TUBA - Music-Instruments of the World

The Tuba

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ANTONIO VIVALDI Composition History

Antonio Lucio Vivaldi (Photo credit: Wikipedia)

Vivaldi was a pioneer of the concerto. He is one of the most popular and greatest composers. Early in the 1700's Vivaldi began to write his concertos that were widely spread in manuscript. Vivaldi is known for changing the nature of the concerto. Earlier concertos were relatively different; Vivaldi was able to mark change concertos from what they once were, to what they are now.

He explored new ways of composing solo instrumental passages to be placed in between sections of orchestral music. This created contrasts in the sound and gave the soloist a chance to impress the audience. His most famous concertos aren't especially distinctive. His concertos interested many not just because of the song itself but because of the way the songs were played, how the instruments worked together and how they all became such an amazing and unique work of art. Many of Vivaldi's concertos feature one or more violins.

Many of Vivaldi's works have also included the flute, oboe bassoon and cello. Some include the guitar and mandolin, horns and trumpets and several works included unusual combinations of solo or single instruments. Today, Vivaldi is particularly founded on his 500 concertos.

Vivaldi was the first composer to regularly use the ritornello form in fast movements. He is also known to standardize the movement scheme; fast, slow, fast of the classical concerto. Vivaldi probably had no idea that he was making musical history. He wrote music very quickly and efficiently. He has many concertos that are known today however, there are many more to be discovered.

By Jaxson Smith Article Source: EzineArticles

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Types of TUBAS

As you may or may not know, several types of tubas exist. Each of these has its own tonal properties. Having so many versions of the same instrument can be confusing to anyone. I am writing this guide as a general reference when purchasing or identifying one.

Man playing Tuba - Photo by New York Public Library

Contrabass Tubas

Contrabasses are the most common type of tuba today and are the lowest-pitched. There are two types of Contrabasses, pitched in either Bb or C.

BB-flat Tuba

The BB-flat Tuba is the most common tuba in the U.S. today and are the largest standard tuba. These are used by many school bands because most other brass instruments used by high schools are also keyed in Bb. They are also used by some professional players. BB-flat tubas are often designed to handle the rough treatment of young tubists and sacrifice responsiveness and tone as a result.

BB-flat tubas are the contrabass of choice in German, Austrian, and Russian orchestras. They are the standard for use in concert and symphonic bands.

CC Tuba

CC tubas are build a whole step up from BB-flat models. They lack the lowest notes of a BB-flat tuba, although many add extra valves to make up for this. In the US, most professional tuba players play C-pitched tubas. These tubas are easier to play in the sharp keys, allowing them to work better playing in an orchestra (String parts are often written in the sharp keys to make them easier for them). They are build more for responsiveness and not durability.

These tubas are typically the next step up for advancing tuba players, at least in the US. However; they are not a necessity. A good BB-flat player can play anything written with a CC tuba in mind.

Bass Tubas

Bass tubas are smaller than the Contrabasses and naturally play higher.

E-flat Tuba

Eb Tubas generally play an octave above the contrabasses in a brass band. They are somewhat rare in the US, although in the UK they are the standard orchestral bass. These widely used in bands in the late 1800's and early 1900's. According to one source "nobody remembers why"...

F Tuba

F Tubas are used mainly by professional players for solo works and to play higher parts in some older pieces. They are the standard orchestral tuba in much of Europe, with BB-flat or CC tubas used when additional low end is needed.

Tuba Variations

The Sousaphone

Attributed to and named after John Phillip Sousa, Sousaphones designed for marching. They wrap around the body, resting on the left shoulder and the bell faces forward to project sound into the crowd. They are most commonly pitched in Bb and have just three valves, although some are in Eb. The originals were in C. Just watch out for the wind!

Bell front (recording) tubas

These tubas are upright, but have bells facing forward to project the sound.

Contrabasses (Marching Tubas)

Often seen in DCI competition (Drum Corps. International), these resemble upright tubas but rest on the left or right shoulder, bell pointed to the crowd. These are more awkward than sousaphones and are not common in high school bands. Some upright tubas can be converted to marching tubas with special lead pipes that are interchangeable. This saves bands with low budgets the expense of buying a tuba for each season.

