs from the album he began playing it around the clock.

The song was �You Oughta Know�, and its sudden popularity rolled it into a video on MTV. It was an edgy, angry song, and its use of harsh language startled many people unused to hearing it from a female singer. Several of the albums other songs also began to get a lot of coverage, and the album itself soared in sales.

Since then, Alanis has released three other albums, written a song for the movie �City of Angels�, and has made appearances in the movies �Dogma� (2000) and �Jay and Silent Bob Strike Back� (2001). Though she is still a popular singer today, she has yet to achieve the same kind of success from �Jagged Little Pill�.

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Baby Grand Piano

2007-03-22T17:00:00.001-07:00

Being able to play a musical instrument is a talent that many people wish they had. The piano is an elegant instrument and once you learn how to play it will stay with you for the rest of your life.

Although a grand piano is the dream of many people who do play, it is a large and cumbersome instrument. Unless you have a very large space you simply won�t be able to accommodate one in your home.

A perfect alternative is a baby grand piano. A baby grand piano has all of the same features as a grand piano but just on a smaller scale. Many people choose to purchase a baby grand piano for their child as they begin lessons. This is a wonderful motivator for the child as they feel proud to be playing such an impressive instrument. The child will continue to play the baby grand piano as they mature. With proper care and maintenance the piano will actually last the child their entire life.

Purchasing a baby grand piano can seem like a daunting task especially if you�ve never bought a piano before. It�s not difficult though and there are several avenues available when it comes to buying one.

Many baby grand pianos can be purchased used. People lose interest in playing or someone passes away and the piano sits quietly collecting dust.

Your local newspaper may be a good resource for finding a used baby grand piano. You�ll want to contact the person selling it and inquire about its condition and price. If you are impressed by what you hear over the phone you should schedule an appointment to view the piano.

If you do choose to purchase a used baby grand piano you�ll need to contact a piano mover. Piano movers are unique in that they are skilled in moving pianos without causing any damage to the instrument.

Baby grand pianos can also be purchased at many music stores. In this case you may even be able to specially order the color of the piano as well as the piano bench. Although black is still the most popular color in baby grand pianos many people like the beauty of a white piano as well. Another benefit of purchasing from a music store is that they will be able to arrange delivery of the piano for you.

It takes a good deal of time to learn how to play the piano. Investing in a quality instrument will showcase your talent. It also spurs you to practice more when you have the baby grand piano in your home just waiting to be heard.

Eminem

2007-03-21T16:59:00.001-07:00

Eminem is a famous (or notorious?) American rap musician and actor, and his music continues to top charts in the United States and Europe. He is praised for his versatile rhythms and his use of literary techniques in his lyrics to make for songs that flow exceptionally well.

Though praised for his talent, he is also the subject for criticism and controversy for the content of his lyrics. In spite of the criticism, he has been enormously successful in his performance career, and has already won a Grammy award and has had several multi-platinum albums.

Eminem was born Marshall Bruce Mathers III, in St. Joseph, Missouri, on October 17th, 1972. He grew up in both Kansas City and a suburb of Detroit. From age thirteen, Eminem showed an interest in the rap genre of music, and early on achieved some regional fame with a group, Soul Intent. In 1995, his wife Kim Mathers gave birth to a daughter, Hailie Jade. Shortly after he released his first album of his own music, called Infinite. Reportedly, he sold several hundred copies of his album out of his car.

In the year following, he and his wife Kim went through a volatile period, and Eminem attempted suicide after a particular heated argument. Drawing on these emotional experiences, Eminem released his second album, Slim Shady LP in 1997. The considerably darker album sold over three million copies and was one of the most successful albums of 1999. He and his wife Kim were eventually divorced. In 2000, he released his third album, The Marshall Mathers LP which sold over two million copies.

Though his successful career alone would gather a lot of attention, much of his fame is centered on the controversy his lyrics stir up. Critics cite that his lyrics are abusive and disrespectful of women, and that they encourage violence and drug use. Regardless of the criticism, he is still considered one of the most talented rappers alive today, and is something of a phenomenon for being white in a genre that has traditionally been virtually all black. For this reason, he is sometimes referred to as the "great white hope" of the rap world.

Eminem went on to release several more albums, which have all been highly successful on the charts but have had mixed degrees of success in sales. He is also a member of the band D12, which has produced its own album with some degree of success as well. In 2002, he began his career as an actor in the movie �8-Mile�, which won him his Oscar.

More recently in 2005, Eminem announced that he had entered into drug rehabilitation for an addiction to sedatives. He has alluded to ending his career as a rapper, but still performs to sell out crowds today.

Super Guitars - Made In America

2007-03-20T17:00:00.001-07:00

The evolution of the guitar in its present form is forever tied to American ingenuity and precision. The development of the modern steel string acoustic guitar and the electric guitar is an American tale. This article will discuss interesting facts about the development of modern acoustic and electric guitars.

The logical place to begin our discussion is with the development of the modern steel string acoustic guitar. The

modern steel string guitar is certainly an American invention. The instrument was developed and refined in the USA. From the mid to late nineteenth century until the early twentieth century, many immigrants of European descent made their way to the United States. Among these immigrants were extremely skilled musical instrument makers, also known as luthiers. These skilled craftsmen would play a pivotal role in the development of the modern steel string acoustic guitar.

As the acoustic guitar evolved, two different types of guitars would dominate the development of the instrument. The first type of steel string guitar to be developed would come to be known as the "flat-top" guitar. The "flat-top" guitar was a descendant of European classical guitars. The name is derived from the shape of the guitar soundboard. The soundboard is also called the "top".

The second type of steel string acoustic guitar would come to be known as the "arch-top" or "f-hole" guitar. The "arch-top" guitar has a contoured soundboard and back. The soundboard and the back are carved from a single piece of wood. The design and construction of the "arch-top" guitar are descendants of European violin construction techniques.

The two pioneers in American steel string acoustic guitar construction are Gibson and Martin. These companies still exist today and they produce some of the finest American acoustic guitars available. The Gibson "arch-top" guitars are a favorite of many musicians. The Martin company is famous for their "flat-top" Dreadnought guitars. The Martin "flat-top" guitar of choice is the Martin HD-28 or the Martin D-45.

The role of America in modern guitar development defined the evolution of the electric guitar. The electric guitar is an amazing device. It creates excitement and sound unlike any instrument on earth. The electric guitar is a combination of craftsmanship, engineering, physics and electrical power. At the flip of a switch, electric guitars have the ability to create smooth gentle sounds or chaotic hysteria.

In the United States there are many quality electric guitar manufacturers. It would be impossible to mention each one in this brief article about America's role in the development of the electric guitar. I would like to mention the two American guitar manufacturers that are commonly associated with the modern electric guitar. These two manufacturers are Fender and Gibson.

The Fender guitar company was started by Leo Fender in the late 1940's. Leo's purpose was to create an innovative solid body electric guitar. It has been reported that Leo was most concerned with the utilitarian aspect of the guitar rather than its appearance. Leo wanted to build a clean sounding guitar that minimized the feedback problems associated with previous solid body steel guitars.

In 1948, Leo Fender introduced a guitar that was destined to make music history. He called the guitar the Fender Broadcaster. The guitar was made of ash or alder and had a detachable maple neck. The detachable neck was just one of the innovative features associated with the Broadcaster.

The headstock design placed the tuning machines on one side and at an angle. This design was another clever innovation that accented the Broadcaster. The Broadcaster was later re-named the Telecaster. This stellar guitar is still in production today and is sought out by many guitarists around the world.

In 1954 Leo Fender introduced the Stratocaster. This guitar is widely recognized as a design standard for solid-body electric guitars. This standard remains to the present day. The Stratocaster has been immortalized by guitar greats such as Jimi Hendrix, Stevie Ray Vaughan and Eric Clapton.

It is also very important to mention Gibson guitars when considering the role of America in modern guitar development. Gibson electric guitars encompass many styles and models. However, none are more important than the Les Paul. The Les Paul was introduced in 1952. The first Les Paul was equipped with two high-impedance single-coil pickups with cream colored cover plates. It included a three-way pick-up selector switch with separate volume and tone controls. The Les Paul "Standard" that was introduced in 1952 could not have been more aptly named. The Les Paul Standard is a yardstick by which many musicians measure other fine guitars.

The Les Paul guitars that were created from 1957 to 1960 are regarded as some of the finest solid body electric guitars ever made. As a result, they are some of the most coveted guitars in the world.

Most serious electric guitar players will tell you they have owned or will own a Fender or a Gibson electric guitar. These fine guitars are a benchmark and a plateau for other guitars to emulate. Chances are, if you are a guitar player, you own a piece of this American heritage.

The modern guitar era is far from over. It will be very exciting to see the future development of acoustic and electric guitars. One thing you can be sure of, America will be there and it is likely that Martin, Gibson and Fender will play a direct role in the creation of the next generation of "Super Guitars".

Al Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.

The Acoustic Guitar - Anatomy Of A Fretboard

2007-03-19T17:00:00.001-07:00

The acoustic guitar is an amazing instrument. It provides mankind with color and harmony in the hands of a qualified musician. This article will discuss an interesting part of the acoustic guitar known as the fretboard.

The fretboard of a guitar is often called the fingerboard. The fretboard is a thin piece of wood fixed to the front of the guitar neck. Most quality acoustic guitars will have a fretboard that is made of ebony or rosewood.

To understand the physical anatomy of the fretboard, one must begin by looking at the neck. The neck of an acoustic guitar is joined to the body of the guitar in a flush manner. The fretboard is then "over laid" on the neck. The fretboard runs along the neck and extends onto the body of the guitar. On most steel string guitars, the fretboard joins the body near the 12th or the 14th fret. There are usually 4 to 6 frets beyond the location where the neck and the body of the guitar are joined. On classical guitars the neck is shorter. The fretboard of the classical guitar joins the body of the guitar at the 12th fret. The fret located where the neck joins the body of the guitar is commonly called the "body-fret".

The fretboard contains horizontal steel wire at specific intervals. This wire is known as "fret-wire". The "fret-wire" is created in the shape of a "T". The top of the "fret-wire" is rounded which permits the strings and fingers to slide across without harm. The "stem" of the "fret-wire" has a serrated edge which holds it in place within the channeled grooves of the fretboard. The strings of a guitar are depressed at a given fret location on the fretboard. The frets control the length of the string and therefore the pitch of the note.

The fretboard is usually marked with "fret-markers" at specific locations. The usual locations for these markings are at frets 3, 5, 7, 9, 12, 15 and 17. The "fret-markers" serve as visual aids for the musician. The "fret-markers" can be simple dots or elaborate inlays. The elaborate inlay patterns and markers are made of various materials. A common material is Abalone, otherwise known as "mother-of-pearl". Intricate inlay work at the "fret-markers" on the fretboard will dramatically affect the cost and value of an acoustic guitar.

The fretboard playing surface can be flat or curved. The classical guitar and the "Flamenco" style guitar have a flat fretboard. The steel string guitar usually has a slightly contoured playing surface on the fretboard. The contour of the fretboard on a steel string guitar will be a convex shape.

The width of the fretboard is narrow at the nut (near the headstock) and slightly wider at the body (near the sound hole). There is no standard width for a guitar fretboard. As a result, fretboard widths will vary on different guitars. The fretboard width plays an important part in the selection of a guitar by the musician.

There are two main factors that experienced guitar players will consider when selecting a guitar. The two factors are the feel of the fretboard and the sound of the guitar. It is very difficult to say which of the two factors are considered most important. The answer will depend on who you ask. Some guitarists will sacrifice some of the tonal quality of a guitar to get the perfect feel from the neck and the fretboard. Other guitarists will not compromise the sound of the instrument they purchase even if it means the feel of the fretboard is not ideal. It is clear that the best case scenario is to shop until you get the best of both the sound and the feel of the fretboard.

In closing, I would like to mention two phrases that are often used to define the characteristics of the guitar fretboard. These phrases are "Action" and "Playability". The "Action" is the measured height of the strings above the fretboard. The "Action" can be adjusted to the preferences of the owner. The "Action" should be set to place the strings as close to the fretboard as possible. If the strings "buzz" on any fret when depressed, the "Action" is set too low. The "Action" on an acoustic guitar should be adjusted by a professional. The "Playability" refers to the overall feel and comfort of the neck and fretboard in the hands of the musician.

Top quality acoustic guitars will offer superior playing characteristics and sound. If you are in the market for an acoustic guitar, take the time to research and "test-drive" many models. The time you invest in selecting the right acoustic guitar will be time well spent.

Al Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.

Guitar Strings Care

2007-03-18T16:59:00.001-07:00

Metal guitar strings are subjected to many conditions that shorten their life. The life of guitar strings can be extended with care and proper maintenance. This article will help you extend the life of your guitar strings.

Guitar strings can lose their tonal quality prematurely due to factors that include:

*Stretching

*Wear

*Corrosion

Stretching: Guitar strings naturally stretch during tuning and while playing the guitar. Over time strings slowly lose their elasticity and their tone quality. Guitar strings that are stretched no longer produce rich tone or harmonic overtones. As a result, the guitar becomes difficult to tune and the sound of the strings become dull and lifeless.

Wear: Guitar strings wear during the process of playing. This process comes from moving the metal strings against the metal frets on the fretboard. Of the two most common types of strings, wound and plain steel, wound strings are more susceptible to fret wear. Wound guitar strings tend to "flat-spot" more rapidly than plain steel strings. If left unchecked, the flat spots can create breaks in the windings of the strings. Flat spots and broken windings will decrease tonal quality and can also cause the strings to "buzz".

Corrosion: Metal guitar strings are subject to tarnish, rust and corrosion. Metal guitar strings are also subject to the body chemistry of the individual guitar player. Individuals with higher acid levels in their pH will get less life from their guitar strings due to an accelerated rate of string corrosion.

There are several things guitar players can do to get extended life from their guitar strings. Taking the time to follow these simple steps will ensure that you get the most from your strings and reduce the cost associated with premature string failure.

*Do not over-stretch your strings during the tuning process.

*Be careful not to crimp the strings at the tuner peg when replacing the guitar strings.

*Periodically, check the condition of the guitar bridge and bridge saddle to avoid breaking a string during the replacement process.

*Monitor the condition of your guitar frets and replace any frets that develop excessive wear or sharp edges.

*Always clean your guitar strings when you finish playing the guitar.

It is impossible to say how long a new set of guitar strings should last. The life of guitar strings depend on many factors and variables. It is possible to extend the life of guitar strings through proper care and maintenance. Be sure to take the time to care for your guitar strings and you will get the longest life from each set.

When the time comes to replace the strings, choose quality replacements and change the strings carefully.

A. Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.

Chords and Tablature

2007-03-17T16:59:00.001-07:00

As an aspiring guitarist, the road to accomplishment may seem tough to travel as you begin your journey. Knowing where to start can be a large part of the battle when you are new to guitar. Many new students dream of a moment in the spotlight when they will be able to showcase their talent and skill while playing onstage. Some students dream of their first great guitar solo and the accolades it will bring. Soon they realize that dreams of becoming an accomplished guitarist are great but the problem becomes, how does one get there.

It goes without saying that a certain amount of natural skill and talent, which comes from God, is part of the equation. Having conceded this point, it is also very obvious that no matter how talented you are, a certain amount of work and preparation is also a factor. Proper planning, study, practice and execution will make all the difference in success or failure for the aspiring guitar player.

It is important for the new student to study and gain knowledge regarding music theory and how it applies to the guitar. Many resources and publications exist that will provide useful tools for guitarists. Music courses and online resources are a great place to begin.

Two very important tools for the beginner guitarist are guitar tabs and chords charts. Using these tools in tandem can help a new guitar player gain insight into musical structure and theory. More importantly, using both tabs and chords together will help the musician understand the association between music theory concepts and the guitar.

Developing skills which revolve around guitar tabs and chords will familiarize the student with the fretboard and teach additional fretboard concepts. Combining guitar tabs and chord studies will help the musician understand key structures, scale structures and also relative key and scale mode variations. Mastering the use of chords and tabs and understanding their relation to the guitar fretboard will prepare the student for solo work as well as playing with other musicians.

Using guitar tabs to map various scale modes on the fretboard will be very beneficial in regard to understanding your lead and melody work on the guitar. Using guitar chords ( i.e. movable chord types, open chords and chord variations ) will be very beneficial for learning the keys of music and their relative keys. Combining the two will give a guitarist the versatility they need to to be a very important part of any musical group or solo effort.

The process of using guitar tabs and guitar chord studies to further your knowledge as a guitarist will take commitment and dedication. Becoming an accomplished guitarist is not something one can do overnight. Taking the time to learn basic music theory will help you lay a foundation which will guide you as a guitar player for the remainder of your life. When the proper foundation is laid in the beginning, the process of becoming an accomplished guitarist will be naturally accelerated.

Al Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.

How to Care for Your Acoustic Guitar

2007-03-16T16:59:00.001-07:00

Protecting the investment you have made in your acoustic guitar is very important. Here are a few tips and ideas for making your instrument last more than a lifetime.

Let's consider some potential threats to your acoustic guitar. Some of these threats may be glaringly obvious while others may be a bit more obscure. While it would be impossible to include every scenario or potential threat element in one article, perhaps the items mentioned in this article will prevent a new guitar owner from experiencing the certain regret associated with a damaged instrument.

Here is a list of things to be aware of that could be a potential threat to your acoustic guitar:

1. Stage Damage

2. Climate and Element Effects

3. Improper Storage

4. Children and Pets

Let us address these potential threats in the order they are listed above.

1. Stage Damage

I mention stage damage first because it is the most common factor I have seen regarding damage to acoustic guitars. Countless guitarists have severely or irreparably damaged their acoustic guitar by failing to take extra precautions on stage. When setting up on stage, it is necessary to have a solid and secure guitar stand. Quality acoustic guitar stands are designed to stabilize your instrument. Be sure to buy a sturdy stand that has a low center of gravity. You will be well advised to spend the extra money required to obtain a higher quality guitar stand.

Also, set your guitar on the stage in an area where it is less likely to be upset by anyone passing by the instrument. Be sure to do the best you can to set the instrument away from cords and cables. This may prove to be easier said than done, especially in a tight stage setting, but the bottom line is to do your best.

Finally, whenever possible, place your guitar on stage as one of the last items to be set up. The less time the instrument is on stage, the less risk there is for accidental damage.

2. Climate and Element Effects

One might be surprised to note the statistics related to acoustic guitar damage which are caused by the elements. Some of the scenarios associated with this damage are very obvious while others may not be so easily recognized.

A. Heat and Sun Damage:

Be very careful not to leave your guitar in a closed automobile in the summer months. Extreme heat can severely damage the instrument and may void your manufacturers warranty. Be very careful not to leave the instrument in direct sunlight for extended periods of time. This rule applies even if there is sufficient ventilation in the area.

B. Rain and Water Damage:

Be careful not to leave your acoustic guitar outside during wet weather. Also, be very cautious when you are playing around a pool or fountain. Be mindful of the wind if you are playing outdoors near a fountain or waterfall.

C. Humidity Effects:

If you live in a very dry climate such as Arizona, you are well aware of the effect that extreme dry conditions can have on many objects. Your guitar is not exempt. However, you do not have to live in Arizona or any other extremely dry climate to be mindful of the effects dry air can have on your guitar. This is especially true over long periods of time.

TIP: Here is a great tip that will prolong the life of your guitar. Also, over time it will help the instrument to age with mellow tonal qualities:

Get a zipper style plastic sandwich bag. Create perforations in one side of the bag (15 to 20 holes with a hole punch). Get a small household sponge, one that fits easily into the sandwich bag. Make sure you get a clean, new sponge. Saturate the sponge thoroughly, but NOT dripping. Place the sponge in the sandwich bag. Close the zipper. Place the sandwich bag in your guitar case with the perforated side of the bag facing up. This practice will keep your acoustic guitar from drying out in any climate. Over time it will also help prevent your guitar finish from crazing (cracking). This simple tip will add life to your guitar.

3. Improper Storage

During the life of your guitar you may find it necessary to place the instrument in storage. If you find you need to store the guitar for an extended period of time, consider these simple tips.

A. Store In A Snug Fitting, Plush Lined, Hard Shell Case

B. Remove The Strings

C. Clean And Polish The Instrument (Using Protective Wax Or Wood Preserving Oil)

D. Place The Plastic Baggie Containing Wet Sponge In The Case (TIP: Mentioned Above)

E. Store In A Cool, Dry Place

F. Loosen The Truss Rod (If Applicable)

Taking the time to properly prepare your acoustic guitar for storage will extend the life of the instrument. It will also help to ensure your guitar is unaffected by its time in storage.