As you can see, many types and variations of tuba exist, each with their own purpose in a band. Hopefully this guide will shed some light on these instruments.

By Mike Quain Article Source: EzineArticles

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Types of BAGPIPES

While bagpipes may seem like crudely traditional instruments, there are actually several types of bagpipes--each with a distinctive character and sound. The seven types of bagpipes are: Great Highland bagpipes, Irish Uilleann bagpipes, Northumbrian bagpipes, Scottish smallpipes, Biniou, 

Center-France bagpipes, and Gaita. Great Highland bagpipes

Bagad de Lann-Bihoué (Photo credit: Wikipedia)

The Great Highland bagpipe is probably the most popular bagpipes type. It originated from Scotland and Ireland and is commonly used by soloists and pipe bands in civilian and military performances. It is played in the mixolydian scale, from the natural low G key to the key of A, consisting of two tenor drones and one bass drone.

Irish Uilleann bagpipes The Irish Uillean bagpipe is the most advanced type of bagpipe. It is played in the diatonic scale, in the key of natural C and the key of major D. It is usually played in staccato--a type of playing that is short and rapid.

Northumbrian smallpipes The Northumbrian smallpipe is a bellows-blown type of bagpipe. It typically consists of four drones that can be tuned to various pitches and combinations. It has chanters with seven 17 keys and possesses some of the unique qualities of the Irish Uilleann bagpipes. However, it requires very tight fingering to play in staccato.

Scottish smallpipes

The Scottish small pipe is popular among highland pipers. It is also a bellow-blown type of bagpipe but has the same fingering system as the Great Highland bagpipe. It can also be mouth-blown but will not produce the same sound and tone quality because it has a delicate reed construction.

Biniou

Originating from Brittany France, the Binou is designed to be mouth-blown. It is played one note above the octave scale and a flat lead tone below it. It produces a sound that is one octave higher than the Great Highland bagpipe, producing a very high pitched sound. Together with the bombarde, it is commonly used to accompany folk dancing in Breton.

Center-France bagpipes

Also known as the chevrette, the Cenetr-France bagpipe is made of goatskin and is also a mouth-blown instrument. It is commonly used in the Bourbonnais, Morvan, and Nivernais regions of France.

Gaita The Gaita is played by pipe bands and folk groups, usually in some regions of Portugal, and particularly in Asturias. It has a conical chanter and can be played in the key of D, C sharp, C, B flat, B, A, and G.

By Ilse Hagen Article Source: EzineArticles

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The Era of WORLD MUSIC

Due to the influence of western pop music, traditional songs and music are losing their place in society. The terms traditional, folk, or cultural music are now replaced by what is known as world music; which is a broad term used to describe music relating to cultures, history, ethnic groups, and indigenous people.

Village musicians in Hyderabad singing and playing a drum and string instrument.
The latter is decorated with swastika and aum signs.
(Photo credit: Wikipedia)

World music is all encompassing, ranges from indigenous forms of music in various parts of the world to culture fusion music such as new age music. Western pop and western classical music are not considered world music.

Some characteristics of world music include:

o The music is representative of a culture or lifestyle, or is for festive celebrations.

o It is communal and is accompanied by dances, rituals, or games.

o The repetition of rhythms, chords, and melodies is common.

o Specific musical instruments are used to play the music.

o The performances place more emphasis on group performances than individual singing.

With globalization and the world getting smaller, people move from place to place and bring their music along with them. As world music gains popularity, world music concerts or festivals become a trend in different parts of the world. People from different cultural backgrounds come to know about it and participate in related festivals; most don't really concern themselves with the origin of the music and just love the music for what it is.

World music is never on the top of pop songs charts and was never meant to be. However, it will always provide one of the best means for people to express their feelings, thoughts, cultures, dreams, and so on, through music.

By Ten Leu Jaw Article Source: EzineArticles

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The Best Method to Play PINK FLOYD Music on Your Guitar and to Prepare Well!

Obtain an effective quality guitar 

Obviously you have to own a guitar. The best ones are Fender because that is what David Gilmour uses (Pink Floyd guitarist). David Gilmour uses a Fender Stratocaster which are quite expensive but you can buy a Fender Strat which are cheaper, over £100 or $200.

Before you start to play, tune your guitar strings. Electronic tuners are inexpensive. Get one.
Get some guitar effects, Gilmour does why not you!

The four members of Pink Floyd. (Photo credit: Wikipedia)

It is best to obtain some extra effects such as reverb, distortion or gain and maybe some chorus or delay. Your playing will sound more pleasing to the ear, fun and professional.
Get hold of Pink Floyd Guitar tablature

Find some Pink Floyd Guitar tabs or sheet music by searching online. Pick your Pink Floyd guitar tab for your chosen song and try and pick a simpler song to start off.

Get the feel for the music
Listen to the Pink Floyd song the one that you hope to play. Hear how it sounds and get the feel for it. Concentrate on different layers of music provided by the different instruments, however, you are playing the guitar parts.

Play your Pink Floyd guitar tab
Play slowly at first, gradually improving your speed. Listen to the solo slowly and learn to play along. Some media players allow you to digitally slow down the tempo of a song without changing the pitch. Start learning the tablature. Learn one measure at a time, one line at a time. You do not need to learn an entire song on your first try. Play for a minimum of 10-15 minutes per day with one day off each week.

Allow time to improve. Don't get discouraged if you play poorly on certain days. Everyone has bad days. Start simple and gradually move to complex.
Play against a backing track

Play your Pink Floyd guitar tab over a backing track. These are available from monthly guitar magazines. Also maybe online somewhere.

Record yourself playing the Pink Floyd guitar tab

You do this by downloading or purchasing music software or just use the recorder on you pc but you would need a mic, however, they are very cheap.
Why not play it in a band!! Have fun.

Author: Ameen Jabbar

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The BACH Music Family - How Long Did They Remain Significant?

Sara Levy, student of Wilhelm Friedemann Bach, Friend of the Carl Phillip Emanuel Bach family, collector of Bachiana and great-aunt of Felix Mendelssohn relates how the Bach sons kept the Bach name alive in the world of music after their father's death.

I have known the Bach family for years and years. I studied harpsichord with Johann Sebastian Bach's eldest son, Wilhelm Friedemann. In fact, Wilhelm often told me I was his favorite pupil. Wilhelm Friedemann was a brilliant organist and improviser, but he never lived a happy life and unfortunately died in poverty in Berlin years ago.

Vater Johann Sebastian Bach und seine Söhne Philipp Emanuel, Johann Christian, Friedemann, Johann Christoph d.J.
(Photo credit: Wikipedia)

Johann Sebastian Bach's second son, Carl Phillip Emanual, on the other hand, was hugely successful, both in Berlin and later in Hamburg where he had a post very similar to his father's St. Thomas position. Carl Phillip's family and I have been wonderful friends for years and years. CPE is best known for his Essay on the True Art of Playing Keyboard Instruments. The treatise is now used by every important teacher in the land, including Beethoven's.

The younger Bach boys were also quite the musicians. Johann Christoph Friedrich ended up in Buckeburg, Germany as a court musician and there he happily stayed all his life. In fact, people call him now the Buckeburg Bach.

Johann Sebastian's youngest son, Johann Christian, who was only 15 when his father died, lived for a time with his brother, Carl Phillip in Berlin, but soon left Germany. Johann Christian was the first Bach to do such a thing! He studied and worked for a time in Italy and learned to compose in a totally different style than any of the other Bachs. In fact, he composed mostly opera in the Italian style. Eventually he ended up in London where he was a court composer for the Queen.

Here is a little story to show you how different he was from his father and brothers. As the story goes, the Queen commanded Johann Christian to play a concerto on the organ between the acts of his new oratorio. She wanted Johann Christian to emulate the great Handel's style. As the story goes, the young Bach's playing was so awful that the audience hissed and the boys in the chorus laughed. As you can imagine, Johann Christian was mortified, but he simply was not an improviser or a composer of organ music.

With the death of Johann Sebastian Bach's grandson, Wilhelm Friedrich Ernst Bach, in Berlin on December 25, 1845, the last musically significant descendant of Johann Sebastian Bach was gone. The long line of musical Bachs was extinguished.

The music of the Bach family music might have gone unnoticed for centuries if it had not been for our family. I knew the music of the Bach family was great music! I knew this great music had to be preserved so I collected as much of it as possible for my library making sure this great music was not lost. As a patron of the arts, I wanted to make sure that the great music of the past was not allowed to die!