4. Children And Pets

This category is obvious. Keep your guitar protected from damage and abuse by keeping it out of the reach of children. This will not only protect your guitar, it will also protect a small child from being injured by the instrument. A falling guitar can be dangerous to a small child. The guitar also has sharp string ends that can puncture the skin. If your child is old enough to have an interest in the instrument, by all means provide the child with an inexpensive entry level guitar of their own.

Finally, many times Fido loves to chew or Felix loves to scratch. Keeping your acoustic guitar out of the reach of your pet is safe and beneficial for everyone involved, especially your guitar.

A. Wielder is a host and instructor at Riff TV. Contact Al Wielder at Riff TV.com, your source for guitar tab, guitar lessons and free video guitar training.

Kelly Clarkson

2007-03-15T16:59:00.001-07:00

My workmate only wants one thing in life. Well, one person. He wants Kelly Clarkson, first-year winner of the screamingly popular American Idol. He wrote me an email the other night extolling�as always�Kelly Clarkson�s virtues and begging that I figure out a way to satisfy this one wish.

Granted, the girl has got gifts. Consider such songs as those my pal plays incessantly, songs such as �Since U Been Gone� and �Before Your Love/A Moment Like This� (both of which have some mildly decent metaphors). She sings them with a moderately skilled range, appeals to a great number of listeners (and viewers) in a semi-sexy semi-cutesy fashion, and has a clarity and familiarity of song lyrics that even this old lady can appreciate at some level.

But my young friend is serious about having Kelly Clarkson as a friend. He just wants to hang out with her, drink coffee, go on hikes�and you know, I can see them as hitting it off quite well in this respect. Kelly seems active, engaged, dynamic, willing to go on those mountain treks one day or futz about in the orchid garden another.

But I can�t be clich� and give him Kelly Clarkson CDs; and besides, he belongs to one of those MP3 download clubs. I could do the next obvious thing and give him a Kelly Clarkson poster, or better, a life-sized Kelly Clarkson stand-up cardboard cutout. Or a Kelly Clarkson mug or potholder or keychain.

And I have heard about the stars who are accessible for such odd requests�along the lines of the baseball star who promises to hit a homer for the kid in the hospital�as making a quick video greeting or phone message, but my friend doesn�t have any debilitating illness or disturbing brain damage, really, so Kelly might likely ignore my letters and requests.

And a one-time private concert won�t do, for my spoiled friend says, no, he wants her singing here every day, delighting in her laughs, sharing her soul.

I understand his obsession (which is, don�t worry, quite tongue-in-cheek innocuous); I have obsessions of my own, but my friend�s rejection of the gardening tools, Anne Rice books, and pounds of chocolate as inferior gifts, along with his adamancy about getting Kelly Clarkson here in all their stead is driving me bonkers!

Any ideas?

Music Theory and Harmony

2007-03-14T17:00:00.001-07:00

If you compose a piece of really nice (to you anyway) music you need to write it down so that you can remember it and other people will be able to play it too. Maybe you want to orchestrate your piece? Well, you have to know all about music theory and harmony to be able to do that, otherwise a Bb clarinet will be in the wrong key, or an Eb French horn will sound terrible instead of beautiful.

If you are learning an instrument you will have to learn music theory and harmony anyway, but many people treat this vital knowledge as unnecessary and just continue to try to play the notes because they sound nice. However all music students get to a stage quite early on in their progress of learning when they suddenly find that this, to some rather boring subject, is pretty useful and so have to go about trying to learn more about it.

Rather like one�s knowledge of the English language, if you know lots of unusual words for instance, it enables you to read more interesting and complicated books, so with music.

If you can get to grips with music theory you can understand so much more about the music you are learning, and in due course you may well wish to compose a piece or two of your own, write it down, let your friends play it, or even publish it if you are good enough.

The logical steps are comparatively simple after that. You learn the rules of harmony, only to break them, no doubt with your own music, and see how the great composers harmonised their melodies in different ways. You discover how to put more than one tune into a piece and create co-existing melodies which become their own harmony within existing music structures. Bach�s double violin concerto is a splendid example of this with what sounds like two violins wrapping around each other to create a wonderful effect.

So having got to this stage after quite a bit of study away from your beloved instrument, be it piano, guitar, double bass or French horn you may want to take a leap into composing either for your instrument, a group of instruments or even go the whole way and hazard an orchestral piece.

This is where music theory and composition comes in. Once you understand the basics you have to go on to understand the art of composition. Here you will discover your own style. You may have thought that you had it already, but scoring music for an orchestra so it sound like what you want it to sound like really is an art.

Unlike just playing your music on one instrument many other people are involved, so you have to be able to hear in your own head what you want, and then transpose it into writing on the staves so that they can read and play it.

This takes no little talent but fortunately many people over the years have been able to give us the wonderful music that is generically termed �classical�, whether it was composed in 1700 or 2000. It may be a bit tedious at first, but if you stick with it music theory will give you pleasure for the rest of your life in your appreciation of the music of all ages.

Britney Spears

2007-03-13T16:59:00.001-07:00

Britney Spears is another high-profile mass media target (though one might suggest anyone entering celebrity village does so knowingly and of her own volition). Beautiful and entertaining pop star Britney Spears gets much coverage for her antics, attitudes, actions, and values, even. But what we wonder is this: which are intentional as contributions to her publicity campaigns and which are unintended leaks to the public?

�Oops, I did it again/I played with your heart�,� smirks the cheeky, sexy Spears. But is it really an innocent faux pas? With the debut and platinum catapult to success of her first album, Baby One More Time, Spears was the school girl with sex appeal�and the singing/dancing star at the top of the pop charts. Innocent, cute, but Lolita-esque at best. So the information begins�or, that is, the rumors take up housing in her high-profile life: she�s only seventeen (read: still a minor), and she has had breast implants. The publicity has begun!

Next, with only three years (and many best-sellers and awards) to her credit, Britney drops the maulable baby doll persona, drops a few more yards of material, and picks up a giant albino snake to writhe about with for her performance at the 2001 MTV Video Music Awards, and picks up slack from PETA.

Next, a Razzie Award for worst actress ever later, Britney�s painful separation from Justin Timberlake exposes the possibility of infidelity on her part. Britney opens a restaurant; it closes a year later. Britney goes into hiding for a bit�fueling fires of chat about her loss of pop princess status�. Britney tongues Madonna, and sparks of media coverage resuscitate�.

Britney then marries a boy from her childhood years, the marriage getting annulled three days later. Two months beyond this, she gets engaged to Kevin Federline, divorced father of two at 26 years old. Within six months, Spears is married; three smash (and a few not so) hits, a moderately successful fragrance, and a crashing five-episode reality show failure later, Britney gives birth to baby Sean Preston Federline.

And though Britney has purportedly an �Original Doll� album in the making, clearly suggesting her awareness that her Lolita image is what works (or worked best), it is that image that has incurred the disdain of many: Governor Robert Ehrlich�s wife, First Lady Kendel, would �like to shoot Britney Spears;� is questioned as a fit role model; and is, of course, likened to Madonna�though she is far less the savvy and knowledgeable one, and cannot claim anywhere near the struggles and creative challenges Madonna has earned the right to.

So, consider the latest kinds of coverage on Britney Spears: first, while a star-search online usually yields a Wikipedia entry on page one of Google, for example, when you search for Britney Spears, the wiki entry shows up half way down page two. Hmmm. Next, in the latest edition of Us Weekly (which is generous with Jessica Simpson shots or plastered with Angelina Jolie articles and features), the items that appear on Brit involve 1) a photo of her in a food-stained dress, which she wore, Us said, on March 14; 2) a photo of her coming out of a gas station bathroom sans shoes, August 04 [also shown in earlier grocery store rags, btw].

But where are the shots of the baby? In that same issue, motherhood (and father hood) is a predominant theme�a three-paged bit is done on Angelina Jolie, featuring a full-paged and an additional inset photo of Jolie with newly adopted Zahara; centerfold �Mommy & Me� photographs appear with Liv Tyler, Kate Moss, and Denise Richards hanging out with their kids; and in �The Stars are Just Like Us!� we even see monumental stars like the great Dustin Hoffman taking his son to a NY Nicks game.

So is lack of baby evidence to protect the baby as well? Is it to protect and endure Britney�s teeny-bopper image? Is it to protect the hearts of the wishful thinking fans who fantasize being with Britney without baby or happily married mate in tow? It may be we will never know, as the line between popularity (candid, serendipitous coverage) and publicity (intentional stagings) is paper thin.

Music Appreciation Class

2007-03-12T17:00:00.001-07:00

Many people are very good at making vast �generalisations� about music of particular types and thumb their nose to thoughts of music appreciation classes or music appreciation courses. The critics and even the computer people nowadays try to call them �genres� and categorize music as if it was something from a supermarket shelf. �Do you want baked beans or classical music, corn flakes or modern jazz? We have 10 different brands of each�.

Whilst these generalisations are all very well and good for some people, there are others who have somewhat more discerning tastes and are looking for more. These are very often the people who appreciate music. It really does not matter what type of music you �like�, whether it�s rock, Baroque, rave or Ravel you do appreciate �your type of music�.

�Musically blinkered� has been the thought of many people appreciative of different kinds, types and even specific �genres� of music. Why stick to one when there are so many out there?

Music appreciation classes are very often the answer. They will teach you to listen to music with much more of an open mind. For instance, many people who �don�t like classical music� can sit through a whole class and keep on saying �Oh yes I really like that one but I didn�t know it was classical music�. A good music appreciation class will be able to give anyone between the ages of 5 and 95+ a taste of what they did not know was classical music. They can do the same for jazz and many others.

It is no secret that it is not a question of �not liking� the music but failing to �understand� it. The simple equation backwards would be �I do not understand this music therefore I do not like it�.

Some people have been lucky enough to go to schools or colleges who had compulsory classes in this very important subject which will lead to pleasure for the rest of their lives, and some have been even luckier and have undertaken music appreciation courses.

The whole point of these classes is to enable you to open up your senses of hearing and to keep an open mind about the music you�re listening to. If you are asked to close you�re eyes or all the lights are turned off you may gain an entirely different perspective of a piece of music you thought you �did not like�.

You will be exposed to all sorts of music during your music appreciation course and each piece will be explained to you either before or afterwards. Possibly you will be told to listen out for the oboe solo in the middle of the piece, and of course you will remember what an oboe sounds like. The bass viola stands out because of it�s dissimilarity from the double bass.

You learn that Paganini wrote pieces for the violin which cannot be equalled to this day; that J.S. Bach had 21 children (therefore his own family orchestra in his later years); that a clarinet only came into being in Mozart's time and when taken abroad into hot climates split, (the answer being to make them out of metal and, when they wanted a deeper tone, to bend it like a trumpet and make 3 types of saxophone out of it, all of which have similar fingering, the 4th, the soprano, remaining straight).

So you've been on your music appreciation course and what do you do now? Maybe you will listen to a piece of music you have not heard before, and before judging it you will listen with new ears. You may recognise the French horn, the violas, the contralto or the harpsichord. You will understand a lot more about the music now and perhaps understand a lot more about what the composer is trying to say. You have learned a new language without realizing it. All thanks to your music appreciation class!

Jazz History 1920�s

2007-03-11T16:59:00.001-07:00

Whilst the origins of the type of music we know as jazz go back many centuries, their true roots in terms of popular appreciation and international exposure really start at the beginning of the 20th Century in a Southern city in the United States called New Orleans.

As the name implies this city started life with a French influence but soon became a melting pot of many races and colours, all of whom brought with them their own brand of popular music. Soon these started to intermingle and some unusual sounds were produced.

Despite the 19th Century Civil War and it�s problems, and later the virtual disenfranchisement of Creoles who previously had been musically more classically trained, this melting pot of races started playing a new form of music, enjoyable to all races and it was called jazz.

Creoles learned from blacks how to improvise, often on ex-civil war martial instruments such as trumpets as well as Spanish guitars, the American banjo, clarinets, double basses, no doubt originally from orchestras, and indeed any other instrument they could lay their hands on. The drums often had an African or Latin American beat, and the music could be either up-tempo or sad blues.

The jazz history of 1920�s America was like a wheel whose spokes originated in New Orleans and spread rapidly all over the country and abroad. To begin with New Orleans bands started to travel, then with the recording age upon them, recordings of this innovative and "fun" music soon found their way over the Atlantic to Europe and elsewhere.

In terms of jazz history New Orleans brought in the "Jazz Age", but has always retained its special affection for many as the start of a new era in music. Initially improvisation was the key to being able to play it, and many musicians had to �throw away� their classical training to be able to play and understand this freeform type of music. Soon though this music took on its own form, and small and larger groups of musicians became popular, leading later to the Big Band sound.

Jazz history 1920�s style was mostly all about what New Orleans had to offer and export, namely the music, the players who could play it and teach it to others, the fun aspect of new (or old to be more exact) rhythms and the narrowing of the gap between different cultures which only music can sometimes achieve.

Jazz was "good stuff". Mummy and Daddy may not like it so of course it became even more popular with young people, but of course for many people and races this was the music of their childhood, simply made more interesting by the skills of the modern 1920�s jazz players.

In early 1920�s New Orleans bands started to make recordings as well as play at the numerous caf�s, dance halls, restaurants and functions, and from these the style which many today know as "classical jazz" was born. Many bands took these ideas and added their own to move to New York or Chicago, and many visitors took back to Europe the ideas and adjusted them to their own audiences in home countries.

When new ideas came out of 1920�s New Orleans they were soon copied elsewhere, and most jazz musicians, even today, will acknowledge that 1920�s New Orleans was the decade when jazz and its worldwide popularity really took off, both musically and of course financially.

Jazz History Timeline

2007-03-10T16:00:00.001-08:00

Many people argue that the beginning of Big-Time jazz in Chicago started in 1922 when the popular trumpeter Louis Armstrong moved from New Orleans bringing with him the new sound we now all know. Of course not everyone knows that as well as Armstrong another forty or so well known jazzmen also moved to Chicago during the 1920�s from New Orleans, making Chicago, for some time, the new city of the jazz era.

The music of these jazzmen and bands became different from the more "traditional jazz", or "Dixieland jazz" of New Orleans as they developed new techniques, rhythms and forms from the jazz they already played. Soloists began to come into their own and many a band had a number or two featuring all the instruments separately performing their own solo within the same piece of music.

Music that was either was written down or remembered as a �number� now included improvisation from the musicians as well (rather like the original jazz of early 20th Century New Orleans), and this musicianship and expertise thrilled the audiences.

Naturally, in the course of jazz history Chicago received its own reputation during the years of �Prohibition�. The anti-alcohol laws were flouted and the �speakeasy� became the place to go. Where there was a �speakeasy� often there was a jazz band playing there. Police corruption and gang �protection� helped many of these thrive and perhaps gave jazz a somewhat sleazy name in the States during this era, whilst at the same time popularising it as something a bit risqu�.

However all these events only served to improve the music as the music spoke easily to all as well and this helped to diversify the audience. Whites and blacks could sit down together in Chicago and the Northern States which they were often unable to do in the Southern ones where a policy of apartheid was still far from unusual.

The gradual move north at the beginning of the century of many black families due to the ancient prejudices of the south ensured that there was an appreciative audience in the more northern cities, particularly Chicago. The jazz history timeline moved northwards from New Orleans, as did the developments in the music itself. It became a form of free speech for black and white people alike, although it must be admitted that there were still, at this time, many less whites able to play this type of music as competently as black musicians, and many people thought of it as "black music".

This rapidly changed, particularly in Chicago, as many white musicians wanted not only to enjoy but also to cash in on this popular music medium. Sheet music was available in the days when many people had a piano at home and other instruments were learned as a matter of course in the more �middle-class� families, and indeed on the streets.

The music of Chicago has lasted the test of time and has gone on to be innovative to this day. Whilst it could be argued that the centre of jazz moved to New York, as did many bands and musicians from both New Orleans and Chicago, these innovative centres continued in their own right as places of excellence. As transport between the two was comparatively easy both in the 1920�s and subsequently, the players from New York drew on their Chicago musical compatriots and vice-versa to give mutual inspiration. Bands based on one would often tour the other and indeed the cities in between, bringing jazz in its new style to people all over the country.

The same spirit of the age also travelled abroad from Chicago to Europe, particularly in the new medium of the recording. The world was now hearing what was played in Chicago and tried to copy it.

This early era of innovation in jazz music can very easily call Chicago its original home. From there it blossomed and continues to do so today, both worldwide and in its "home" city.

Crescendo Now, Pay Later

2007-03-09T15:59:00.001-08:00

In the hierarchy of musical priorities, dynamics have often appeared to me to be relegated to fairly low niche and left there to languish, their immense potential for beauty and expressiveness being overlooked and ignored. Even in recordings of professional orchestras it is not at all unusual to here a crescendo or diminuendo begin and end without any unified idea of where it is heading. Concerts or recordings where the music making is otherwise of a very high calibe all to often approach the dynamics with far less care and intelligence than other musical matters.

Every musician knows what dynamics are and will tell you that when they see an mf on the music, by golly they play mezzo forte! And when they see a crescendo to a fff, watch out, buddy!

Crescendos (or crescendi, for our purist friends) seem to bring out a primal Darwinian, survival of the fittest impulse in many of us. If you can do it, e.g. low brass, most percussion, etc., then do it. If you can�t, e.g. low register flutes, middle register clarinets, etc., then get out of the way. It is quite understandable. After all, you flutes and clarinets get all the great melodies and technical calisthenics while we timpanists and trombonists are stuck back here counting rests. So, when we are finally allowed to speak, our voices will be heard! Then to our delight and to the delight of our audiences, excitement happens! Everybody wins, right? Absolutely. The only casualty is the music.

I don�t wish to claim any tremendous pre-eminence in this area, but I have listened to what others have to say on the topic and have explored a number of approaches on my own. I also don�t wish to suggest that any of my findings are original with me. Au contraire, anyone with keen musical sensitivities would be very apt to make similar explorations and discoveries on their own. So with your kind indulgence, perhaps we can investigate a few of these principals together. If you find something here that might squeeze your own creative juices, then my fondest hopes will have been realized. If not, then I recommend you demand a full refund from the author.

Why don�t we continue flogging the subject of the crescendo for just a moment or two? Most of them seem to have a destination or a specific point in the music when the energy and momentum gathered by it is released in a heightened moment of drama or intensity. Obviously, for the full dramatic potential of the passage to be realized there has to be general agreement exactly where and when that moment will arrive. If a few people in the ensemble peak on the crescendo prematurely the effect is spoiled, and the audience slinks out of the hall feeling violated and unclean.

A question that is too rarely asked is, �What should the shape of the crescendo be?� The written symbol has two converging straight lines, yet in most instances, to shape the crescendo like a trumpet bell would be musically and dramatically much more effective, i.e. very little crescendo at first, then gradually increasing the volume, saving the final 50% of the crescendo for the last 10% of the passage. You may wish to experiment with this idea in a few select passages to see if you agree with the results. My guess is that you will be heralded as a genius and promoted at least as high the custodial staff.

Another oft-neglected question is, �Who should crescendo when?� May I offer a suggestion here, also?

A typical passage containing a crescendo might consist of the melodic material in the upper voices, the harmonic or accompanimental figures in the middle voices, a bass line, and some rhythmic figures in the percussion. If you were to encourage the melodic instruments to begin the crescendo first and the accompaniment to construct their crescendo entirely in support of the melody, but never upstaging it, you will find that the melody will maintain its primacy. Now, if through coercion or perhaps even bribery, you can appeal to the percussionists� better angels and make them aware of the ever-present danger of premature gesticulation, you may have crated the ideal crescendo. If the percussionists save a solid 80% of their crescendo until the last couple of beats before its apex, they will provide the perfect dot for the perfect �i� and prove once again, even to the most skeptical, that, except in certain one-on-one disciplinary actions, intelligence and sensitivity trump brute force every time.

It is my fervent hope to continue to lobby for the liberation of the crescendo. If there is any true justice I have recruited you to become a like-minded zealot to this most noble of causes.

Any comments about your own glorious victories you might wish to contribute would, no doubt, serve as an enduring inspiration to us all.

Carl Hammond Phd. composes all sorts of music, plays piano, and as you've seen writes a mean, entertaining article. He's the CEO of:

www.musicalcompositions.net

where you can download purchased sheet music for concert bands, choirs,chamber ensembles,jazz groups.

See it,hear it,download it, rehearse it. FREE Newsletter and FREE Special Report written by Carl Hammond a 35 year international music veteran.