I am sure you have heard of my great-nephew Felix Mendelssohn. On Christmas Day of 1825, he was given the manuscript the great St. Matthew Passion, one of Johann Sebastian Bach's greatest oratorios. In 1829, my great-nephew led the modern premiere (the first performance since the death of Bach) of this great work that led to the 19th-Century "Bach Revival." I do hope the music of this great master, Johann Sebastian Bach and the music of his sons will live on in concerts and churches for centuries to come.

(This vignette is one of a dozen anecdotes included in the organ and media event, Bach and Sons, performed by Dr. Jeannine Jordan, concert organist.)

By Dr. Jeannine Jordan Dr. Jeannine Jordan has a doctorate degree in organ performance with an emphasis in Baroque repertoire. She studied with renown Swiss organist, Guy Bovet, has performed throughout the world, and presents the organ music of Bach in a creative program, "Bach and Sons," utilizing visual media and narration. She has also recorded organ music of Johann Sebastian Bach and his sons on historic 17th and 18th century organs in the Bach region of Saxony, Germany. Article Source: EzineArticles

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VIOLIN or FIDDLE? The Differences Explained by a Player

“That’s a fine lookin’ fiddle ya got there, kid.”

I gritted my teeth into a forced smile and quietly thanked the old man at the bus stop. “Fiddle!?” I thought, gritting my teeth into a polite smile. “It’s a V-I-O-L-I-N, you old goat!”

Teenagers are sensitive and easily embarrassed, but this chickie had a bit too much pride in self-labeled “superiority as a classical musician,” which meant I was annoyingly arrogant and a general pain in the butt.

Humbled by merciless teasing in jazz college opened my eyes to the music outside my sanctioned little bubble.

I learned to fiddle.

For the most part “fiddle” is a style of music, such as Celtic, Bluegrass or Old Time. Nevertheless, there are a few differences and stereotypes between fiddle and violin.

Robert Blackwelder playing the fiddle - Photo  by      State Library and Archives of Florida

We’ve all threatened Fluffy that she’ll be taking a trip to the string factory if she doesn’t stop scratching the couch. There’s the violin’s dark secret of winding silver around a stretched piece of animal tissue (run Fluffy, run!). This used to be the principal method of making violin strings.

Gut strings possessed a rich and full quality ideal for orchestral playing. They weren’t perfect for the bank account, however, and fiddlers resorted to the cheaper alternative: steel. Steel strings have a “bright” timbre (tone) and carry well in a solo situation.

Steel strings are very difficult to tune with the violin’s clumsy wooden pegs. Many steel strings were broken until the glorious invention of fine-tuners, the tiny little metal mechanisms on the tailpiece that makes tuning a piece of cake. Violinists adopted this technology for use on their steel “E” strings which is nearly impossible to tune with the peg.

When I was youth symphony many players removed their lower string fine tuners haughtily, like a child insisting training wheels are for babies. The use of fine tuners on all four strings unfortunately had become associated with less skilled musicians since fiddlers used them. There is also evidence that fine tuners alter the quality of harmonics (higher frequencies). This a ridiculous stereotype was invented: violinists use the pegs, fiddlers use fine tuners.

It is thought that fiddles are simply cheap violins. At one time this could have been true, as poorer or rural folks usually played home-made fiddles, not Strads. They were less likely to afford private lessons or attend the symphony, but learned traditional tunes at jams and ceilidhs (kay-lees). Since many fiddlers never had formal lessons, most couldn’t read music and played everything by ear, whereas violinists could read music usually could not improvise. Another stereotype was invented.

Holding a violin with one’s jaw makes it nearly impossible to talk and play simultaneously (similar to walking around with your pants around your ankles). Square dancing fiddlers dealt with this difficulty by holding the violin down on their arm rather than under the chin, freeing up their jaws to “call” the dance moves. This technique is a big no-no in classical playing and it created yet another rift between violin and fiddle.

Luckily it seems the violin/fiddle gap has narrowed considerably in the past few years. Most players use new hybrid strings that posses a full and rich, yet clear, tone and respond well to both classical and fiddle playing. Classical violinists aren’t so sticky about fine tuners anymore as they are seen as an advantage over using stubborn old pegs.