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Practice is Soooo Boring!

2007-03-08T16:00:00.001-08:00

Are your students loathe to practice as much as they should? OK, you can stop laughing and pick yourself up off the floor now. I know it wasn�t the brightest question.

But I asked it to make a point, of course. Haven�t you been guilty of that misbehavior? I personally am a lifetime repeat offender. As adults we all know intellectually that if you don�t practice something, you don�t get better. We tell our students and ourselves this until the bile rises in our throat threatening an embarrassing episode. So why do we keep putting it off?

In the darkest recesses of your psyche a nagging whisper gives you the answer. It�s not fun. And in this day and age nobody wants to do anything that�s not FUN!

Now while I am not an advocate of the �everything should be entertaining� school of thought, it is also true that practicing vies for your student�s miniscule attention span. Practicing is going head to head against the latest video game.

To compete with that there needs to be some pretty excellent mind candy. The very best flavor on the market seems to be success. Generally if you are good at something you like doing it over and over.

In order for you or your student to feel like he�s being successful he has to pass a number of observable milestones. According to studies this is one of the attractions to the ubiquitous computer games. Let�s face it, it doesn�t take long to see some progress on the computer. Most of us know that allure of almost getting to the next level of the game.

To capitalize on that same feeling our students need to have small enough goals to feel great pretty often. Not only that but they need to be able to look back and really experience how far they have come in the short practice times of a few weeks.

And you know what? There are ways to plug into this type of feel good. And a great bonus is that the student will do most of the work to set it up and get himself there.

Here is the trick. No, I am not going to quote any of the success gurus you regularly see on TV. Well OK, I really am, but you know they do have some good things to say and this is one they all seem to agree on.

Goal setting. And I mean setting it down on paper every week in the same little log book. Make up several menus to give your students a few ideas. Initially they will choose the things they want to accomplish. As they become more proficient many goals will become self evident, and they can come up with them alone. Your input will be necessary as they don�t know what they don�t know, but be aware of the fact that a major part of the process is that the student must participate in setting the goals, otherwise it is just more homework.

The goals need to be in several categories. Daily, weekly, monthly, for the term, for the year, for several years. Once a system is put in place and there is some small amount of class time devoted to it every week then the thrill of achievement will be built in. The pleasure loving student will begin to find practice can be fun because they can check off items and see success written into the book a mere few weeks after starting. The amount that can be accomplished with this miniscule discipline is amazing. The book fills up and your young musicians are impressed with their industrial strength production levels.

The trick is to put the system in place and then work with it for several months. A session at the end of the month where students get to share what they have accomplished does wonders for everyone�s feel good quotient and spurs more goals and more success.

Try it. You and your students will all be much better off for the experience.

Suzie Hammond is a teacher turned writer and factotum for: www.musicalcompositions.net

There you may purchase and download sheet music for concert bands, choirs,chamber ensembles,jazz groups. See it,hear it,download it, rehearse it. FREE Newsletter and FREE Special Report written by Carl Hammond Phd. a 35 year international music veteran.

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Beethoven, Mozart and Brahms

2007-03-07T16:00:00.001-08:00

In English �Cockney� rhyming slang �Brahms and Liszt� means something like �Not quite sober�, however, interestingly, it was these two erstwhile composers rather than their mentor, Beethoven, who was celebrated by this expression, still used today, due to its alcoholic connotations and rhyming obviousness.

At the beginning if the 19th Century, classical music, like today, was enjoyed by many different types of people, and names like Brahms, Schubert and Liszt (even less sober it would seem from �Cockney� rhyming slang) were as common names on the street as they were in the boudoirs. Music was popular everywhere.

In the more purely musical environs of both then, and indeed today, much is talked of Beethoven and Mozart. Most musicians, and many �experts� will tell you, upon cogitation, that Beethoven was possibly only able to write after he became deaf because of the inspiration given to him by Mozart and probably Bach as well.

A musician, and many other people who know, may say that Mozart was technically the better musician in term of counterpoint, harmony, melody and the music theory of the latter 18th Century. They would, though go on to say that Beethoven took the �baton� over from Mozart and relayed it on to the type of greater things that Mozart may have been able to achieve had he not died at the age of 37, and would most certainly have approved of.

Certainly, in the first period of his life, Mozart was a serious inspiration to Beethoven. He really wanted to take lessons from him but, as Mozart had died at a young age, Haydn readily became his joint-inspiration when he became his teacher.

Brahms was a keen follower of Beethoven�s music and Liszt was a pupil for a while in the early 1800�s. Beethoven and Brahms, who died in 1897 are now buried next to each other in Vienna�s cemetery. Schubert, who died within a couple of years of Beethoven, and laid next door to him in his previous cemetery, was also moved to the same place in 1888. Strauss makes it four next to each other. Perhaps the originator of the school of music now called "romantic" and his keen followers can rest in more peace than they were able to do during their lives.

Inspiration. That is what Beethoven and Brahms had in common and in mind when they composed their music. Times were changing. Beethoven, originally a supporter of Napoleon, turned against him, particularly when Vienna was being bombarded and he was sure he would lose the rest of his hearing. The History of the European 19th Century lead to a rearrangement of attitudes, and in music.

Rather like Beethoven �taking over the baton� from Mozart it became Brahms� turn to do the same for Beethoven, and adapt his music to this century of artistic change in all fields. Literature and novels were different; art was different; life was different; and, of course, the music was different.

The composers of the mid-18th Century took great store of the new gifts they had been given by their predecessors and in their musical legacy.

Beethoven started the �romantic� style of composers at the time, and much of the European music of that era echo�s Beethoven�s attempts to create a new and deeper understanding of what was possible instrumentally.

Beethoven Music and Biography

2007-03-06T15:59:00.001-08:00

Beethoven has been said to have been schizophrenic, and it�s a very good thing he was. He had a pretty rough life on the one hand but he has given us his beautiful music on the other.

The reason for this is that Beethoven had a real passion for music. Even after he became deaf he continued to write deep, serious music. He was expressing his soul, his musical energy and unbelievable technique, totally new to the age perhaps, to allow other people to understand how he was feeling himself. Whether it was a cry for help; a monumental triumph; a quiet evening; or a day in the country; he could show you all of these in his music.

Not only can he put you, even today, into different moods by listening to his music, but he wrote music you remember when you�re by yourself.

Beethoven�s music, put against Beethoven�s biography, changes very little in terms of the way one sees the composer himself, unlike some other musicians.

Ludwig van Beethoven was the son of a strict music teacher of Flemish family, whose grandfather became Kappelmeister, and who was both a singer and an alcoholic. He was recognised at a very early age as being talented. Despite this and his journey to Vienna as a young man he was forced back home to look after his 2 brothers after his mother�s death. He only got away in 1792 after the eventual death of his father.

Going to Vienna he was fortunate enough to be taught by Haydn, Mozart his �favourite� inspiration having recently died and was noticed by the Elector who sponsored his music lessons.

From the time he was about 20 years old, perhaps earlier, Beethoven had medical problems. He also had great depressions even before he started to become deaf.

During his 20�s Beethoven became increasingly aware of his deafness, and must have had a brilliant mind to have been able to continue with his composing whilst he was loosing his hearing. He became possibly the best music theoretician of all time, initially taking after Mozart, and then going on to even greater transformations.

During the next 22 years he composed music only he could hear in his head but which we can all hear in its perfection today with full orchestra or in other forms.

He was a pretty obnoxious chap to the people around him, bathing well but putting on old smelly clothes, however he had numerous very good friends despite this. He left very little money, as such, when he died, as he was always a person who lived �equal-to, but not always within his means�. He had an extravagant life and borrowings seemed to be always against money owed to him. It is said that he was most prolific when he had exhausted his financial credit.

The Beethoven biography gets worse. He never married, but is either thought or presumed to have had a variety of short and long time girl-friends, most of who came from seriously up-market backgrounds so were already married. He did eventually marry though.

Apart from a few years when Beethoven did not write very much due to deep depression (1812-16) he tried not to be a victim of his diseases, but rather an educator in the new music that could try to explain the torment and pleasures of his life.

Beethoven�s illnesses may or may not have been the cause of his genius; or his deafness; the cause of his incredible knowledge of harmonies; his �gut� problem; the reason why he was very rude occasionally, or indeed, as has been suggested, have schizophrenic tendencies; why one minute he could write a symphony and the next he was exhausted.

It was a question, many people believe, in asking the human brain to do too much with its passions. The Beethoven biography reads really sadly. However from a generally unhappy composer we gain great riches.

Beethoven has left all of us with this legacy. Listen to him. You�re mood may well be there in his music too.

Beethoven Symphonies

2007-03-05T16:00:00.001-08:00

If you are learning to play the piano, the violin or indeed most instruments developed before 1827 you will no doubt have come across Beethoven. He�s a feature of many music examinations from the comparatively lowly Grade III to the lofty degree.

Beethoven�s sheets of music apparently covered his attic when he died, and therein must have been a treasure trove of unheard snippets of music, whole sonatas, later re-written and bits of symphonies. A wonder for the music historian to ponder over and put in place.

Much of Beethoven�s sheet music was just bits of scribbling, you may think on first sight. �It doesn�t even have the notes in� you may say. Ah! But we are actually talking about a genius here who was able to compose wonderful and powerful music despite his deafness, he therefore had to be a perfectionist in both his melodies and his harmonies. His new use of larger orchestras for the bigger and better form of symphony needed a bit of work. His attic seemed to be his waste basket for genius he may use later.

If you actually have a look at some of Beethoven�s scribblings, particularly for his symphonies, you may not see any actual notes on the staves because the scribble was working out rhythms rather than the notes to put to them (Beethoven�s 5th da-da-da-daaaaa, for instance). The odd one may be trying to find a good melody for the French horn or clarinet to counterpoint together in the background of a symphony, or just provide some good ideas for the full orchestration of parts of the Second movement.

Beethoven�s teacher and mentor Hayden wrote over 100 symphonies and Mozart 41. The styles of both these composers featured in Beethoven�s earliest symphonies, but, whilst not getting entirely lost, took second place in his later ones. Beethoven expanded the idea of a symphony, four movements, a medium sized orchestra and not very long, to include larger orchestras, grander themes and longer performances.

His transition away from the more �classical� towards and eventually into the more �romantic� age, for which he had a lot of admirers from fellow composers, made Beethoven famous in his time and, indeed to this day.

Some people at the time criticised his symphonies as heavy, but the 6th (Pastoral) perhaps puts paid to this. His 5th of course became Britain�s signature�tune in the Second World War, (da-da-da-daaaaa, spelling in Morse code V for Victory), whilst �Ode to Joy� in the last movement of his 9th and last symphony was more usually heard the other side if the Rhine at the time.

Political connotations apart, the great thing about Beethoven�s symphonies is that they are still listened to by people all around the world. Many people don�t know its Beethoven they�re listening to, but they �know the tune�. What a wonderful way to be remembered. That�s a really good tune. Says it all really.

The more you listen to Beethoven�s symphonies the more �tunes� you will hear in them. He was not a Master of counterpoint for nothing. Just listen to what is going on underneath the melody and you will immediately recognise that here is a �Great� composer at work. It�s not just what you hear but the harmonics and orchestrational cleverness which may not be apparent in first hearing.

Oh, and some of his endings go on for ever, and ever, and ever��..Enjoy them.

Ludwig van Beethoven (von Beethoven)

2007-03-04T15:59:00.001-08:00

If you turn on the TV in any country in the world, and listen for a while, you will hear a bit of Beethoven played. OK it may be a parody of it in a soap opera but the tunes written 200 years ago are still good today.

If you get Classic music from the UK on fm and the net you will know that every Easter a poll is taken of the 2 million or so listeners who decide which are the �top� 300 classical pieces of music that people want to listen to. Ludwig van Beethoven came second this year, with Mozart first. He would have been pleased if he was still alive, of course, because Mozart was his original inspiration.

Mozart, despite the fact that he died at a much younger age, was a prodigious composer. Rather like Bach he could knock out a sonata before dinner-time or a whole quartet in a few days (when pressed). Beethoven, on the other hand really grafted hard to put together something new in the musical community. He would often, particularly in more complex music, have many draft ideas written down before finalising orchestration, which could take months.

Beethoven, once he was able to get away from his family, went about things in a different way from his mentors. (Haydn, his teacher, helped him to be one of the foremost pianists of his time, the forte-piano being a newly invented instrument whose refinements lead to the pianoforte we know today).

Ludwig van Beethoven became a known name in music at the time. He was one of the first �independent� composers, making his money from concerts, music and conducting, rather than from the patronage that many previous successful composers enjoyed (or worked very hard to keep). However his music inspired several people over his life to sponsor him both before and after his deafness created new problems. Money was difficult at times purely because he would spend whatever he had and either hope for more or have to work very hard for it. During his several depressive periods a shortage of money could not have helped.

After a spell of, perhaps understandable, depression at his deafness he studied hard to be able to keep composing. He was familiar with Bach�s keyboard works, and having studied composition and counterpoint with Handel, he went ahead to change music, in its classical form, into new music for the 19th Century.

His music is generally thought by music critics nowadays to be the transition between the �classical� and �romantic� genres, but of course these apparently sacrosanct terms belie the truth. Beethoven gave to other composers the ability to develop music for the new century whilst giving his audience something to really enjoy. Some of his later works could not really be called �romantic� perhaps? Different though.

Early works, if not known by the listener, could be confused with Hayden and Mozart, but his �middle� period showed a vast development of the symphony as well as his technique on the piano (an instrument still in its comparative infancy), whilst at the same time taking music for small ensembles such as quartets and sonatas to new heights.

By 1811 he had stopped performing, his deafness being too severe, but his genius and musically technical brilliance did not in any way prevent his composing ability. He was able to �hear� the music in his head and his mind. He even went on in his �late� period to compose new styles of music which were greeted with great accolade by contemporary composers, although initially less so by some of his audiences, perhaps because they did not appreciate the subtleties of these new forms. This would come later.

This great composer, and indeed Ludwig van Beethoven was one of the truly �Great� composers of all time, died at the age of 57 after a lifetime of illness and during a thunderstorm. If you listen to his music you may consider this an appropriate finale to a somewhat tempestuous life.

20,000 people turned up for his funeral in Vienna, his home of choice.

Beethoven and Napoleon

2007-03-03T15:59:00.001-08:00

Beethoven and Napoleon never met. However they played their individual roles in the new "Romantic Age" apparent in Europe at the beginning of the 19th Century.

Beethoven, the independent composer of his time, rather liked many of the ideas that Napoleon had. He had managed to build a strong new power with the will of the people, rather than that of the aristocracy whose lack of government as we would know it today was somewhat archaic, and certainly did not involve one�s average citizen.

Napoleon changed the laws of the land (very frequently); he restructured the Civil Service so that it was functional as well as being efficient; he had scientists from all areas working for him to bring France to a stage where it was technically the best in the world. He achieved much. His metric system is used in nearly all countries today. Most Europeans under 20 today would not recognise a gallon or a yard. Litres and metres, with 10 or 100 increments are actually much easier for your average chap (which the French population was at the time) rather than having to multiply by obscure fractions at which the French uneducated population would be inept.

A lot of people say that the reason for this hunger for scientific information was purely philanthropic. Possibly Beethoven thought so before 1804. Others, perhaps more perspicacious, showed that much of this work was put to almost purely military use. The man was a genius at warfare. Baring in mind the turbulent political climate after the French Revolution, the guillotine executions and the enormous strength of the Secret Police at the time, nobody dared say a thing. Napoleon just got on with it, on pain of death if it was not done.

Beethoven, meanwhile, had been looking at the good things coming out of France, particularly during the �truce� of the early 1800�s. He could see the things that Napoleon was doing for the country and its infrastructure as well as its artistic side. Beethoven wrote other pieces during this period, but his Great Work� at this time was the fabulously innovative �Eroica� symphony.

This was dedicated to Napoleon and, no doubt, much of the musical content was composed as a result of the successes of this extraordinary leader.

However Napoleon, having re-armed his troops and ships during the �truce� took his ambitions even further. He made himself an Emperor and his family his successors in perpetuity. The Napoleonic Wars resumed and Beethoven was not pleased with this �would be� hero.

Beethoven apparently tore out the dedication page of his manuscript for the Third symphony, and simply dedicated it to celebrate a �great man�, whilst renaming the symphony as we know it today as the �Eroica�, rather than �The Napoleon�.

In 1809 Napoleonic forces bombarded Vienna, and Beethoven hid in a cellar with mufflers round his ears frightened that the dreadful noise would remove the last of his remaining ability to hear.

Beethoven�s Life

2007-03-02T16:00:00.001-08:00

Ludwig van Beethoven only got his �von� after his death as a tribute to the turnout at his funeral of over 20,000 people, the term temporarily used at the time brought him into the aristocracy, �von� being the sign of noble birth and approval of his peers.

Beethoven was born in 1770, probably on 16th December, into a musical family. His grandfather, who came from a Flemish background, was an accomplished musician and eventually Kappelmeister (Head of Music) for the Elector (Prince), whilst his father, working for his own father, was a singer and degenerated into alcoholism.

His father taught him music initially but he was lucky enough to get a �real teacher in Christian Neefe who recognised the enormous talent in the young Beethoven. He encouraged him to go to Vienna, but after only two weeks he had to return home due to his mother�s illness, from which she soon died.

Beethoven looked after his two younger brothers until his father�s death in 1792, when he at last was able to go to live in Vienna, one of the great centres of music at the time. Mozart, with whom he had wanted to study, had died, and so Beethoven happily took lessons in piano, counterpoint and composition from Hayden. His earlier works show detailed study of both composers, yet managed, even then, to go forward in the development of a new musical age.

He was a great piano virtuoso at this time, and was able to become one of the new breed of �independent� composers, not relying on patronage. He did, however, during the course of his career have several rich sponsors who helped him spend time composing, either for a period or for specific works.

His late 20�s were seriously marred by his increasing deafness, and by the age of 29 he was hardly able to hear. His technical ability, both as a scholar of Bach, Mozart and Hayden�s work, and as a brilliant piano player allowed him to retain his ability to compose. Many people think that he may have been able to hear the relevant harmonics despite his deafness, as well as feeling them from his piano.

Despite depression at his deafness he is said to have declared in 1802 that he would take his music a �new way�, and this lead to his �middle period� of composing. His works became more complex and longer. He took previous ideas and expanded the themes. He wrote six symphonies during this time, string quartets, piano sonatas and much more. He made his money during this period from the sale of his music, its performance and partly from subsidies from rich and noble people who recognised his genius. This period lasted for about 10 years, ending with the popular triumphs of his seventh and eighth symphonies.

Deepening crises in his personal life, both relating to his health and probably to various love affairs greatly reduced his musical output, and indeed for four years practically nothing was published. In 1816 however works written during this time were eventually made available to the public.

Beethoven�s late life shows him trying to take music even further into the "romantic" era, and was particularly successful in the shape of his final five piano sonatas, with his tremendous ninth symphony receiving a tumultuous welcome by the general public, remaining one of his most famous works even today.

Beethoven�s health rapidly deteriorated with jaundice in 1821 and liver problems, possibly caused by large alcohol consumption, preventing him composing much of the time.

He eventually died on 26thMarch 1827. His funeral in Vienna was attended by over 20,000 people, baring full testimony to his fame as one of the Great composers of all time.

How to Choose a Guitar

2007-03-01T16:00:00.001-08:00

First, you have to decide what kind of guitar you want. Electric or Acoustic?

Electric Guitars, Solidbody?

Initially, the best electric deal will be a solidbody. They are the cheapest, the most durable and the most popular - Stratocaster, Telecaster, Les Paul and SG are solidbodies.

Hollowbody - This is usually a couple of inches deeper making it more like an acoustic. It has a boomy or jazzy sound.

Semi-Solidbody - This is a hybrid of solid and hollow bodies. The result is a stronger instrument. They are guitars like the Gibson 335.

Woods - A good BODY is made of very hard woods because they are more durable and improve the sustain. Maple, ash, alder, walnut and mahogany are all popular. The NECK is usually built in mahogany or maple. The FRETBOARD is rosewood or ebony. Ebony is better, because it is extremely hard. Avoid painted fretboards.

Important: Remember, when you go for an electric, you will also need an amplifier. Make sure you plug it into an amp similar to what you will buy.

Playing the electric guitar is much easier because the strings are close together,

they're a lighter gauge and its neck is narrower. It covers a lot of musical styles.

Acoustic Guitars Classical or Spanish - It is made with a large, hollow sound box. The fretboard is made of a solid wood with Spruce or Cedar top, Rosewood back and sides. Nylon strings are used - which gives you a sweet, gentle, slightly muted sound. This guitar is ideal for any melodic work but particularly suited for classical music.

Flamenco - Nylon stringed with thinner wood dimensions and less body depth than the Classic - Cedar Top with Cypress back and sides - the main difference between this and the classical is that the fretboard is even wider; apart from that, these instruments are pretty much the same.

Folk- This is similar to the classical but the sound box is larger, the fretboard is narrower, the sound is brighter and the strings are made of steel. Woods: spruce or cedar top, ebony or rosewood fretboard, mahogany or maple for the back and sides. If you want to play rhythms or take your first steps in rock, this is a good choice to consider.

12-String- The fretboard is extra long, many people tune this guitar down a tone to ease the action. This instrument is useful when you want loud strumming or twin sounds in octaves. Note: Tuning a 12-string guitar is really difficult.

The acoustic guitars are more portable and can be played anywhere. You just have to buy an instrument that feels and sounds good. You don't need any other equipment.

Evaluation/Sound

� TONE

The instrument must sound good to you or you

will not enjoy it and therefore not play it much.

� TONE BALANCE

This means that it has bass and treble.

� SEPARATION

Can you hear the individual notes on a chord?

� SUSTAIN

All the notes must last rather than quickly die.

� TUNING

The instrument has to be able to stay in tune

Construction

� FRETBOARD

May be flat or slightly curved from side-to-side.

� FRETS

Should be even, and none of them should stick

out more than the others.

� NECK

A good neck must has a functional trussrod

so that a repairman can make adjustments.

A good neck should ALWAYS look straight.

� BODY

Run your hands all around the body's edges.

If it feels like the wood does not quite meet

properly in any place, don't buy that instrument.

� BRIDGE

Make sure that the bridge is in the right place.

� PICKUPS

One pickup is all you need if you're starting out.

Don't expect a guitar to sound louder or better

because it has multiple pickups.

� SMOOTH OPERATION

Make sure the tuning machines, the switches

and the knobs are tight and operate smoothly.

Feel

� NECK

Should be smooth and comfortable. Classical guitars

have wide necks. Electrics have narrow necks.

Folk necks are somewhere in between. If you

have small hands a narrow neck is more comfortable.

� BODY SIZE

Most steel-string acoustic guitars have dreadnought

style bodies. These are big instruments, and if you are a

small person they can be uncomfortable to play.

� BALANCE

Hold the guitar in the playing position and notice how

it feels. The instrument should be balanced so that it

is not too heavy at the headstock. If you are buying

an electric, how does it feel hanging from a strap?

� ACTION

How high are the strings from the fretboard?

Low action make guitars easier to play. The higher

the action, the greater difficulty you will have.

� PLAYABILITY

This is especially critical for the beginning student.

An unsuitable instrument can have negative effects

on the learning experience.

Cost

� Spend as much as you can afford. Once you have set

a maximum price, stick to it, and DO NOT exceed it.

� If you decide for an electric, you must have an

additional budget to buy an amp and effects. Always,

focus your attention (and your budget) on the guitar.

You are going to have a very close relationship with it

and it has to feel right.

� Playability affects the price, cheap is no fun.

If a guitar is no fun to play, you won�t play it.

Other Things You Need

� CASE

A flight case or hardshell case is best. Soft cases

and nylon gig bags do not provide real protection.

� STRAP

Get an adjustable one that lets you set the length,

I recommend to buy a strap lock at the same time.

� TUNER

Get an electronic tuner. I recommend a chromatic.

� STRINGS

To start out, buy a light gauge. They are easier to

play but aren't so thin you'll break them right away.

� PICKS

Get all the sizes, shapes, thicknesses and brands.

Try them all and decide which works best for you.

� AMP

If you buy an electric, you need a small amp.

8 - 15 watts of power with one speaker (6" to 12").

� MUSIC

Unless you're already taking lessons, a good way to

start out is to get tablatures of your favorite songs.

Luciano Figallo is a guitarist, singer, songwriter, producer and the webmaster/owner of Guitar4ever He has been dealing with guitars and music for over 25 years now. His musical career covers both studio and live performance situations. So, most of his experience is hands on and he want to share it with you

How to compose music - creative ideas.

2007-02-28T15:59:00.001-08:00

Starting a composition is a difficult task. Getting your inspirations, thinking creatively, applying your creative thoughts to your music and supplementing your ideas with additional composition are all difficult tasks to accomplish.

For starters, your current state of mind will greatly affect the music you write � whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.

Different times of day and different seasons affect your composing as well as current affairs and any stress�s you might have.

The variety of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.

� Colours � If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.

� Character � it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviours help the actors � live � as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.

� Nature � a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope � or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin)

� Memories � another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past � try to imagine the memory in great detail � sounds, smells, colours the weather � anything that will give you a good image and story to compose about.

These are just a few sources for inspiration � use your imagination � it has never ending possibilities!

With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.

The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.

A rugby player could develop his passing techniques and his scrum techniques but if he doesn�t know the rules of the game he won�t be able to perform during a game.

Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music � in the same way as a poet needs a knowledge of his language to write a poem.

Some of the key areas you should know about and be constantly revising are:

� The Staff, Bar Lines, Clefs, Time Signatures.

� Note Values, Rests, Phrasing, Rhythm

� Articulation, Instrument Specific Techniques (pizz, con sord)

� Key Signatures, Circle of Fifths, Accidentals, Cadences

� Major, Minor, Diminished, Pentatonic, Diatonic Scales

� Modes

� Chords, Extensions, Inversions, Sequences, Arpeggios

� Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)

Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.

Use music theory books � go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords � there are many ways to learn all of this but find the way that you are comfortable with and stick to it.

Finally the last piece of advice in this article is to keep your composing active.

Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up � compose for different orchestrations and different abilities.

Composing is challenging but by keeping active like this will greatly benefit you and your compositions � and you never know � you may accidentally stumble upon your masterpiece!

This article is free for reproduction providing that it maintains its original form and an active link to www.realmusicproduction.com is present.

Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools as well as composing and arranging music for film, TV, and musical theatre. For more information or details on music composition please visit www.realmusicproduction.com/composition.php

Music Education - The benefits to children.

2007-02-27T16:00:00.001-08:00

Music is such a powerful force, it creates deep emotions in humans - it is played at weddings for happiness, in horror films and during war for fear and at home for happiness and because of this lends itself to relaxation, stress relief and health therapy - and the connection between music, body, and soul has even been shown to improve physical and mental health.

Skills such as working in teams, communication, self-esteem, creative thinking, calmer attitudes, imagination, discipline, study skills and invention are learnt and improved through the study of music and by focusing on the fact that young children are mostly highly receptive to pitch and rhythm - one of the main ways a child learns its language - that we can drive education in music to children to help them with benefits ranging success in society and in life.

�We believe the skills the arts teach -creative thinking, problem-solving, risk-taking, teamwork and communications - are precisely the tools the workforce of tomorrow will need. If we don't encourage students to master these skills through quality arts instruction today, how can we ever expect them to succeed in their highly competitive business careers tomorrow?"

-Richard Gurin

Chief Executive Officer, Binney and Smith, maker of Crayola crayons

Music is a part of our society and a part of all communities - every human culture uses music to carry forward its ideas and ideals. A study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. This development of compassion and empathy, as opposed to developing greed and a selfish attitude, provides bridges across different cultures that lead to a respect of other races at an early age.

Music has a great value to our economy - it creates jobs, increase's tax base, boosts tourism and spurs growth in related businesses. Music study develops skills that are necessary in the workplace such as teamwork skills and discipline - during musical performances all members must work together to create the sounds they wish to achieve and for this regular practice is also required. Music favors working and �doing� as opposed to observing, and these are the ethics employers are looking for.

Because of music's ability to relax, calm and heal, and its optimal platform for emotions, the involvement with music helps to carve brighter attitudes - more optimism towards the future, less TV and non productive activities, low use of alcohol, tobacco and illicit drugs and desire to develop individual abilities.

Music requires study skills, communication skills, and cognitive skills and as these are learnt and developed they expand the student�s abilities in other academic areas and help them become better students. - Students with coursework/experience in music performance and music appreciation scored higher on the SAT: students in music performance scored 57 points higher on the verbal and 41 points higher on the math, and students in music appreciation scored 63 points higher on verbal and 44 points higher on the math, than did students with no arts participation. � College-Bound Seniors National Report: Profile of SAT Program Test Takers. Princeton, NJ: The College

Entrance Examination Board, 2001.

The discipline of music, particularly through participation in ensembles, helps students learn to work effectively in the school environment without resorting to violent or inappropriate behavior - According to statistics compiled by the National Data Resource Center, students who can be classified as �disruptive� (based on factors such as frequent skipping of classes, times in trouble, in-school suspensions, disciplinary reasons given, arrests, and drop-outs) total 12.14 percent of the total school population. In contrast, only 8.08 percent of students involved in music classes meet the same criteria as �disruptive.� � Based on data from the NELS:88 (National Education Longitudinal Study), second follow-up, 1992..

Many studies have been conducted on the effects of music in the brain. Scientists say that children who are exposed to music or those who play an instrument do better in school than those who don't. Recent research suggests exposure to music may benefit a child's reading age, IQ and the development of certain parts of the brain.

It can be shown that some measures of a child�s intelligence are increased with music instruction - a connection between music and spatial intelligence (the ability to perceive the world accurately and to form mental pictures of things) helps people to visualize and imagine solutions. This helps people to solve problems creatively and is critical to the sort of thinking necessary for solving mathematical problems and even general daily tasks. �The musician is constantly adjusting decisions on tempo, tone, style, rhythm, phrasing, and feeling--training the brain to become incredibly good at organizing and conducting numerous activities at once. Dedicated practice of this orchestration can have a great payoff for lifelong attention skills, intelligence, and an ability for self-knowledge and expression.� � Ratey John J., MD. A User�s Guide to the Brain. New York: Pantheon Books, 2001. Along with mental development music study can support the brains physical development - it has been indicated that musical training physically develops the parts of the brain known to be involved with processing language and reasoning, and can actually wire the brain's circuits in specific ways. Memory can be improved through the linking of familiar songs with objects just as linking images can - past memories and emotions can be triggered by audio.

"Why arts in education? Why education at all? The purpose of education is not simply to inform but to enrich and enlighten, to provide insights into life as it has been led and as it may be led. No element of the curriculum is better suited to that task than arts education."

-David Kearns

Now retired Chairman and Chief Executive Officer of Xerox Corporation

Ideally we want our children to experience �success� throughout life itself. The benefits may be psychological, spiritual and physical and with the challenge of making life meaningful and fulfilled and to reach a higher state of development by participating in music we develop self expression which in turn leads to self esteem � ultimately helping us to succeed at these challenges.

�Casals says music fills him with the wonder of life and the �incredible marvel� of being a human. Ives says it expands his mind and challenges him to be a true individual. Bernstein says it is enriching and ennobling. To me, that sounds like a good cause for making music an integral part of every child�s education. Studying music and the arts elevates children�s education, expands students� horizons, and teaches them to appreciate the wonder of life.�

� U.S. Secretary of Education Richard W. Riley, July 1999.

Conclusion

Music is a powerful tool and as seen can dramatically improve and enrich everybody. It makes sense to push music education and to allow young generations to gain these wonderful benefits - higher intelligence through increased creative thinking, problem solving and physically stronger brains, a higher perception of life including better attitudes, strong desires to achieve and fulfil and higher self esteem, better developed discipline, study skills, concentration, communication and team skills which transfer from education through to career and a better understanding of communities and society

This article is free for reproduction providing it maintains its original form and an active link to www.realmusicproduction.com/pl.php is present.

Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools. For more information or details on music instruction please visit www.realmusicproduction.com or email info@realmusicproduction.com

Practising music - what to do outside of your music lesson.

2007-02-26T16:00:00.001-08:00

Practice makes perfect. These three words are heard every day and time after time these words are ignored. But why? Music is such a vast subject that for anyone, even the professionals, mastering it is near impossible. With years of work one can be very knowledgeable in specific areas of music but it would take more than a lifetime to fully understand every aspect of an instrument or music theory.

With that in mind hopefully people should start to understand that having a one hour lesson once a week is not even close to enough to gain substantial progress and development on a musical instrument.

This series of articles offer tips on practicing music which will hopefully demonstrate the benefits, enjoyment and fulfilment that can be gained through practicing music.

1. Goals are key. It is human nature to take pride in reaching a goal whether a promotion at work or winning a competition. If you have a set goal to reach you will be more willing to put in the work required to achieve it. Some examples of goals could be to learn the latest song you�ve fallen in love with, to be able to sight read in a certain key, to develop faster, more technical playing or to reach a certain exam grade before a certain period.

2. Little often is better than a lot occasionally. One key point to remember is that repetion is the quickest way to learn something due to your brain and muscles ability to develop and store a so called �muscle memory�. It will take a substantially longer time to learn and retain your new knowledge if you practice for a long period but only occasionally. See tip 3 on how to easily incorporate regular practice sessions into your daily routine.

Another benefit of practicing a little often is that your concentration levels are kept up throughout your practice session. Brass players will understand this the most � after playing a trumpet or any brass instrument for approximately an hour your lips start to feel numb which in turn begins to restrict your playing abilities. The knock on effect of this is that the longer you practice without a break, the more harm ultimately you will cause yourself � both mentally and physically � it will knock your spirit and could even do damage to your embouchure. Obviously this applies to all instrument groups; as is well documented repetitive strain injury is common among musicians. The primary cause of this is improper technique but as the name implies too much repetition through a movement can create serious effects. Therefore if you are practicing for longer periods be sure to take regular breaks � 5 to 10 minutes for every 50 minutes for adults and 10 to 15 minutes for every 25 minutes for children.

3. Routine. Imagine this � every morning you wake up, maybe make a cup of coffee or sort through the post and eventually at some point you will go to the sink and brush your teeth. Now most people do this without any thought � it is just something that gets done. This is the effect of getting into a routine. If you set aside a time each day to practice, away from distractions if possible, you will get into this routine making it much easier to practice, it becomes a part of your day to day life.

4. Practice with a partner. Most humans love competition � especially if you know you are the winner � and by tapping into this you�re making your practice session less of a chore and more of a game. Set challenges between you both and find some reward for the winner. The other benefits are that you gain an outsiders opinion and criticism on your playing, the opportunity to practice duets and you will have some company rather than being locked away in your bedroom.

This is just a glimpse at the different methods you can adopt to improve your practice and in the next article I will demonstrate some more music based tips to help you improve; using a metronome to develop your internal body clock, a fun method for scales and arpeggios and how and why you should be incorporating sight reading and music theory into your practice sessions.

For now just focus on your desires and on the reasons why you started music and give the tips above some thought.

This article is free for reproduction providing it maintains its original form and an active link to www.realmusicproduction.com/pl.php is present.

Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools. For more information or details on music instruction please visit www.realmusicproduction.com or email info@realmusicproduction.com

Music teachers - how to find the correct one for your private music lessons

2007-02-25T15:59:00.001-08:00

Learning an instrument is one of the most enjoyable activites you can do - it creates a sense of fulfilment and of pride. It can get tough at times with practicing and learning never ending pieces of information.

The best way to learn an instrument is to find a music teacher. In fact the best way to learn anything in life is to find a tutor and to take on the task head on and learn from actually doing.

People say that you learn from your mistakes � partyl true due to the fact you know what NOT to do but I believe there is a key point missed here � at least you are actually DOING something.

A teacher is someone to show you the path, the �light at the end of the tunnel�. At the end of the day they know what they are doing and talking about � you probably don�t � and its because of this, the fact that you put all of your trust into your teacher, that you should be very carefull about ensuring the teacher you choose is up for the job.

Here is some advice on choosing your teacher and what to look out for.

1. Previous Experience.

It is essential that your teacher has previous experience. There are two types that count � performing experience and teaching experience. It is important that your music teacher is actually a musician � the best reason I can think of why is this � imagine instead of learning an instrument you want to learn how to scuba dive. Would you let yourself be taught by someone who has studied diving from books but never actually been under the water?

If your teacher shows that he has performed music it gives you some guarantee that they are of a high enough standard musically � chances are they wouldent of been hired if they couldn�t play their instrument.

The second is teaching experience. After discussing how it is important for your teacher to of actually been involved in music it is also important that the have experience in teaching music.

Teaching is a completely different art to performing. Most musicians tell me that they learn more through teaching than they do from any other source - when you teach you instantly reveal your own weak points.

The opposite of this is true as well actually � how many times have you heard someone who recently passed there driving test say �you don�t learn how to drive until your out on the road on your own � after your lessons and test� (This carries over to a future article � Why performing is critical to your progress as a musician.)

So � make sure your teacher is both a musician and a teacher.

2. Attitude.

Often people ask for character references � estate agents, employers � most people looking to hire someone. This is also true for finding a music teacher.

The hardest part about teaching is surcumming the frustration of �well I know how to do it, why cant they�.

Learning is much easier in a friendly environment � did you ever notice that the teachers that had a laugh and were fun often taught you the most? In human nature it is common to be stubborn and resilient and it is a teachers personality and charcter that helps connect with you therefore making the experience enjoyable thus increasing the productivity of your lesson.

Although it is not generally goin to be possible to get a reference from a teacher but use your first lesson as a trial. Get to know your teacher a bit and get a general feel for the lesson � if you have fun and enjoyed every minute then you�ve probably found a good teacher character rather than if it was drab and boring.

If you can talk to some of your prospective teachers other students. See if they enjoy their lessons and what there overall comments are.

3. Flexability.

Again tis covers more than one topic � flexability as a musician and as a teacher.

In the long term you are going to begin expanding your musicality. For example � wood wind players generally begin learning one instrument, maybe clarinet or saxophone. Eventually, and if thy want to pursue music, they will begin learning other woodwind instruments as it is common for, say for instance a saxophone player, to play clarinet, flute even through to oboe and bassoon.

Because of this you are going to want a teacher that can provide this in the long term. After months and years of lessons with your teacher you wont want to find that in order to progress further you need to find a new teacher and again begin to creat the bond that you would of developed with your current teacher.

Positive things to look out for are:

� If yor teacher still has lessons and practices (even the most professional musicians still have lessons � see the beginning of my article � Practicing music � what to do outside of your private music lessons to find out how it is impossible to learn and master every aspect of music)

� If your teacher teaches more than one instrument (be wary of teachers that teach, for instance, trumpet and flute � whilst musicians do end up playing completely irrelevant instruments they generally will stick to teaching their primary instrument.)

� If your teacher is still an active musician � this is a gray area because where it is easy to assume that your teacher, not an active musician maybe is not good enough to perform music, it is possible that your teacher prefers teaching than performing. The benefit if they are still an active musician is again they will be learning constantly and they will still be an active teacher during this period.

To a lesser extent the other flexibility to look out for is there organisation in regards to lessons. It is possitivly adviced that regular lessons � or regular anything � is good for you. Regular exercise keeps you healty, regular sleep keeps you alert and regular lessons help improve your musical playing.

If your teacher will constantly phone up to re-arrange or misses lessons or is late for your lessons it will have a negative effect on you. Pshycologically the fact that you havnt got into a routine with your lessons and the fact that you keep getting let down will make you less enthusiastic towards your music lessons.

So find a teacher that offers many years of tuition rather than a limited number of months and someone who will keep regular dates and hold his promises of this dates and times.

Hopefully this article will give you some food for thought if you decide to find a music teacher and just remember that unless you are enjoying and learning your instrument � maybe you need a new teacher.

This article is free for reproduction providing it remains in its original form and an active link to www.realmusicproduction.com/teachers.html is present.

Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools. For more information or details on music instruction please visit www.realmusicproduction.com or email info@realmusicproduction.com

Mozart Biography

2007-02-24T16:00:00.001-08:00

Wolfgang Amadeus Mozart was born in the sovereign archbishopric of Salzberg, now in Austria in January 1756. His father was one of Europe�s foremost music teachers, who, in the year of Mozart�s birth published a highly influential textbook for the violin. The Mozart biography is unusual.

By the time he was three Mozart�s genius was already in evidence and his proud father was already giving him intensive music lessons in the violin, clavier and organ. By the age of four he could play several pieces and by five he even composed a few. His piano playing was extraordinary as a six year old and he could even play blindfolded.

Mozart had a very unusual childhood, as he accompanied his father all over Europe for several years, beginning with a trip to Bavaria for the 1762 exhibition; on to the Imperial Court in Vienna; then to Prague. During the next three and a half years concert tours took them to many courts all over Europe, including London, Paris and The Hague. After returning home they went on to Vienna in 1767, remaining there for almost a year.