The resurgence of fiddle music in pop culture has created an opportunity for fiddlers to aspire to a higher level of playing ability and for violin students to branch out and try other genres of music. Hence fiddlers and violinists alike have finer instruments and a formal music education.

Fiddle technique is being abandoned by many fiddlers who have discovered the benefits, such as greater speed and fewer backaches, of the classical technique.

New programs in music education in new programs has produced fiddlers who can read music and violinists who can improvise.

As more musicians branch out musically and develop new ways of playing there will be little difference between "violin” and “fiddle.” Musicians will feel much more comfortable playing with each other and the stereotypes will fade away, both violin and fiddle will be valid.

You’ll see the old man at the bus stop whistling to “Celtic Swing Baroque Techno” on his MP3 player. 

By Rhiannon Schmitt Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years. She writes for two Canadian publications and Australia's "Music Teacher Magazine." Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards and offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca Article Source: EzineArticles

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HAMMERED DULCIMER - Music-Instruments of the World

Hammered Dulcimer -  Cimbalom -  Photo: Villanuevea Wikimedia

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How to Play VIOLIN Artificial Harmonics

(Photo credit: Wikipedia)

Violin artificial harmonics are an advanced technique that should be practiced primarily by violinists who are already comfortable on the instrument. If you want to learn violin artificial harmonics, just keep this in mind and be ready for a decent amount of frustration as they can be very difficult, especially if you have only just started mastering the basics! That said, here are the steps you need to take to play them.

For a violin artificial harmonic, you are going to play a note with your first and fourth finger. Your first finger will be the base and will hold the string down. Your fourth finger will be the harmonic finger and will lightly press the string in order to produce the harmonic note you desire. Combining these two will create a new harmonic on a string that didn't previously exist. Sound complex? It is challenging, but practicing it will make it easier and easier.

Harmonics happen at points of perfect intervals. So when we play a violin artificial harmonic, you are going to target the only perfect interval you can really play with the first and fourth finger: a perfect fourth. The distance between them should remain exactly 3 steps.

So start by placing your first finger in first position on D string and playing an E. Then place your fourth finger down in a harmonic position for an A, right where the A string is. You can play an open A to test the note. This creates a violin artificial harmonic where the fourth finger is. You will notice an entirely new harmonic has formed where originally the harmonic would have been at a different position.

You can shift this violin artificial harmonic position up as well to test new harmonic sounds and see what results. This creates more new harmonic sounds where previously there were only a select handful. What you are doing is simply tricking the string into thinking it is a different note by playing the first finger, then relying on the fourth finger to find the new harmonic note that has been formed from the artificial harmonic therein. It is a very tricky technique, but one that gets easier with practice.

Overall if you are truly serious about learning violin artificial harmonics or any other violin techniques, you need to get yourself a good teacher. Having a good teacher makes a tremendous difference in violin playing ability, so don't ever underestimate this!

Eric Conklin is a violinist and a blogger who specializes in helping new musicians find lessons that help them grow quickly and efficiently. Article Directory: EzineArticles

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Are You an Organized DRUMMER?

What does it mean to be an "organized" drummer?

When your band plays a song, do you play that song the same way every time? If not, you should. Here's why...

English: Drummer - Producer Gunnar Waage (Photo credit: Wikipedia)

It can all be summed up into one word called "predictability."  So many drummers will never play a song the same way twice. This, many times, throws the other musicians off, potentially causing a drag in timing or increasing the chances of a mislead cue. 

As the drummer in a band it is your responsiblity to provide the foundation for the music. This meaning that everything you do behind the drum kit is vital. Anything you do out of the ordinary, or something the other musicians are not used to hearing you play in a particular song really has the potential to screw things up.   

Experimenting is definitely a good thing, and that's why we practice, but there just comes a time when experimenting is over. You must decide what you're gonna do and then stick to it. Never throw in something that the other musicians are not expecting or you can end up with some serious choas.  

Predictability is a must! The other musicians must know what you're going to do before you do it. An outstanding drummer is predictable, prepared and organized, ready to bring his or her goods to the table. Personally, it has always bothered me when a band mate would come to play and he or she would just not be ready. Situations like that are just not fair to everyone else who is ready.   