Another year in Salzberg followed then three long trips to Italy. Two particular highlights of this time included Mozart being accepted as a member of the acclaimed Academia Filarmonica; and the occasion when he heard Allegri�s Miserere for the first time in the Sistine Chapel and was able to write it out in full from memory. An astonishing feat.

In 1778 Mozart embarked on a concert tour accompanied by his mother who died in Paris.

By this time of his life Mozart had met many great composers and was a superb concert pianist and composer. He used the style of many of the composers he respected in his earlier music whilst at the same time developing his own.

By 1781 he had become Konzertmaister to the archbishop in Salzberg but after a visit to Vienna he became disenchanted with the strictures of his employer, and was keen to take his music further. Whether he was actually sacked or not is a matter of conjecture, however he moved and settled into Vienna life, and indeed got married to Constanze Weber in 1782, against his father�s wishes.

The year of 1782 was a great one for Mozart; he had success after success with his piano concertos as director and soloist and with his opera �The Abduction from Seraglio�. During this period he became familiar with and studied the Baroque composers, particularly J.S.Bach and G.F.Handel the result of which is very evident in his music of these and subsequent years.

The Mass in B minor, partially written to bring his father and wife together, for she was the soloist in the premier in Salzberg, whilst being a popular success did not bring the two together.

Mozart met and was friendly with Hayden in Vienna, and Hayden was very aware of Mozart�s extraordinary talents. Meanwhile he appeared as a soloist until 1785 enjoying financial success, but by this time he is suspected of having hand injuries, and his composition decreased.

Whilst his lifestyle and suite of 7 rooms were somewhat lavish during this time, entailing his occasional borrowings, he was by no means a pauper. His compositions and commissions from the rich earning him a very good living, and his frequent visits to Prague earned him fame and considerable financial considerations.

There is no doubt that Mozart died at about 1.00am on 5th December 1791. However there is some conjecture as to how long his illness had lasted. It is generally understood that he was pretty healthy until soon before his death, and so the Requiem he did not manage to finish was written during the time when he was healthy.

His family and friends were shocked by his sudden death at such a young age. Mozart was buried, as was the tradition at the time, in a regular communal grave pursuant to he 1784 laws of burial. Memorials were later set up.

This brilliant composer is certainly amongst the Great Composers and despite living only 35 years managed to complete an enormous number of works, most of which we still listen to and enjoy today.

Mozart Music

2007-02-23T16:00:00.001-08:00

From the sublime to the stupendous; from musical jokes to the Mass in C minor; from the early writings of a child prodigy to the truly innovative piano concertos; Mozart managed them all within his short life of only 35 years.

In a poll of over a million classical music listeners in the UK held every year, in 2006 Mozart�s music was still top of the charts as the composer whose people want to listen to. He was top in 2005 too. He has sold more records worldwide than anyone else.

Mozart was able to put his musical genius to very good use. He was also a prodigious composer with the ability to write not only for solo instruments but also new ones like the piano and clarinet, just being developed. He was just as at home with a symphony or a sonata, a requiem or a recitative, a violin or a variation.

His incredible knowledge of music and music forms, composition and exposition, led him to be able to write in all forms available at the time, and he could also write �good tunes�. Maybe that is why so many people today still enjoy his music.

The son of one of Europe�s best music teachers he was taken abroad at a very early age and in his short life met many composers and studied in detail many others. Many of these composers had a profound influence on Mozart�s music whilst at the same time he was able to use his own techniques to counterbalance this influence and create the music he wanted. Indeed his music was popular as well.

Most other composers and musicians at the time recognised this talent and were happy to go along with the innovative but quite perfect (in musical theory) transformations that were happening in music at the time. The transition from Baroque, via Hayden and through Mozart led to the big symphonies of Beethoven and later composers. Beethoven wanted to be a pupil of Mozart but went to Hayden instead because of Mozart�s early death.

Mozart was not only able to write sonatas, accompanied by the piano, for many orchestral instruments, but whole concertos. Violin concertos, clarinet concertos, piano concertos, horn concertos and many, many more still feature highly in the repertoire of modern orchestras and soloists. Often these were written by Mozart for a commission, or sometimes for friends who he would organise concerts for with himself as conductor, director and piano soloist in the next half of the programme.

Mozart�s operas were truly a result of his appreciation of the European scene at the time, and made possible by his extensive travels, particularly when younger. He is able to employ both suitable gravity and humour into the stagecraft by using music as his tool. We can still appreciate it to this day. You don�t need to know the words of a Mozart opera. The music will explain all.

Mozart was one of the first composers to be able to experiment with the new forte-piano, and subsequently with the pianoforte. These were being made in Vienna at the time and the composers would have been able to make their own adjustments to the instruments and suggestions as to their development, particularly for concerts.

Mozart�s music for solo piano shows his early mastery of the piano, as opposed to the clavier or harpsichord. The new sound that this instrument made must have been truly wonderful to the people of the time. Mozart made best use of it, both as a brilliant pianist and composer. His 27 piano concertos show his love of the new pianoforte.

Mozart�s music, diverse as it is, will retain a special place in many people�s heart. Whether it�s the happy bits or the sad, the complicated or the simple, this Great composer�s music will be with us for future generations and be equally loved and appreciated by them.

Mozart Requiem

2007-02-22T16:00:00.001-08:00

The one thing to always bear in mind when you listen to the Mozart Requiem is that he didn�t write all of it. He wrote the first movement but his unfinished manuscripts had to be used to actually finish the work.

Wolfgang Amadeus Mozart was commissioned by a secretive person (we now know it was a rather eccentric Count von Walsegg-Stuppach, and through intermediaries) to write a Requiem and was given half his commission in advance. He set about this task in mid-1791 when he still had quite good health.

Mozart was a great composer of repute by this time, at the age of only 35, and had completed a vast list of compositions, from piano concertos to string-quartets, sonatas to operas, symphonies to solo works. Perhaps his Mass in C minor, written in 1783 and an immediate success was the reason the Count wanted Mozart�s music for himself?

However there is possibly another explanation. The Count was a very rich aristocrat who was also an amateur musician. He had a habit of commissioning works from composers of the day and passing them off as his own. His young wife of 20 years old died in February 1791 and he sent an anonymous messenger to Mozart soon afterwards requesting him to compose a requiem mass.

Walsegg-Stuppach intended to have the mass performed as his own, once completed, he being only 28 at the time, never to remarry.

Mozart died before he could complete this epic work, although he left quite a few manuscript pages showing what he was thinking of, some in quite a bit of detail, enabling the work to be completed by others.

Constanze Mozart, after Mozart�s death, was keen to get the work finished because of the 50% still owing upon completion. She asked Joseph von Eybler, a friend and pupil of Mozart to finish the score. He did some work on it but, because of his own composing, felt he was unable to complete the work and returned it.

Franz Xaver Sussmayer, another friend and pupil of Mozart�s was then given the task of finishing the work.

Using Mozart�s original drafts, Eybler�s additional work, both his own competency and the fact that he had been taught by Mozart, he finished the requiem. He had to add the movements which would be normal in a requiem, whilst ending with adaptations of the first two movements.

It has been thought that other composers may have helped either orchestrate or assist Sussmayer in this task but we will probably never know, and this was denied at the time. When finished by Sussmayer in 1792 the score was quickly sent to Count Walsegg with the counterfeit signatures and initials of the dead Mozart.

Wonderfully controversial, particularly if one looks into what was occurring at the time, the music actually speaks for itself. Mozart stands out as being spectacular whilst the other �helpers� to complete the requiem show less of the Great composer than the pupil or pupils who are trying hard to live up to the Master�s expectations.

The Mozart requiem is a fabulous work which becomes even more interesting when you know a bit about it. Have a listen and see if you can spot the difference.

Music copyrights

2007-02-21T15:59:00.001-08:00

Composed a tune? Get a copyright to avoid misuse of it.

A copyright protects the form of expression of a creator against copying. Literary, dramatic, musical and artistic works. This protection is available for both published and unpublished works.It is illegal for anyone to violate rights provided by the copyright law to the owner of copyright.

These rights, however, are not unlimited in scope. One specified exemptions from copyright liability is called "fair use". Another exemption is "compulsory license" under which certain limited uses of copyrighted works are permitted upon payment of specified royalties and compliance with statutory conditions.

Now www.mrights.com has officially launched the music industry's first online exchange of intellectual property. For the first time ever, industry buyers have the opportunity to acquire music copyrights from all possible sellers. The online trading platform allows only pre-qualified buyers to browse the properties up for auction, respects both buyers' and sellers' anonymity, and enables all due dilligence prior to any sale.Each seller has the ability to establish minimum reserve prices, to set a "Buy Now" sale price, and to include their property to be sold as part of a larger "Bundle", a feature which often commands a higher multiple on NPS.

www.mrights.com is the only venue providing an online trading platform for buying and selling music copyrights open to all copyrights holders and qualified buyers. MRights.com offers an easy to use online dynamic pricing (i.e., auction-style) format that allows sellers to list music copyrights for sale, buyers to bid on and buy music copyrights and users to browse through listed properties. Our website permits acquisitions of copyrights to be consummated in an automated, secure e-commerce environment.

At this online Marketplace now buying and selling music copyrights will be easier. Just log on to www.mrights.com and get your intellectual property's copyright.

Barry Michaels-Radio is My Life!

2007-02-20T16:00:00.001-08:00

Thirty year broadcast veteran Barry Michaels, ('Michaels In The Morning') has quite a few stories to tell! His early life was an idyllic one, growing up on picturesque farm land in the southeastern United States, with a Mom and Dad to admire and a support group of aunts and uncles that many don�t have today. Barry became interested in radio at an early age, becoming a �gopher� for one local radio personality and quickly learning where the emphasis is placed in the term �show business�. Barry's career began in earnest after college, when he finally screwed up his courage to apply at a small radio station near his hometown, where he spoke mostly to cows. Little did management know that he would have paid them to be on the air! From having the honor of being recognized by his peers with nominations as Major Market Air Personality of the Year to working as a towel boy in a swanky country club between radio jobs, you�ll share in Barry�s top of the mountain triumphs and bottom of the valley lows. You'll get to meet some of the most talented professionals in the business and you'll cheer the heroes and clinch your teeth at the bad guys! Barry also honors those who entertained and inspired an entire generation of radio personalities-the voices on those fifty thousand watt a.m. radio stations with legendary call letters like WLS, WCFL, WABC and more.

From sleeping in his Volkswagen 'Bug' to traveling across the United States five times in search of the perfect on air radio job, Barry's stories are poignant and laugh out loud funny. Learn how Barry was almost gunned down by a psychotic listener at a radio station in Orlando, Florida before his boss intervened. See radio through his eyes when he begins work at a rock and roll station that employs a Catholic priest as a 'DJ�, and dodges flying beer bottles in one of the many bars he makes appearances in for his radio station.

The 'Radio Road' is fraught with many bumps along the way and you may even see yourself as Barry attempts to raise three young sons as a single father and tries a comeback after a bitter divorce and child custody battle. You may not want to enter the thirty five dollar a week almost condemned house Barry was living in while awaiting the court�s ruling. You really don�t want to wake up in his room during a thunderstorm as rats prepare to feast on his toes! Meet his new landlord, who�s down on his luck too, and has a secretive past with the United States Army. Barry's adventures have taken him from the beautiful stillness of his blue Virginia mountains to the golden Pacific ocean--all seen through the window of his beloved Volkswagen Beetle, which he still owns. It's radio, it�s life, and it's real. Come along for the ride, and find out the true stories of those 'masked riders of the hertzian wave.'

Dieter Martin is a long time radio industry fan and participant, and delights in sharing stories of those who have given so much to broadcasting. Read more of the remarkable life of Barry Michaels-www.thebarrymichaels.com Additional biographical information may be found here-www.ZoomInfo.com/barrymichaels

Johannes Brahms

2007-02-19T16:00:00.001-08:00

Johannes Brahms, one of the Great Romantic composers was born in Hamburg in 1833. Like Mozart before him, Brahms�s father was a musician playing several instruments, but who had come to Hamburg looking for work as a town musician. Johannes showed early promise on the piano, having been taught from the age of three, and in due course he helped to supplement the small family income by playing in bars and indeed brothels in Hamburg.

Although he gave some piano concerts and went on a few concert tours, he never became a famous pianist; however he did perform his own 1st and 2nd piano concertos at their premiers in 1859 and 1881 respectively.

As a teenager he started conducting choirs and became quite a respectable conductor in his own right. He also started to compose his own piano music, with little reward at this time.

In 1853 he went on a concert tour as accompanist to the famous violinist Remenyi and met several composers including Liszt and Joachim. Joachim gave Brahms a letter of introduction to Schumann and he walked the considerable distance to D�sseldorf to be welcomed by the Schumann family. Schumann was very impressed with the 20 year old although others were rather more sceptical at the time.

Brahms became very attached to the much older Clara, Schumann�s wife, but although he never married he was engaged for a while in 1859 and had several affairs. Schumann meanwhile was incarcerated in a mental institution after his attempted suicide in 1854 where he died in 1856. Brahms looked after the Schumann household until this time, although it is thought that his relationship with Clara was platonic.

After Schumann�s death Brahms spent his time in Hamburg where he founded a ladies choir and in Detmold, where he was court conductor and teacher. In 1862 he first visited Vienna which he fell in love with, and the following year he accepted a post as conductor of a choir there. Although he was offered conducting posts elsewhere he stayed in Vienna composing and conducting various orchestras and choirs.

Throughout the 1850�s and 60�s meanwhile, Brahms composed music in his own very exacting and perfectionist way, disliking the �excesses� of composers such as Liszt and Wagner, and sticking more to the traditional classical style of his predecessors, particularly Bach, Mozart and Beethoven. His lack of confidence in his own composing ability was finally rescinded somewhat by the success of his �Ein deutsches Requiem� in 1668 which confirmed his European reputation as a composer of note.

His composing started to increase and in the 1870�s and 80�s he produced his four symphonies, as well as quartets and piano music. The Duke of Meiningen�s orchestra became his medium for new orchestral works in 1881.

Brahms� frequent travels both for concert tours and on holidays took him to, amongst other places, Italy on several occasions, and the open air and pastoral landscapes enabled him to compose in tranquil environments, rather like Elgar�s walks on the Malvern Hills in England.

By the time he was 57 in 1990 however, Brahms had had enough of composing and decided to stop. This did not work though for he went on to write many more solo works for piano as well as his clarinet quintet, trio and sonatas, as well as several other works.

In 1897 he became ill with cancer whilst finishing his latest �Four Serious Songs� and died soon afterwards, to be buried in his adopted Vienna.

While Brahms was not the most prolific composer, his attention to detail was incredible and he will always be remembered as one of the Great composers of the classical romantic period.

Johannes Brahms Music

2007-02-18T16:00:00.001-08:00

Johannes Brahms, whilst being one of the �Great� composers cannot honestly be said to have added much to classical music itself, in a technical sense, except for his wonderful compositions.

Whilst Bach and Handel tried to move their music on to new heights, Hayden and Mozart developed the symphony and the concerto, and whilst Beethoven experimented with new forms such as the �Choral� symphony, Brahms was content to work on these, and other previous and perhaps conservative forms, to compose his music. He was technically very good at following the guidelines set by his musical education and his conducting experiences.

This though does not in any way detract from the music he did write, which is still played and enjoyed around the world. Despite the lack of proliferation of Brahms� music the real reason behind this is that he was a real perfectionist, with low self-esteem.

Unlike Bach, who would write concertos in a week and sonatas overnight, or Mozart, who wrote a prodigious quantity in his short life, Brahms sometimes took years to perfect his compositions. He had studied Bach, Mozart, Beethoven (technically, probably his musical mentor) and many other composers, and was certain in his own mind that he could not live up to his own expectations.

However, having composed from the age of 11, and with copious study of music theory, Counterpoint and other composers music, whilst at the same time conducting choirs and orchestras actually playing other people�s music, he finally succeeded, with his major choral work �Ein deutsches Requiem�, in obtaining critical acclaim from his contemporaries and the general public in 1868. It had taken him years to write.

His music was always popular in England though, and he was even offered a doctorate at Cambridge University, which he refused as he thought that it may detract from his musical stature in the rest of Europe!

In general Brahms was one of the last of the Romantic era of composers of classical music, preferring the more �normal� forms of his predecessors to the vast Wagnerian spectaculars or the perhaps more �free-form� type of music that Liszt was composing. Both of these worthies developed new techniques and styles of music, many of which became popular at the time, but some much later.

Brahms did, though, write very beautiful music. His violin concerto in D minor, written in 1878 for his friend Joachim the violinist, is still one of the most popular violin concertos played today for audience and soloist�s alike, although it is generally agreed that it lacks something for the true virtuoso.

By contrast however his piano concertos show the virtuosity that perhaps the violin concerto lacks, and are similarly well known today as �Great� works. He also wrote many solo piano pieces and around 200 songs to be accompanied by the piano, generally known as �Lieder� music, of which his friend Schumann, and the admired Schubert were acknowledged masters.

Although his first symphony took 14 years to write, his next three several years later were completed in much less time. Shades of Beethoven, along with Brahms� own melodies are noticeable in all four, whilst the classic symphony form is adhered to as well.

In the days before electronic music Brahms� music was often played at home, and his solo piano works as well as his songs became great favourites.

His popularity in chamber music and more intimate solo and duet pieces, as well as his greater orchestral works ensure that Johannes Brahms will remain one of the Great composers of the classical and romantic era.

'Crisis' in Contemporary Music? What Crisis?

2007-02-17T15:59:00.001-08:00

'Crisis' in Contemporary Music? What Crisis?

THE HEART OF THE MATTER

By

David F Golightly

Is contemporary music in a state of crisis? Answers range from 'certainly' to 'possibly' to ' not at all'. I would like to contribute some points to this continuing debate which, if not altogether original, are ones which I think do not receive the attention they merit.

Colleagues, I believe the fundamental debate is not about style or language, and that the solution is not about marketing or education. Maybe we all need to invest time and energy examining the traditional reasons why artists have always tried to express themselves, be it by music or any other art form. It may well be that contemporary music 'is in crisis' but maybe the real issue and solution is not just about educating the listener or consumer, but, to ask 'who is to blame?' Have we lost sight of the reason why we are composers?

Music publishers have invested a substantial financial amount in contemporary composers, which is an admirable commitment to the future of �classical� or 'art� music. To publish and market a new composer, or indeed a new piece, requires not only a lot of financial nerve but also a high level of artistic and cultural bravery. Music publishers work in a unique environment. They run a business, have to balance the books, and all investment has to be justified. Also traditionally a country's cultural heritage was entrusted to their ability to develop and nurture the best of new composing talent. Not only do they have to be able to recognise a new and exciting voice, but they also have to try and predict future stylistic developments and to 'publish for the future' not just for �the now'. Get it right - and the country can draw on a vast reservoir of creative talent. But get it wrong - and we become a rubbish dump for mediocrity and the inane. Into this arena, fraught with pitfalls and potential for mistakes, I believe, publishers have always tried to bring a certain amount of expertise and honour - protecting their artists from the financial complexities of modern society, ensuring universal copyright is registered and investing time and money into the partnership. All right: they are running a business for profit - but composers must appreciate that it can a very risky business indeed.

But are publishers getting it right? At no other time in the history of art music has the consumer been more educated, more knowledgeable and had such easy access to a wide range of musical styles and genre. From teenager to granny they all have experience of dramatic orchestral tapestries through the medium of films and television. Given the popularity of the film Lord of the Rings, for instance, you have to acknowledge that a whole new generation has been exposed to an experience of the drama and excitement generated by a large orchestral canvas, the very building blocks of classical or art music. I believe the general public has taste and more importantly,�instinct� and can recognise great classical music regardless of the style or uniqueness of the voice - providing, that is, the composer has talent, is skilled and wants to communicate. That does not necessarily mean writing in a traditional style and not developing your own voice, but rather holding fast to those elements that reward the listener and performers. In my view, however, publishers have often promoted composers who lack these essential ingredients and, most importantly, the indispensable ingredient of 'heart'.

Performers and audiences, I believe, should be rewarded by those emotional elements in music which make us all 'more than we are'. Recently I was in the foyer of my local music college when a young man approached and showed me a score. He was at great pains to point out that he had studied orchestration for years and that 'that in itself was a great skill'. But orchestration is not about what is learnt, but what is needed. The arrogance and sheer blindness of his approach distressed me. Too many of our young musicians think that composing comes from learning rather than, as I believe, directly from the heart. I did not disillusion the young man but left him to the mercies of academia, to which, I am sorry to say, publishers also too readily succumb. Even in merely financial terms, for publishers to ignore the educated judgment of today's consumers is surely foolish.

There is a whole industry of academic pretentiousness that has been nurtured and cultivated by the contemporary music establishment which is, in my opinion, a million miles away from the motivation and philosophy of composers from past generations. Having cultivated the weed you have little choice but to try and justify its existence. Why? Is it not better to cut your losses and acknowledge that music, as all art forms, has to communicate if it is to reward. There is a vast worldwide market for good classical or art music if it communicates - that is, has drama, energy. Some of the diet that has been served in the last forty years does nothing but alienate a consumer who instinctively knows the quality of the real product. regardless of the style. How often has music that is questionable been commissioned and consequently published, and what turns out to be its one performance defended on the grounds that 'the language, and style are so new that it is bound to be difficult for audiences to appreciate'. That statement may have been true for Beethoven�s day but not for today's highly educated audiences with their access to a vast information highway.

I was once shown a score by a leading contemporary composer and the lecturer who was praising the work pointed out its great beauty of line and phrasing - and that the written score 'alone was a work of art.' I happen to be a tuba player and pointed out that the orchestration was such that no matter how much counterpoint and beauty of line existed on paper, to write for tuba in its topmost register as the composer had done meant that all the listener would hear was that instrument's rather tiresome honking quality. This remark was met by great derision and incredulity that I should question the composer�s 'genius'. (For me the genius would have been the player who could have played such high notes molto pianissimo in order that the other woodwind instruments might be heard.)

Of course composers have to stretch and challenge both performers and a audience. Nobody writes harder music than I (ask any of the ensembles that have commissioned works from me), but music is much more than a technical exercise. You cannot learn to be a composer! Composing is a talent that you develop, an instinct you follow, in fact a matter of the heart - the very ingredient which provokes the 'special response' from performers and their audience. Years ago I suffered a lot of jealousy and criticism from so-called more experienced musicians, who just did not know the meaning of the word 'instinct'. Consequently their music lacked heart: it might be interesting and have fascinating textual colour, but if it lacks a soul what justifies its existence? Or am I missing something here and does a higher spectrum of a musical stratosphere exist somewhere that is apparent only to those individuals who appreciate the most extreme 'Avant Garde' If so please tell me: I am willing to study and learn if you can convince me of the validity of your secret!

How can you align a contemporary piece of art music (that may repeat a similar phrase over and over again, or a vast ever changing sound world where dissonance is piled on dissonance with no perceptible, and I underline the word perceptible, logic to the gradient), with the dramatic vivid orchestral colours of a film score? True - to anticipate a reply - 'one is absolute music and the other is wallpaper' (pretty sophisticated wallpaper, too, I might add!). The tragedy is that, in today's climate, the essence of heart and soul, traditionally found in all music is now, in the wallpaper, not the absolute, and worse - the consumer knows it. I accept that a lot of good contemporary music has been written and published in the last few years. The media and general public however tend only to remember the disasters.

The good pieces may be played more than once and even enter the repertoire, but the bad pieces merely reinforce the impression that art music has lost touch with its source and is now part of the self-indulgent world of the elitist musical establishment. Please note - before you form a lynch party - that this is not necessarily my opinion, but what I believe is a public perception, rightly or wrongly, provoked by the music of contemporary composers in the last forty years.

No one has more respect for the BBC than I. It has, for years, fought a rearguard action to maintain standards,trying always to support what it believes is music of the highest calibre. Radio Three, traditionally, has supported, broadcast and commissioned the best new pieces especially from young talent. Many established English composers, past and present, owe their success to the patronage and support of the BBC. Working under, sometimes impossible financial constraints it has tried to bring to the public attention music that it considered to be of the highest visionary and artistic worth. However there lies the rub. It is what it perceives to be worthy and contributing to an ever-evolving musical stylistic language. Get it right - and English music maintains its place on the world�s cultural stage Get it wrong - and a cultural desert will emerge. The responsibility is immense and one that must surely weigh heavily on its management's shoulders.

To be fair the BBC has had considerable experience and a proven track record but in todays musical environment there are many more factors and unknown social variables. I believe that they do need to keep in touch with public taste and interest and not always consider it can dictate the evolution of the language of music. By the nature of both reputation and cultural heritage, it has to walk a tightrope of academic and artistic validity. Sometimes I feel in the last forty years it has stumbled, and as we all know it is the stumble that provokes the gasp that the crowd remember.

The Proms festival is a tremendous celebration of the BBC's efforts on behalf of classical music and English composers. I for one appreciate and stand in awe at its courage, though sometimes I also worry that a number of the pieces, commissioned and performed, are only remembered because of their provocative and controversial sound world and not for any artistic or emotional merit. I sincerely hope my worry springs from naivete and that on this occasion my assessment and instincts are wrong.

Despite all the criticism Classic FM has done much to generate and raise public perception of classical or art music. It is true that it does not play vast amounts of the more avant garde contemporary music, though I do understand that as much as 40% of its output is devoted to music by living composers. Classic FM has also been accused of reducing the listeners' attention span by concentrating on something akin to a menu of musical snacks, that is, of cheapening the product by presenting it in an abridged format. The fact that this approach is more in keeping with the marketing philosophies of today's society seems to be of little consequence to the critics, who question how a person can perceive or value the artistic merit of absolute music if you just broadcast a fragment of its totality. Maybe, having spent years researching and evaluating the potential product, the academics, from their perspective, have a point.

It would be much more rewarding and aesthetically pleasing to listen to a complete string quartet, than just one movement. However we live in a consumer environment and to market a product, no matter what its artistic stature, you have to employ the elements that are psychologically common to that society. Musical snippets, for instance, feature prominently in today's advertising campaigns. Consumers may not realise they are hearing classical music, or know the composer, or be able to name the piece, but are we entitled to criticise Classic FM for employing the same principles in their broadcasts?

I personally believe they have simulated and encourage a tremendous potential for our product as contemporary composers, much more than we could have ever dreamed possible. I am reminded of a certain football club which plays Prokofiev's music just before the beginning of the game. When a London ballet company visited the town�s main theatre to perform Prokofiev's Romeo and Juliet it was amazed to find the venue had been sold out three months in advance. I do not know the percentage of football supporters in the audience but the previous visit, the year before, had not been very well supported. Coincidence or not? It would be interesting to find out; and, by the way, one of the club�s best selling CDs is apparently a recording of that very piece.

I personally believe that Classic FM has made a tremendous contribution to the public acceptance and understanding of classical music with its intellectual and emotional demands. If I have a criticism it may be that sometimes they seem to allow air time choice to be dictated by the marketing requirements of their advertisers, but hell! - they have to live, and you cannot have everything.

Which brings me to the record companies. I suppose an apt description of the individuals that run 'the majors' as they are known, would be 'tough cookies with hearts and pockets of gold'. I do believe they live on different planets from those of composers or indeed artists. However in their defence they have to operate in an environment where judgment and instinct are paramount. Like music publishers they have to anticipate public taste and demand. Get it right and the financial rewards are reasonable - and I stress the word reasonable. Get it wrong and the financial pressures from their masters are colossal.

Most A&R people I have had dealings with have been very genuine and committed musicians. They constantly have to pick their way through a diplomatic minefield, dealing with composers and performers who may have very fragile egos and who may have very little understanding of the commercial world. With the best will in the world you cannot justify investing thousands of pounds in a product if your instinct tells you there is going to be a limited return, no matter how much you believe in the composer.

I remember the head of marketing of a major record company kept the recording I had sent him of my first symphony. He had kept it, said his secretary 'because he liked it so much'; unfortunately he and his team did not consider it to be of significant commercial value to market. Not much consolation for the poor composer who had invested so much time and effort in the project.

The record companies, like most of the music publishers, are at the moment under siege. The only way they can compete against the thousands of composer-publishers and small record labels is to invest a considerable amount in marketing and tap into their network of world wide sales, distribution and returns. However they run the risk of becoming victims of pirating and copyright infringement, with their product posted on the web for any individual, ie thief, to download free of charge. The more successful they are, with the marketing of a product, the greater the danger of piracy. Is it any wonder, considering the risks involved, that most are reluctant to gamble on a new composer or more importantly a new musical style or language. I personally have a lot of sympathy for their position. True, they may have their successes but I also bet there is a lot of gnashing of teeth over the many failures we do not hear about.

I may have lost money over the recording of my first symphony, but it was my work and I believe in its artistic merit. This amount in any case would be a fraction of the cost a major record company would budget and risk on a new composer or piece. I hope, at the very least, that artists will always try to be fair and see both sides of the coin.

However I also believe the record companies have to accept some blame, and are to a certain extent responsible for their own predicament with regard to classical music. There is a limit to the amount of return, no matter how popular a Mozart symphony may be, if the product market is shared with countless other recordings on of the same music. This practice of over-recording has saturated the market and restricted the investment in new blood and new products. Any manufacturer will tell you this is a recipe for disaster. You have to continue to develop and improve your product if you hope to maintain consumer interest. To be fair having witness public and media reaction to contemporary music over the last 40yrs and the extremes of stylistic language used can we blame the reluctance of what are essentially business ventures to

invest in a product that has such adverse public and hence consumer perception and reaction. (Even the most optimistic of composers would have to admit there would be a limited financial return and demand for a recording of a certain piano piece by John Cage)

Mention of John Cage brings me finally to my fellow contemporary composers. One of the great privileges of my life was to spend so time on the board of The British Academy of Composers and Songwriters. I will just never cease to be amazed at - and hopefully never forget - just how much time, energy and generosity of spirit my fellow composers, both popular and classical, gave in defence of the music of their member composers and musicians. These individuals who work so hard for the rights of artists and composers regardless of the cost or drain on their own creative resources and energy cannot be praised enough.

What is it that makes them work so hard and so long to defend and promote the worth of British Music and composers? Certainly no financial gain, as I know all gave of their time freely, and in some cases, this unselfish commitment went on for years. I believe it is nothing more than a belief in the rightness of what they do as composers - a generosity of spirit that

fuels a desire to help and support the value of British music and creative endeavour regardless of its genre.

I never witnessed one moment of envy or jealousy from these talented individuals - just a wholehearted commitment to the work of their fellow writers. Therein lies the hope! If all writers and composers have such integrity then the journey to producing art and music that has worth will be revitalised. I do not pen the words 'Brotherhood of composers' lightly. I believe passionately in the integrity of my fellow musicians and artists. The world needs our vision more than ever. The real music and art will survive and be triumphant, because it contains those elements that are at the core of the human spirit.

A crisis in contemporary music? Audiences and performers will always eventually recognise integrity and the beauty found in music that reflects the soul of its creator. No government, agency, tyrant, social ignorance, greed, prejudice, corruption, analysis or scientific theory can stand against that universal truth. You may say that artists, writers and composers are mere dreamers; but it is this belief in the higher ideal that touches all, to replenish and revitalise society. To each his own, all to have their place, each to contribute, in his or her own unique way, to the elements that make us 'more than we are'.

(My thanks to Adrian Smith for his assistance as editor and Arthur Butterworth and Mike Briggs as advisors.)

Details of David F Golightly work as a composer can be found at www.modranamusicpromotions.com

� 2003 Modrana Music Publishers ltd

The Art of the Decrescendo

2007-02-16T15:59:00.001-08:00

The more fortunate among us have experienced that precious, magical moment at the end of a performance between the exact instant that the last soft, subtle note from the band or orchestra fades from the stage and merges into the forefront of our aesthetic sensibilities. Then there is a second or two of hushed, pregnant energy just before the spontaneous outburst of fervent adulation from the audience.

Why do these experiences find such resonance within the likes of us? I submit that there is a direct relationship between their inner impact and how effectively the diminuendo is played. A beautifully tailored diminuendo can magnetically titillate the mind of the alert listener and render him reverently helpless in its thrall.

Most compositions are richly endowed with these diminuendi or decrescendi, and almost every one of them, when approached intelligently and musically, have the potential of providing a mini-epiphany for the listener, as well as for the performers.

When studying a new score there are certain questions I enjoy asking myself about how a particular diminuendo should be approached. These musings are hereby submitted for your approval.

1) Where does the diminuendo begin?

2) Can I, or can I not heighten the dramatic effect by maintaining the stronger dynamic level briefly and delaying the diminuendo?

3) Does every instrument decrescendo at the same rate, or is the music scored in such a way that in order to retain the primacy of the melody some instruments have to diminuendo less or later than others?

4) Will this passage benefit from very little diminuendo at first but increasing exponentially as it nears the end?

5) Where does the diminuendo actually end and can I musically afford the risk of allowing it to end prematurely?

6) Would it be musically appropriate to slacken the tempo slightly at the end of the decrescendo and quietly revel and luxuriate in it for that extra millisecond?

7) What should I be hearing at the end of the diminuendo, and how can I taper it so that the transition into the new dynamic level sounds inevitable rather than abrupt?

In my own private perfect little world the musicians in my band or orchestra, once they have tasted a beautifully wrought diminuendo, will in the future, invariably, accept no substitutes. They will, in true Pavlovian fashion, salivate uncontrollably at the mere prospect of playing the next one.

An idyllic but idle fantasy, to be sure. However, you have undoubtedly discovered for yourself that any concept you would care to acclimate your ensemble to, such as how to approach a decrescendo, can, with sufficient reinforcement, become part of their musical intuition.

Carl Hammond Phd. composes all sorts of music, plays piano, and as you've seen writes a mean, entertaining article. He's the CEO of:

www.musicalcompositions.net

where you can download purchased sheet music for concert bands, choirs,chamber ensembles,jazz groups.

See it,hear it,download it, rehearse it. FREE Newsletter and FREE Special Report written by Carl Hammond a 35 year international music veteran.

Well written interesting music for your groups to play right now via download

Music And Movies Download Sites - Are They A Scam?

2007-02-15T16:00:00.001-08:00

Surfing the Internet, looking for music and movies to download, you will find a lot of so called music and movie download sites These sites do not provide you with music, or movies to download, no, they provide you with file sharing soft ware you can use to search for, and download music, movies and games. Most of them also provide you with cd burning soft ware and they have a helpdesk for those members who run in to problems with their downloading.

These sites are under attack.

First of all there is the entertainment industry that wants to shut them down. They claim that these file sharing programs are used to download copy right protected materials.

This is true of course, but lots of people download and trade files legally on file-sharing networks.You can, for example, legally download music from hundreds of bands and thousands live concerts, as well as multiple software titles and games. File sharing has enabled music fans from around the world to build the largest library of recorded music in history. File sharing is not illegal as long as you obey and comply with all relevant copyright laws. Sharing copyrighted material without permission could be illegal in your country.

In America the RIAA (Recording Industry Association of America) are leading the fight against the sharing of copyrighted music. Others, like Hollywood�s MPAA (Motion Picture Association of America) are also starting to get involved and are taking legal action against the music and movie download sites.

It will not be easy to shut down these download sites. Especially since the Internet has no borders, it will be an almost impossible task, to get all the countries in the world to agree on how to legislate Internet downloading.

Another attack on music and movies download sites comes from, what I call, seasoned Internet users. They claim these download sites are a scam, because they charge for something you can get for free.

Well, you could get it for free, that is true. These download sites provide you with soft ware to search for and download files from the Internet. They provide you with software to burn these files on a cd should you wish to do so.

All this software is available for free on the Internet, but for an Internet novice it could be a daunting task to look for this kind of soft ware, to decide which soft ware to use, how to use it.On top of that they have to make sure that they do not download spy ware, ad ware or what ever. Joining a download site and have all the info in one place is not a bad option for most of them. Another advantage is the fact that these download sites provide a help desk for their members.

Is it a scam if you provide info that people could get for free elsewhere?

Consider this.

You are looking for a telephone number, so you look it up in the phone book.

Say you do not have the right phone book, you can go out looking for it.

You probably can find this free info in the library.

You can also pick up the phone and ring an information service.

They will provide you with this free info and they will charge you for it.

So, is this information service a scam?

I do not think so, and I also do not think that the music and movies download sites are a scam.

Provided of course that they tell you what you can expect from them before you sign up with them, and that they deliver on this promise

If you want to join a download site, chose one that gives a guaranty that you can have your money back if not satisfied.

Once you have joined, test out everything, especially their helpdesk.

If you have no questions, ask them a few things you know already, just to test their response.

And last but not least, do not hesitate to charge back your money if you are not completely satisfied.

Here you can find a few Download Sites .

Harry Rackers is W.M of Download Music Movies Games .

Why Is Most Music So Bad Today?

2007-02-14T15:59:00.001-08:00

"Everything that can be invented has been invented." ~ Charles H. Duell, Commissioner of the US Patent Office in 1899.

"Children nowadays are tyrants. They contradict their parents, gobble their food and tyrannize their teachers." ~ Socrates

Why is popular music so bad today? I mean, I'm not that old, but jeez, the music of today, with only a few rare exceptions, kinda stinks. Some would say that when New Year's Eve 1979 ended, we were ushered into an era of lame music that we still haven't escaped from today.

I grew up in the 80's and remember listening to the Beatles, John Lennon, Simon & Garfunkel, Roger Waters and Pink Floyd, the Rolling Stones, Bob Marley, and David Bowie, to name a few, with my brothers or my dad. I remember seeing album covers strewn about my brother's bedroom. Albums, not CD's. (If you're a really young reader, albums are like CD's in that they're flat and round, but black, and a lot bigger. The get scratched and don't work just like CD's though).

Some say that the 60's were a turbulent time in the U.S. and the world and thus created a perfect environment and culture for innovative and creative music. But let's face it. These days are pretty turbulent as well. So where's the Crosby, Still, Nash and Young of today to sing about our involvement in Iraq? Or where is the Paul Simon of today to protest the government's stance on stem cell research? All we've gotten recently is the new Paris Hilton CD. Paris Hilton? Isn't she just famous for being famous? And her new CD actually got some good reviews.

Before anyone accuses me of painting a broad brush stroke condemning all music after the 70's, let me say that in more recent times there has been a small amount of good stuff like Phish or Midnite, and even politically-minded music such as U2, but no where near the creative amount of earlier times.

I remember when the Dixi Chicks came out against President Bush and the Iraq war. While not a bad band, they're hardly going to achieve iconic status. And they paid dearly at the hands of big business for their outspoken views. That's a far cry from the politically-charged days of Woodstock where many artists were speaking out, and changing things.

If you think about it, there are only a select few artists or bands that can regularly sell out huge arenas today. These are the icons. And the vast majority of those artists are bands from before the 80's! Between last summer and this summer, here are some of the really big concert ticket sellers: The Rolling Stones, Roger Waters of Pink Floyd, Paul McCartney, Barbra Streisand, Eric Clapton and The Eagles.

I recently read an article that suggested that music and tour promoters, large venue owners and ticket companies are all worried about concert sales taking a plunge after the legendary artists stop touring. They realize it's going to be hard to sell out big arenas after the dinosaurs become extinct. Who are the artists of today who will reach that status tomorrow?

In a recent interview with Joe Walsh on Sirius Radio Joe said there is not nearly as much improvisational rock anymore. And I agree. When asked what bands he thought were decent these days, he couldn't think of any for a while, and then finally said he thought the Goo Goo Dolls were good. Hmmm.

Maybe I'm some kind of curmudgeon, but Top 40 today is just not as good as it used to be. Is Kevin Federline really talented? I just found out recently that his nickname is K-Fed. How about fed up? I think K-Fed, J-Lo, X-tina (Christina Aguilera, no joke) and A-Rod all need to get together ASAP and rethink their feeble nicknames, just an FYI.

Here are the top 5 songs right now in the Summer of 2006:

- Fergie - London Bridge

- Gnarls Barkley - Crazy

- Nelly Furtado Featuring Timbaland - Promiscuous

- The Pussycat Dolls Featuring Snoop Dogg - Buttons

- Panic! At The Disco - I Write Sins Not Tragedies

And here were the top 5 albums of 2005:

- Mariah Carey - The Emancipation of Mimi

- 50 Cent - The Massacre

- Kelly Clarkson - Breakaway

- Green Day - American Idiot

- The Black Eyed Peas - Monkey Business

Here are the top 5 albums of 1976:

- Peter Frampton - Frampton Comes Alive

- Fleetwood Mac - Fleetwood Mac

- Wings - Wings At The Speed Of Sound

- Eagles - Eagles Greatest Hits 1971-1975

- Chicago - Chicago IX Greatest Hits

And here are the top 5 albums of 1966

- Original Soundtrack The Sound Of Music

- The Beatles - Revolver

- The Beatles - Rubber Soul

- The Rolling Stones - Aftermath

- The Beach Boys - Pet Sounds

Is it just me, or is there a glaring difference between the two 21st Century lists and the second two 20th Century lists? To be fair, I actually own Monkey Business and I like it. Also, Green Day is decent. Admittedly, Wings isn't the best Paul McCartney music around, but it is Sir Paul after all, and Chicago and The Beach Boys are a little weak. But overall, the lists just don't compare.