It's been said that when prepardness and opportunity meet, success occurs. I don't know what kind of "success" your hoping for, but one thing is for sure, you will more likely meet with it by being organized when opportunity knocks.

Author: Dan Brown 

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The Delights of BAROQUE MUSIC

Baroque music is instantly recognisable. It is the beautiful expressive music that accompanies many historic films. The uplifting instrumental music that is often used in advertising, and in public campaigns. Why is it so often used? Because it has an unique ability to lift the human spirit, and to set a mood of sublime enjoyment.

Baroque is the style of classical music composed between approximately 1600 - 1750. It is often divided into the Early Baroque, which lasted until the mid 17th century, and saw the initial development of the style. The Middle Baroque, until the late 17th century, and finally the Late Baroque, which ends with the deaths of both J.S.Bach and G.F. Handel in 1759.

J.S. Bach

The name 'baroque', comes from the Portuguese word 'barocco', meaning a strangely shaped pearl. It was a considerable departure from the established music of the time, and must have seemed quite unusual to a contemporary audience.From the outset it was music of the spirit, and of the emotions. Intended to express some of the most profound states of human experience.

Baroque music has a number of particular characteristics which underpin its performance. A strong projection of emotion, and a sense of underlying spirituality. It is a style which makes deliberate use of strong contrast to heighten dramatic effect, for example contrasting different sections of a piece against each other. With slow and fast sections, perhaps.a simple theme set against a complex elaboration and development. All to achieve the maximum dramatic effect. Indeed the whole idea of linking melody and bass dates from this period, with a strong bass part providing a solid foundation and structure on which to build and elaborate the different themes and contrasting elements.

G. F. Handel

For the novice to classical music, there are many notable composers of the Baroque period that are well worth taking the time to listen to. One of the joys of this music lies in personally discovering the many treasures to be experienced, as you explore this music of four hundred years ago.Yet which is still so accessible to us today.

It is generally accepted however, that three composers in particular symbolise the main achievements of the baroque. Johann Sebastian Bach (1685-1750), George Frideric Handel (1685- 1759) and Antonio Vivaldi (1678-1741). While many others such as Corelli, Purcell and Scarlatti were also important in the development of this new music.

With such a treasure trove of baroque pieces to choose from, it is difficult to know where to begin. But the enthusiastic listener wishing to gain a greater understanding of the style could well consider the following pieces in their initial exploration. From the works of J.S. Bach, a good choice would be the famous Brandenburg Concertos. Bach wrote this set of six concertos in 1721, and dedicated them to Christian Ludwig, Margrave of Brandenburg. They form perhaps the first musical jobapplication,as Bach was hoping for employment with the Margrave. Sadly for Bach, the job offer never materialised, but the Brandenburg Concertos remain an acknowleged masterpiece of the baroque.

A. Vivaldi

A perennial favourite for lovers of this genre, has always been G.F.Handel's Water Music Suite. Composed in 1717 for an elaborate river party on the Thames, attended by King George 1. Some fifty musicians were on board the concert barge, which followed the King's own barge in stately progress down the river.The powerful and beautiful music was so popular with his majesty, that he is said to have requested the musicians to perform it for two further encores. While Handel's oratorio The Messiah, composed in 1741, is perhaps one of the most famous choral pieces of all time.

The Italian influence was strong throughout the baroque period, and in the works of Antonio Vivaldi we have one of its finest exponents. Vivaldi is famous for the sheer number of pieces he produced in his lifetime. Yet an enduring favourite, and one which can be recommended to anyone new to baroque music, is the set of four violin concertos called The Four Seasons. This remarkable piece composed in 1723, is an evocative musical picture of each of the seasons of the year, Spring, Summer, Autumn and Winter.Each section attempts to show the character of the particular season, from the energy of spring, through the mellowness of autumn, to the icy sharpness of winter.

Baroque music was the music of the Enlightenment,of new developments in science, philosophy and literature. Of hope and optimism, a belief in humanity and its great potential for progress. A celebration of profound feeling and inspired vision that still has the power to entrance us in its magic today.