The music industry itself has changed so drastically that I think that is one of the main reasons there is such a chasm between today's music and the creations of yesteryear. Like sports and medicine, music in another industry that has been a casualty of big business and American capitalism.

No longer does the actual music quality drive the industry. Instead, the people with the money and power at the record companies notice some bad music selling well to young people for example, and therefore decide that from then on they're only going to find and promote that type of bad music since it made a few bucks. They've totally stopped listening to the music and instead only listen to the dollars.

No longer does the music they create determine the success of a band. Instead, entertainment conglomerates tell fans what to listen to, and that determines the success. They do this because they have such a strangle hold on the media. We only have the illusion of choice now. A vicious circle has begun where the whole industry is inexorably spinning down, unable to find purchase on the sides of some slimy corporate funnel, circling downward uncontrollably into the abyss of painfully bad music.

Some bands occasionally slip through the vortex relatively intact, sidestepping the almost institutionalized process of "making it" set in place by music executives. Phish is a great example of this. They became hugely successful in spite of the music industry. Because they were so good and so tenacious in touring and jamming, they attracted a large fan base. The sheer numbers of eventual fans Phish had gave them a power that most artists today can't have. Most other artists have to do what the people with the purse strings tell them to do. And that often makes for bad music. Unfortunately, Phish isn't even together any more. But they're a rare exception in that they came after the 70's and were highly creative and improvisational.

Another thing that contributes to the poor music of today is technology. These days, Hollywood actors who can't sing can have singing careers. The engineers touch up their voices, and use every digital sound technique there is to make an average product sellable, just like the magazines airbrush the models and actresses, trimming years off to complete the illusion. There are many ways in which the music engineers can do this in the studio and even for artists on tour.

Ashlee Simpson is a good example of this. First, we saw her on Saturday Night Live getting caught lip-sinking. Then I heard a recent interview where Joe Walsh's daughter, Lucy Walsh, admitted that as Ashlee's keyboard player, she always doubled Ashlee's voice while on tour.

I know that in any era there's going to be silly music acts like Ashlee Simpson, Kevin Federline and Paris Hilton. I realize that during Bob Dylan's time there were lots of feeble yet famous music artists then too. My complaint is that it seems like in any other era there was at least enough really fantastic and original music being created to balance things out.

Let's go backwards. We've looked at the popular music of the 21st Century a little in the lists above and I don't see any really original music in there at all. Some may argue that the grunge era of the 90's produced some great and original music. I argue that almost all of that music was so heavily influenced by the rock of the 60's and 70's that it really wasn't that original at all.

The music of the 80's matched the hair and clothes of the time, lame. The synthesizer was new then, but the music was reasonably bad, and certainly not timeless. But then we come to the 70's and 60's. Those are the decades that last held any hope for people like me who long for fresh, original, creative and improvisational music.

In 1899 the Commissioner of the US Patent Office wrote "Everything that can be invented has been invented." Alright, maybe he was a little off. But in a way, everything that seems new is really just new combinations of existing things. Music is no different. I'm hoping that we return to the days when the combinations of beats, rhythms, harmonies and melodies become as creative as they were in the 60's and 70's.

But maybe things haven't changed much since even Socrates' times. He thought kids were tyrants, as if his generation was the last of a dying breed of angelic children. Maybe he just didn't understand the kids of his era, and maybe I'm the same way.

Jason OConnor runs Rock and Pop Concert Tickets - A great place to buy tickets to cheap concerts across North America. www.bestshowticketslasvegas.com/

Bob Marley Legend

2007-02-13T16:00:00.001-08:00

For each of us of the sixties, seventies, and/or eighties, the Bob Marley legend takes on different and specific meaning, rife with peaceful love, spiritual reclamation, and even, at the end, melancholia (at losing Marley to cancer). For some of us, Marley was about supreme reggae� invigorating music and profound lyrics; for others, he was accompaniment to our studies, our search for self, or our spiritual seeking; for still others, Marley was about pure love. The Bob Marley legend began with him, because of him, and continues with those of us who remember him.

We say Bob Marley legend because Marley made it in a conformist culture by first fitting in to that milieu (look at his pictures in the sixties: he and The [other] Wailers wore the suits, the thin ties, the shortly-cropped hairdos�) then by evolving, physically, emotionally, spiritually (consider the dreads, yeah, but remember the philosophy, the religion, the attitude, the words).

We say Bob Marley legend because he brought reggae to the people, non-African, non-Jamaican masses, too, introducing the distinctive syncopated back beat fronted by soft and, well, wailing, words like those of �No Woman, No Cry� and �Is This Love�?�

We say Bob Marley legend because the all-time finest reggae leader made Rastafari real, respected, and righteous as a movement, a life-principle: by way of Rastaman Vibration, for example, Marley instilled the subtle spirit of Haile Salassie; he brought curves to the sharp rock sounds; he showed us a new way to revere God, or Ja.

And we say Bob Marley legend because when we were in college in the seventies or on the grassy knolls of the Haight or breaking free from corporate sports or industry or injury, he was there with words and music and the greatest of spirit--affirming affirmed our need for unity, solidarity, spirituality, respect, and love. He helped us �Stir it up,� �Put it on,� and �Rock it Baby.� He encouraged us to �Pass it on,� �Stand Alone,� and �Keep on Moving.� And as he passed the torch of human dignity in rebellion and in redemption, he taught us to realize, �Most people think/Great God will come from the skies/Take away everything/And make everybody feel high. But if you know what life is worth/You will look for yours on earth�,� and that it is necessary, okay, probable, and imperative that we �Get up, stand up; stand up for [our] rights!�

Classical Guitar Sheet Music

2007-02-12T15:59:00.001-08:00

Looking for classical guitar sheet music? It�s really very easy if you have an idea what you are looking for; there are quite a few places to look. Aside from your local music store if you just want to browse at classical guitar sheet music, you can find most anything you are looking for on the internet. Most sites are set up so that you can search for works by the artists� name or by the title of the piece. Of course, you need to know one or the other or these types of sites won�t help you out too much. If you�re not sure what you want, search online for something you would like to play by listing to various music download sites, or others that let you listen to a selection online. Once you have the name of the song or guitarist, you can search more easily.

Classical guitar sheet music is available for every classical guitar player, from beginner to advanced. Most pieces can be broken down into smaller ones that are easier to learn for beginners, and when that version is mastered, the guitarist can advance to the next level of difficulty. Classical guitar sheet music can be purchased individually by piece, or in books that feature a collection of works. These books are available by level of skill, including beginner, intermediate, and advanced.

Anyone can play classical guitar, even beginners. Most classical guitar sheet music includes tablature as well, so it�s not even necessary to read music to play. Tablature shows where the fingers should be placed on the fret board, which is a great advantage if you are just learning to read music. If you�re not sure about a certain note, just look at the tablature to see where you should have your fingers.

In addition to locating classical guitar sheet music online, it is possible to get instruction as well, in the form of CDs, MP3s, DVDs, and online classes. Students can also chat with others on online forums about online instruction, teaching tools, experiences, recommendations, etc. Learning to play classical guitar is no longer limited to taking lessons from a teacher one on one at the same physical location. Once you have become somewhat accomplished, then is no limit to what you can play. Soon you will begin collecting all the classical guitar sheet music pieces you can, and learning to play them to perfection, one by one.

What Are Cadences in Music?

2007-02-11T16:00:00.001-08:00

Cadences are chords used in music as punctuation marks, showing the progression of a particular movement or piece. They are particularly used to show the end of a piece of music, or to show the end of part within a piece of music to take it on to the next part. Cadences are the commas, semi-colons and full stops of Western music both in theory and in practice.

Most standard, well used cadences have been classified, have been used for centuries in western music and are just as valid in modern music as they were when they were first developed.

A cadence is a progression of chords or perhaps a melodic progression used to give some type of finality to a phrase or section of music, rhythm and harmony being important to ensure a true, �punctuational�, cadence. The chords only act as a cadence should these criteria be met.

It�s actually easier than it sounds on paper. The last three or four chords or notes of most National Anthems, for instance, tell you that it has finished, even if it�s one you don�t recognise. Cadences of both melodic and chordal varieties are used to give the finality to these anthems worldwide, giving them suitably solemn endings.

Earlier classical music relied almost entirely on traditional cadences, both during and at the end of works, many used subtly within the music as well. Later 19th and 20th Century composers often broke with tradition though, and often created their own cadences to complement their own music. Many retained both well known and little known cadences or progressions with which to end parts or all of their works.

Cadences are usually classified into four types and are normally designated in Roman numerals referring to triads in any key. The authentic cadence has two types as well.

The authentic cadence (V to I) comes in two forms. The �perfect authentic cadence� occurs where the notes are in root position, so the bottom of the chords are in the bass whilst the highest notes are in the highest register. It doesn�t matter whether it�s a choir, a piano or an orchestra, the same rules apply.

The second authentic cadence is the imperfect authentic cadence where the �parts� or notes are inverted so that the same notes are being played but in different registers from the �perfect� cadence.

The �imperfect� or half cadence ending in V is one often used in the middle of pieces and usually consists of V being preceded by ii, IV or I, although any other chord can be used, the Phrygian cadence being an example used in minor keys.

Plagal cadences are well known to Christian churchgoers, even if they do not know it. It is the IV to I which sounds like �Amen� at the end of hymns, anthems and psalms. It was also for this reason used in many religious musical works.

The �interrupted� or deceptive cadence from V to vi or VI, indeed to anything else is considered a weak cadence due to its inability to finalise a phrase or section, however it is used extensively to change �tempo�, key or instrumentation in music of all types and genres.

If you listen to the end of a piece of music you will probably hear a cadence. It is interesting to try to spot them in the body of the music too.

Discordant Music

2007-02-10T16:00:00.001-08:00

�What�s that rubbish you�re playing?� many a parent has asked the younger generation of the time. Well, what is discordant music to one person may not be to another.

Many a classical composer has been ahead of his time, sometimes only appreciated later in life and some not until well after their death. The reason is that music, the same as everything else, progresses, and what is tuneful to one generation may well be considered discordant by the next and indeed vice versa.

Classical, Romantic, jazz, rock, pop, and heavy metal composers and musicians of many genres, for instance, have been heavily sneered at by the general public over the years for their visionary views, their creative genius, their �different� music, only to be rather liked 20 years later. Depending on your age your parents or grandparents probably hated the Beatles or the Rolling Stones in the 1960�s but will happily sing along nowadays.

It must be said that there is certainly discordant music around, but it depends upon the listener to put it into that category, and that in turn depends upon the listener�s previous exposure to the type of music being played. It is very often the case that the listener does not understand the music.

Many people listening to music from Asia or India may have difficulty in understanding the discordant notes; however the people living there would very possibly not understand western music unless they had heard it on TV.

The post Baroque period of classical and later Romantic music leading up to the present day has changed music so radically that discordant music can be heard every day by some people who do not have an interest or knowledge of a particular type of music.

Many �classical� composers suffered from their music being thought of as discordant at the time. Mozart, Beethoven, Brahms and many others found that their wonderful musical innovations did not always work at the time. It took time for the listening audiences to get used to the changes going on in classical music at the time. Many years later the music ceased to sound discordant, and the true beauty of many works was finally appreciated.

Of course some people go out of their way to play discordant music. There are even a music labels sponsoring so called �anarchy� music such as �punk rock� and many other genres. This �music� is very loud and often played by young non-musicians deliberately (or not) off-key and not necessarily in time with each other. Deliberately discordant music can be, therefore, perhaps a statement of some sort of discontent with the writer, musicians and audience, destructive as opposed to creative.

There is little doubt that a person�s music education can make a big difference in many cases in deciding whether a piece of music is discordant or not. Some are exposed to music much of the time on the radio or TV. Others take more of an interest in other types of music, but most people just don�t like discordant music.

Yamaha Electric Piano

2007-02-09T15:59:00.001-08:00

When my daughter expressed a desire to take piano lessons, I had mixed feelings. On the one hand, I was happy that she wanted to cultivate her musical side and I certainly didn't want to stifle that kind of creativity. On the other hand, I'm a single parent living in a small two-bedroom apartment.

Even if I could find a way to pay for the lessons, it was doubtful that I'd be able to fit even the smallest upright into the apartment so my daughter could practice. I explained the situation to my daughter, and even though she was very disappointed, she understood my reasoning.

Then one day at work a friend of mine suggested checking out a Yamaha electric piano. It turns out that my friend faced the same dilemma a few years ago with her kids, but found that a Yamaha electric piano was a fantastic solution in many ways. For example, a Yamaha electric piano is much, much smaller than a traditional upright, so limited space would no longer be an issue. In addition, the price difference was between the two types of pianos is very substantial.

A Yamaha electric piano would likely cost about 30 to 50 percent less than a decent upright. Finally, a Yamaha electric piano is easy to maintain, won't suffer sound degradation with age, and can would allow my daughter to practice with headphones on, which would pretty much be a must in our apartment complex.

Based on all those factors, I was convinced that a Yamaha electric piano was right for our current living situation. So my next step was to find a suitable dealer to purchase from. At first I of course thought I should go to a musical instrument store in my area, but my friend gave me the URLs to a couple of different websites instead. She said that I would be able to get a much better deal on a Yamaha electric piano online. I was a bit hesitant because I figured the shipping and handling charges would be enormous, which would then all but negate the savings. But my friend said that with a purchase as large as a Yamaha electric piano, online retailers would either offer free shipping or a very reasonable flat rate.

I took my friend's advice and purchased a Yamaha electric piano from one of the websites she recommended. The whole transaction went very smoothly, and now my daughter is having fun getting to know her brand new instrument. I've signed her up for lessons at the local community center and can't wait to hear her play her first song on this beautiful Yamaha electric piano.

The Link Between Music and Math

2007-02-08T16:00:00.001-08:00

The patterns that exist between math, language, and music have prompted numerous studies to be commissioned to establish their inter- relationship. We all know that music is a series of notes that are played in accordance to a pattern and maths too works in a similar way. In maths to result always remains finite despite the various ways in which you can add, multiply, subtract, and divide numbers.

The same is true of music. Notes are combined in a series of groupings (almost and endless variety) but the number of sounds created is finite. It is patterns and combinations such as this that make music and math similar. Our brain seems to process the information from music and math in a different manner than it computes other information.

Babies are first attracted to speech when it sounds rhythmic and melodic. Parents instinctively know to talk to a baby in a tone that has melodic and bold sounding words throughout, rather than using a normal voice. You will probably notice that the baby pays more attention to you when you speak to them in a poetic, mathematical stride to them rather than when your words are mundane and spoken in a normal tone of voice.

Small children love to listen to music that with repetitive patterns to it. Perhaps this is because their brain is computing the music message in way that catches their interest and makes them think. Hopefully, as a result children learning different methods to think, they are more willing to learn and absorb.

Give a child anything in their hand and they start creating musical patterns and rhythms. Al the music they make has a definitive pattern and beat. Children have the unique capability to create patterns out of random sounds. How well they create music and how tuned they are establishes the mathematical powers of the child that evolve later in their adult lives.

Various studies have shown that children who participate in musical activities, whether playing an instrument or listening to a variety of music, do better in math. Therefore, for a growing child it is important to have music as a part of their life and routine. They develop into people who are better at maths as their brains have been exercised and sharpened to discern patterns and repetition among the musical notes.

Math is essentially the following of known patterns to arrive at a conclusion. Once you know that formula to find the answer, such as the simple formula of addition or the more complex formula of determining the degrees of an angle, you'll be able to use that pattern to get that answer.

The connection between music and math works both ways: those children who do well in math class are also extremely successful when it comes to playing an instrument and reading musical notes. The combination of both these skills can lead to better overall performance in school.

The study of music has many benefits that include the learning of language to improving math skills. Incorporating music into our lives from birth onwards give an advantage that can't be disputed as more and more studies confirm the connection between music and math.

Nigel Joneston is the owner of For Very Good Music, the web's premier resource for information about music. For more articles on music visit: www.fvgmusic.com/articles

The Banjo, Yesterday and Today

2007-02-07T15:59:00.001-08:00

Hearing a tune played on a banjo reminds us of Dixieland, country, and definitely blues music. The blues and banjos are connected, but the blues varies according to where it�s being played. Even though the instrument is the same, each banjo has its own special sound and is unique among the stringed instruments.

African Americans have been playing the banjo and the fiddle for nearly 300 years. Caucasians also have been playing it since the late 1800s and early 1900s, and both races shared their strumming style and appreciation for the banjo. Region also influences how the music sounds. If you hear it played in the Mississippi Delta, then travel to Virginia Piedmont, you may not know it�s the same instrument.

The great thing about banjo playing is that many black players shaped the music and style of the banjo starting in the late 1800s. One of the most mentioned is a man named Gus Cannon. Gus played under the name of �Banjo Joe�, usually being accompanied by Blind Blake. During 1927,Banjo Joe cut several recordings for Paramount in which his �frailing techniques�, slide playing, and roll patterns became so famous.

Today, you hear banjo played with a square dance type sound, swing, blue grass, and everything in between. The music played in the late 1800s had a more fluid sound, almost like good friends gathering for a good, old-fashioned jam session. The sound back then was accented with off beats and speckled with rhythm. What we hear more of today is a stiffer sound. While still a wonderful instrument, you cannot help but miss the old playing of Allen Shelton and many of the other famous banjo players that knew how to cut loose.

Cordelia Tremont provides a range of resources at her web site: Red Banjo, where you will find information about different types ofbanjo. Why not take a look: www.redbanjo.com

Guitar Tips for Beginners

2007-02-06T16:00:00.001-08:00

Many people long to play the guitar. Some have actually have attained fame and fortune, while others are in the beginning stages. If you�ve just bought your first guitar, you can look forward to a rich and rewarding time of learning to make music. Don�t make the mistake of thinking it will be easy, or that you will automatically become a pro. Just to become good takes a lot of time and practice. It�s all worth it as you begin to enjoy making music.

You�ll have a few things to think about once you�ve decided to take up the guitar. You may want to take lessons from a qualified instructor. You may want to buy books and be self-taught. Or you may decide to learn online from some of the many videos and pictures available. It won�t be hard to find the right one for you. It�s also necessary to settle on the type of music you want to play. Needless to say there are a lot of options.

Some of the first things you�ll learn is how to hold your guitar and where to place your fingers. Before long you�ll be learning chords. It�s a good idea to familiarize yourself with how each string sounds when you pluck it. The strings correspond to notes ranging from A to G. You�ll also become familiar with some symbols. Sharp notes are designated with �#� and flat notes with �b�. �C#� would tell you that you should play C sharp and �Cb� means play the C flat.

Before you can play any chords, you�ll need to tune your guitar. There are six strings, with a note assigned to each one. An example would be tuning your guitar so that the first and thinnest string is the high E. The second is B, the third G, the fourth D, the fifth A, and the sixth, thickest string will be the low E.

To tune your guitar, you can take it to your local music shop or have your guitar teacher tune it for you. Soon, you will know exactly how to tune your own guitar. Once you have your guitar ready to go, chances are you will be taught the first position and open chords. What you will find is that over the next few weeks, you will become more and more comfortable with the feel of the guitar and within about a month, be playing actual songs. Playing the guitar is a wonderful hobby that with practice, could easily turn into something more.

Copyright 2006, Erami Bulayulama, All Rights Reserved. This article may be published on web sites or in newsletters provided this notice and the resource box is included without ammendment.

Joy McDougle strives to help people seeking information about the issues of buying diamonds. Why not go to his web site at: Raja Diamonds, to see the information sources available to you. Visit: www.rajadiamonds.com

Get A Taste Of The Hot and Rapidly Aspiring Alexander Lunev�s Guitar & Keyboard Music - Finger Dancing At It�s Best!

2007-02-05T16:00:00.001-08:00

Musical Contribution Awards!

Alexander Lunev appeared at MTV's 13th annual European Music Awards contest to receive "Best Russian Act" nomination for RMA (Regional Music Awards), held in Copenhagen on November 2nd 2006 for his musical contribution with the dark pop song: "Never Let You Go" and sung by Dima Bilan. The show featured some of the biggest names in the music world including, Red Hot Chili Peppers, Keane, Snoop Dogg and Justin Timberlake who won best male and best pop award.

Virtuosity!

Russian musician and producer Alexander Lunev is arguably Russia�s leading contemporary composer. However, what makes him special is that he has a unique way of expressing his prodigious musical talents. Every melody is a sublime and exhilarating listening experience; that�s how enthralling and refreshing his sound is!

Unsigned Talent!

Incredibly though, Alexander Lunev is unsigned to any record label in the rest of Europe and America as yet, however, he is rapidly catching the attention of many important players in the music industry. Alex�s instrumental ambient type music is perhaps more akin to that of the famous Vangelis, whilst his methodically sequenced and lush electronic progressive genre is probably closer to that of Ryuichi Sakamoto.

Influential!

Alexander Lunev has collaborated with a number of singers effortlessly influencing all with his creative and unique sounds. Witness the energy and artistry of his compositions. This is definitely a music that can lift one to the highest state of melodic level. His compositions journey through a myriad of genres gently bathed in intricate, yet futuristic harmonies.

Inspiring!

Collaborating with the award-winning Dima Bilan, that magical talent was finally revealed captivating a huge global audience! Everybody will recognise the song "Never Let You Go" brilliantly composed by Alexander and superbly sung by Dima at the Eurovision 2006 that made it to number two before it shot up the single�s chart and became an instant smash hit in many countries. In February 2007 Dima Bilan will record two of Alexander�s compositions in Los Angeles with the producer of "Black Eyed Peas" who is very interested in Alexander�s music and he has plans to duet with the pop diva Shakira in the very near future.

Aspiring!

What separates and truly distinguishes Alexander from many other musical artists and composers are the absolute brilliant command he has over the guitar and keyboard! For those who have not yet heard the soundtrack from the movie "Ballet of the Butterflies" you may want to check that one out first on Lunev�s website http://www.lunev.info. However, for those who are already fans of the artistic brilliance that Lunev creates through his music like; "Through The Eyes Of The Eagle", "Following the Trail", "Above the Ocean", "Drowning Man", "Return to the Heavens", "Never Let You Go" (B. Bilan) and "Lady Flame" (B. Bilan), are definite must-have.

Creativity!

Complementing and pushing his sound creativity vision further, Alex, who is also musical producer for the group "Koroleva" ("Queen"), are together recording his latest composition titled "Snow" due to be released this Christmas. Alexander has contributed to two popular movie soundtracks, notably one for the Russian movie �Frenchman�. In addition, he wrote and produced the rock-opera "Prodigal Son" based on classical evangelic texts, further testimony of his boundless genius.

Dexterity!

The undeniably guitar virtuoso and talented keyboard player who can take any style of music and give it a special twist to suit, has excelled in a wide range of music styles rightly carving a name for himself in popular, orchestral and film music. His fan base age ranges from 13-25 year olds for his songs, while not surprisingly perhaps his sensational "electronica" collection captivates the over 21�s.

This year marked a truly significant step forward in the realm of electronic music delivering an astonishing musical repertoire like no other. Alexander new material is already popular in his adopted home city Moscow and boasts a loyal following ranging between 25 to over 80 year olds, further testimony of his fans wide age group musical taste appeal.

Forward!

Adding new material, Alexander reappeared this fall to pursue his interest in "world music" with an instrumental album titled "Through the Eyes of the Eagle" that strikes the head and grabs one�s soul. This album is scheduled for release in the very near future, but no firm date as yet.

Needless to say this pioneering composer and enormously talented artist is definitely poised for global stardom!

For more information or to get in touch with Alexander Lunev please contact Yan Valle or visit Alexander Lunev�s official website:

Contact Info:

Manager: Yan Valle

Phone: (+1 416) 877 5817

Email: info@lunev.info

URL: www.lunev.info

� by Lucy Boutaleb copywriter

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Electric Guitar Packages - The All In One Solution

2007-02-04T15:59:00.001-08:00

Electric guitar packages are typically an all in one answer to the problem of getting someone started with an electric guitar.

Is it the best way to go for a beginner though?

In my opinion, probably not. Playing a new musical instrument is not only a labour of love, it is a war against embarrassment. Playing any instrument for the first time could be a painful experience for any unwilling audience and an affront on your ego!

So as far as a guitar is concerned, a good acoustic guitar would be my personal preference to learn an instrument.

Having said that, there is no denying that an electric guitar is a sexy instrument, and some people will not be denied. Perhaps you have already tried an acoustic guitar, and the call of rock and roll fame and fortune is too much for you?

Well if that is the case, then there are electric guitar packages that can fit the bill that won't break the bank. Remember that you will not be buying a classic Fender or Gibson guitar (unless you are completely loaded), but you can still buy a high quality instrument which will stand you in good stead for many years to come.

A standard package will comprise a guitar itself, a case, and amplifier and the appropriate leads to connect the guitar to the amplifier. I think it unlikely that you will be able to play any stadiums with this rig, but hey, you have got to start somewhere?

All you really need from your electric guitar package is an instrument with a decent, playable action (the height of the strings above the fret board), and an amplifier that will give you a good tone at low volume. At it the guitar looks really cool as well, then that is just a bonus!

The kit may or may not come with a tuner. You will need one whatever happens. I have always used pitch pipes, and great though automatic tuners are, you cannot beat the training given by tuning the guitar with just a pipe and your ears. Learn how to do it properly; you will appreciate it in the end.

Have some idea of what to look for in a guitar is one thing, but honing down the choice is another. Take a look at these Guitar Packages to see if one of them fits the bill?

Lieder- Compare and Contrast

2007-02-03T16:00:00.001-08:00

Schubert, Schumann, and Brahms all wrote about aspects of nature in the texts of their songs. Schubert used very flowery language in �Die Mondnacht� to describe the beautiful scenery. The song is about the moonlight making nature glisten and gleam. Schumann did the same in �Mondnacht,� but instead of focusing on the moonlight, he wrote about the breeze blowing through the forest on a clear night. Brahms was the only composer out of the three to be different in his writing. Although his song �An den Mond� does focus on the moonlight, it is more melancholy than the other two songs.

The text is about a man on his death bed longing for his lost love. The song doesn�t completely focus on nature and its beauty like those of Schubert and Schumann.

Each of the three songs �Die Mondnacht,� �Mondnacht,� and �An den Mond� begins with a piano introduction and ends with a piano conclusion. They also have a piano interlude between the verses of the text. So, they not only have aspects of text in common, but they also have aspects of form in common as well. In �Die Mondnacht,� the piano imitates the glistening and shining of nature in the moonlight. Throughout the song, the piano maintains a rapid, constant beat underneath the voice.

The piano in �Mondnacht� also takes on a character in nature. It plays the part of the breeze, making the forest rustle and sway. It also holds a constant beat behind the voice. Unlike the piano in Schubert�s and Schumann�s songs, the piano in Brahmn�s song �An den Mond� does not take on a character in nature. The piano seems to be the man in the song. When the voice gets dramatic, so does the piano, when the voice gets bold or soft, the piano does too. Instead of contrasting the voice with a continuous beat, the piano flows along with the voice complementing the man�s emotions in the song.

�Die Mondnacht� and �Mondnacht� communicate the words in the songs better than �An den Mond.� Using word painting with the piano allows the listener to understand what the moonlight and the breeze are doing in the songs. The listener can actually hear the way the moonlight makes the leaves shine and the water ripple or the way the breeze makes the forest rustle by the sound that the piano makes when taking on those characters.

On the other hand, �An den Mond� is more effective than the other two songs. It evokes more emotion in the listener than �Die Mondnacht� or �Mondnacht.� Rather than having a cheery beat and just describing nature, Brahm�s song is more slow and dramatic, conveying the heartbreaking loss that the man has sustained.

My favorite song of the three is Brahm�s �An den Mond.� Although the text is in German, I can still understand that the song is about some sort of loss because of the music corresponds with the words. Even if the song had no text at all, the music would still tell a story. I listen to songs because I can relate to them- because songs create emotions just like �An den Mond.�

Overall, Schubert and Schumann have the most similar compositional style. With their text about nature and their word painting with the piano, they both composed happy, upbeat songs. Brahms, although different from Schubert and Schumann, still composed and equally great song. He did incorporate an aspect of nature (moonlight) just like Schubert and Schumann, but Brahms intended to communicate a different, more affecting message to his audience.

Author Daneille Scott has a musical background from her high school years where she was an occasional vocalist in a local band "Three River Pass". She is currently a psychology major student at the private liberal arts university "Austin College" in Sherman, Texas. Daneille's writings can be seen at: www.emusicguides.com. Reprints or publishings of this article is encouraged by the author as long as this resource box is included. All rights reserved.

Letting Go

2007-02-01T23:42:00.001-08:00

It's very easy to get caught up in the mechanics of music. While you are in student mode, you may find yourself focusing exclusively on how chords function in a certain progression, which melody notes are correct on a particular chord, or which are the correct notes to play during improvisation. Because there is such intense focus on theory, more subtle concepts such as feel, vibe and energy may temporarily fall by the wayside. This is normal, as you attempt to learn a new language.

However, keep in mind that the goal of learning theory is to save time. Imagine how long it would take to learn the simplest concepts, if you just wandered along, leaving all of your development to chance. I don't know anyone who has the luxury of wasting their time that way. Believe me, you don't want to be playing for twenty years, hit the wall and then have to go back and learn grammar.

No, you should learn the grammar early so you can forget about it later. This will free you up, so you can get down to making YOUR music. I'm talking about arriving at the place where you throw away your desire to be your favorite artist. I'm talking about arriving at the place where you're ready to show the world who YOU are. Don't be afraid to take that plunge, as it's the most important step you will take as a musician.

There are many students who never feel ready to stop taking lessons. What a shame! How can you become yourself if you still need your teacher's approval? A musician's journey should include the discovery of how to learn on his own. Can you figure out the solutions to musical problems, or do you need your teacher to do it for you? Have you learned how to learn? This should be one of your long-term goals.

Of course, knowledge is a wonderful thing. If you are serious about your music, it makes sense that you would want to learn everything you can about it. But, just as knowing the mechanics of speaking German won't make you a great conversationalist, knowing the mechanics of music won't make you a great composer or player. There should come a time when you pick up your instrument and create something that interests you, without thinking about the rules. Sure, you may want to go back and analyze what you've done to see how it fits into the theoretical side of things. You may also want to use theory as a springboard to come up with something new. Just remember that knowing the theory is a means to an end�not an end unto itself. Don't get so caught up in it that you can't let go.

Dan Palladino is a guitarist, composer and owner of Riddleworks Productions. He is also an instructor in the music technology department at County College of Morris, Randolph, NJ. Dan can be reached at dano@riddleworks.com.

One Step Back, Two Steps Forward

2007-02-01T23:32:00.001-08:00

Back in my teenage days, I read a great quote by Robin Trower in Guitar Player Magazine. He was discussing how most guitarists don't go back and explore who came before them. He said, "Don't listen to me and cop my stuff. Go back and listen to BB King. Learn who influenced him and check that out."

That was probably some of the best advice I'd ever gotten, and from that point on, I made it my business to go back and see where everything came from. How about you? Do you know the lineage of your favorite players? We guitar players are especially notorious for feeding on ourselves. Sometimes, it seems like the furthest back we are willing to go is Eddie Van Halen.

Why don't we follow a few players back in time and see if we can't discover some new cats to listen to. How about Van Halen? Who was he into when he was coming up? Hendrix, Clapton, Beck, Page, Blackmore. Who did THEY listen to? Muddy Waters, The Kings (BB, Freddie and Albert), Robert Johnson, Buddy Guy, Cliff Gallup. Who did THEY listen to? T-Bone Walker and Guitar Slim.

The Red Hot Chili Peppers fused funk with punk and came up with their own brand of groove music. Guitarist John Frusciante is obviously into Hendrix, but have you investigated the funk players who influenced him? Check out George Clinton's baby, Parliament/Funkadelic. There are tons of albums to listen to by this collective. Eddie Hazel's playing on "Maggot Brain" is especially noteworthy. How about the inventor of funk, James Brown? Jimmy Nolen, the guitarist on many of the hits, is the bible when it comes to funky guitar playing. Dig in and discover where it all came from.

Don't just listen to the guitarists either. You can learn a lifetime's worth of licks from JB's horn players, Maceo Parker, Alfred "Pee Wee" Ellis and trombonist, Fred Wesley. Horn players use a completely different phrasing approach than guitar players. Why not learn some horn solos and apply them to guitar?

One of my all-time favorite players is Pat Metheny. He was influenced by trumpet players as well as guitarists. You can't play jazz guitar without going through Wes Montgomery, George Benson, Pat Martino, Joe Pass, Django Reinhardt, Charlie Christian and Kenny Burrell. On the trumpet, Louis Armstrong, Clifford Brown, Dizzy Gillespie, Miles Davis, Freddie Hubbard and Lee Morgan.

No discussion of jazz would be complete without paying homage to Charlie Parker, John Coltrane, Thelonious Monk, Bud Powell, Sonny Rollins, Cannonball Adderly, Coleman Hawkins, Dexter Gordon, Stan Getz, Art Blakey, Max Roach and Bill Evans. These great musicians have appeared on thousands of albums. All you need to do is discover them.

Another hero of mine is Jon Lord, of Deep Purple. In my opinion, he is the greatest rock organ player to ever live. I learned that he was into Jimmy Smith, so I searched out records by Smith and was blown away! That led me to jazz organists Jack McDuff, Jimmy McGriff, Larry Young and Big John Patton. The organ group sound remains one of my favorites to this day.

If you are into R&B, you should head straight to the Motown records. The small group of musicians who played on all of those records, including the mother of all bassists, James Jamerson, defined the very essence of that music. Don't forget to check out the Memphis Stax/Volt guys too. Steve Cropper, Duck Dunn, Booker T. Jones and Al Jackson were responsible for some of the coolest tunes by Otis Redding and Sam and Dave. Throw in the New Orleans funk of The Meters and you have the history of R&B right there in front of you.

Metal guitarists absolutely must go back and learn every tune Black Sabbath ever did. That dark, grinding sound didn't exist before Tony Iommi cranked up the SG. Not only is he responsible for some of the greatest riffs ever, but check out the down-tuned guitars on "Volume 4". That's right; Korn, Limp Bizkit and Soundgarden wouldn't exist if it weren't for Iommi and Sabbath.

No matter what style of music you're into, you should try to become a musical detective. Find out who your heroes were into and listen to everything you can by them. Go back as far as you possibly can, so you can see the thread that runs through the music. You will become a better-informed, more well rounded musician and better opportunities will follow. Good luck!

Dan Palladino is a guitarist, composer and owner of Riddleworks Productions. He is also an instructor in the music technology department at County College of Morris, Randolph, NJ. Dan can be reached at

Songwriting: How To Get Ideas

2007-02-01T23:26:00.001-08:00

I get a lot of email where songwriters ask how to come up with musical ideas. Following are some of the methods that I have used:

Since lyrics don't come easily for me, I'll discuss that topic first. Fifty percent of the battle is keeping your mind open for little lines that might be floating around, as you go about your daily routine. I've gotten great ideas during one on one conversations with others. Invariably, someone will say something that strikes me as funny or poetic and I'll make a note of it. It's just a matter of being on the look-out. I'd say that I'm equally participating in the conversation and trying to get some good lyrics out of it too. Sometimes, you can get even better stuff by eavesdropping on outside conversations. I know it sounds rude, but we're doing it for art's sake, right? Again, we're just keeping our ears and minds open.

TV, film and books can also be a good source of ideas. How many times have you been sitting in front of the tube, half asleep, when a good line just popped out at you? If you've trained yourself to be alert, it happens often. I always make sure there is some paper in the room, so I can quickly jot down the new gem.

So, what do we do with all of these little fragments? I enter everything I've collected into a notebook. Most of the time, I forget about it until I'm ready to write something. There's an advantage to letting the stuff sit for awhile: After some time has passed, it's very obvious which lines have potential and which are throw-aways. I don't like to put too much thought into it. Let your gut tell you if something is worth further development.

I've recently begun using the speed method of writing lyrics. I've found that it is very liberating to sit in front of the computer and just type away, without stopping. This means that you're not allowed to throw anything away. Whatever comes out of your demented brain is preserved forever. Once I've got the rough material down, I'll go back and see if there are any lines that could form the skeleton of a song. Just doing this exercise for thirty minutes can yield a whole tune, if you're lucky that day. Give it a try. Once you get over the whole "no editing" aspect, it's easy.

My final method of lyric writing is the title method. Again, sit in front of the computer and write possible song titles without thinking or stopping. Once you have a couple pages worth, let them sit for a day or two. Then, go back and the good ones will jump right out at you. Of course, the hard part is developing the idea into a good tune. I usually have to write about ten bad ones before I hit the one keeper.

An off-shoot of the above methods is the writing under pressure method. Get together with a songwriting friend. Now give yourselves thirty minutes, go into separate rooms and get busy! The goal could be to come up with chord changes and, at least a verse and chorus of lyrics. That's pressure! But it works very well.

You may have noticed that many of these ideas involve working against the clock. I think this is effective because it lets you get at the stuff that is uniquely you. Our first reaction when writing is usually "Boy, is that stupid!" Well, it may be! But if that's what's coming out, then that's the real you. That's the stuff that will hit listeners as being something fresh and new. Don't treat your words as if they're precious. Throw them around like old socks!

Dan Palladino is a guitarist, composer and owner of Riddleworks Productions. He is also an instructor in the music technology department at County College of Morris, Randolph, NJ. Dan can be reached at

Songwriting: How To Get Ideas (part 2)

2007-02-01T23:23:00.001-08:00

How do we invent new musical ideas? Analyzing chord progressions of great songs is a good way to build your vocabulary. When I hear chords or riffs that really interest me, I'll write them down and try to adapt them for my own use.

For instance, when I heard the tune "Save Tonight" by Eagle Eye Cherry, I became very interested in writing a song that consisted of the same chords over and over. I got out my guitar and experimented with a few progressions, until I came up with the |E |B-7|Cmaj7|G A| that became "Hold Me 'Til I'm Free". By the way, those lyrics started with the title. Listen to it.

Another way to come up with fresh ideas is to analyze genres of music that you do not write in. If you write pop tunes, spend some time with classical, jazz, blues, reggae or old R&B stuff. You will discover things that you'd never hear if you only listened to pop songs. Be open to all styles and use them.

Back in the 1940's, writers would take the entire chord progression of an existing tune and put a different melody on top of it. Why not give it a try? Be sure to come up with your own melody though. You don't want to get involved in copyright infringement.

Here's a little list of things I do to trick myself into coming up with something different:

~Play in a key that you are not familiar with.

~Write on an instrument that you don't play.

~If you play guitar, limit yourself to three strings.

~If you play keyboards, limit yourself to only one hand.

~Write a tune using only the bass line. Fill in chords and melody later.

~Learn a new chord and write a song including that chord.

~Write a song. Now keep the melody and use different chords.

~Write a song. Now keep the melody and use chords in the relative major key. (If your song is in C minor, re-harmonize the tune in Eb major.)

~Do the same thing going from major to it's relative minor. (If your song is in C major, re-harmonize the tune in A minor.)

~Write a tune by starting with a drum pattern.

~Write a tune using only one chord. Two chords. Three chords, etc.

~Write a tune with all major chords. Minor chords. Augmented chords, etc.

~Write a progression. Now play it backwards and make a song out of it. Do the same thing with a melody.

~Close your eyes. Now drop your hands on a keyboard. Remember the first four chords that come out. Force yourself to write something using only those chords.

I'm sure you could add many more tricks to the list. The point of the exercise is to get away from the devices you are comfortable with. These tips are especially useful if you are experiencing the dreaded writer's block. Now, if we could only come up with a way to get more time to write!

Have fun, don't be afraid of your first thought, never give up!

Dan Palladino is a guitarist, composer and owner of Riddleworks Productions. He is also an instructor in the music technology department at County College of Morris, Randolph, NJ. Dan can be reached at

Get A Taste Of The Hot and Rapidly Aspiring Alexander Lunev�s Guitar & Keyboard Music - Finger Dancing At It�s Best!

2007-02-01T23:21:00.001-08:00

Electric Guitar Packages - The All In One Solution

2007-02-01T23:19:00.001-08:00

Lieder- Compare and Contrast

2007-02-01T23:18:00.005-08:00

Letting Go

2007-02-01T23:18:00.003-08:00

One Step Back, Two Steps Forward

2007-02-01T23:18:00.001-08:00