By Ian Halland - Article Source: EzineArticles

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The Lure Of The NYLON STRING GUITAR

As a fan of the electric guitar and an enthusiastic player of acoustic music, I would like to share some of the most fascinating aspects of the nylon string guitar to give you an idea of the beauty of this instrument as a stepping stone for beginner guitarists or as the subject of a lifelong devotion. Although a nylon string guitar fan can go on and on about the wonderful mellow sound and the potential for extracting new meaning from music, maybe we can focus on the more practical aspects of the nylon string acoustic like the different styles of music played on it and the advantages it can hold for an amateur or professional guitarist.

Photo: Pexxels

First let's talk about the types of guitars using nylon strings. Many experts say the flamenco guitar with its dry sound is more typical of  what a guitar was like before the emergence of the sonorous and lyrical sound of the classical guitar which evolved in the first half of the twentieth century. The flamenco guitar has always been common in some areas of Spain, and it is simply the musical instrument used by a family or group of friends to play the local folk music. The classical guitar was developed to play the classical style compositions which became popular in the nineteenth and twentieth centuries. A descendent of the classical guitar is the basic nylon string acoustic guitar you see in music stores today. It lends itself to the accompaniment of all types of songs and was made popular in the 1960's folk boom by artists like Pete Seeger, Bob Dylan and Peter, Paul And Mary. These artists captured the public's imagination with their songs and planted the sound of the nylon string guitar firmly in the realms of popular music.

The sound of the nylon string guitar is much more peaceful compared to the brighter sound of the steel string acoustic. Another major advantage of the nylon string guitar is that it provides musical accompaniment to songs without distracting attention from your vocals.

By the way - did you know that players of electric guitars or steel string acoustic instruments need to develop callouses on their left hand fingers? Nylon strings are generally a little kinder to your hands. You will find that your nylon string guitar is easy to tune and you can just pick your guitar up and play it at any time of day or night without disturbing anybody in the immediate environment. Also the wider fret board allows you to play chords and single notes without accidentally touching the wrong string.

Nylon string guitars are kinder to finger picking guitarists. Anybody can learn finger style guitar on nylon strings without running too much risk of breaking fingernails, plus you will be pleased at how your first finger picking efforts are rewarded by the more beginner-friendly tone of the nylon acoustic.

Now you have some idea of the attractive aspects of the nylon string acoustic guitar, I do hope you will find some time to devote to this beautiful and, in recent times, neglected instrument.

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Enter the world of MUSIC

Technology has made our lives simpler and with the new developments in technology not only is life getting simpler but technology is continuing to make more differences in our lives by contributing to various spheres of our lives like entertainment . With the internet all this has now come to our very doorstep at just the click of the mouse. 

Earlier for the purpose of listening to a song atleast a visit to your local music store was required and seeing a video meant watching the band perform at one of their concerts or then getting  a music video from the music store. Now anytime you wish to listen to some great music or watch a music video just log on and you can watch your favourite songs or watch free music videos and watch music videos in the comfort of your home. There is just no need anymore to venture out , technology has brought everything you desire right into your home or workplace. 

There is good news for all music lovers . Now with internet technology , music fans can not only listen to their favourite artists but also watch free lyrics.  All the songs are available at just a click sitting in the comfort of your home. Not only can you now watch songs but also song lyrics and hear and enjoy the music and even sing along with the lyrics and all available to you. 

Internet is a world of choices for all music lovers and provides you all the information and the latest happenings in the music world. You can be up to date on all music news and the current hits on the US top 20 or the singles charts. The music site offers you the flexibility of watching your favourite stars totally uninterrupted(free from all the hosts) . The music site is a legal way to watch music unlike using pirated versions .

It not only the music enthusiasts but also the music companies that have realized the potential of the internet as a great marketing tool for promoting their music.  You can not only watch music videos but also rate music videos. This would be useful to the other members in making a decision on their watchs and also provides a good feedback to the music companies about the choices or preferences of the fans. 

The music site thus, provides you access into a whole world of music and music alone where you are the King. You can decide as to what you want and bring it home at just a click. You can then listen to the music of your choice or watch music videos at your own convenience and even rewind and see your favourite music videos over and over again. The world of music is now waiting for you to explore and soak in all that you can. Just log on and at the click you can venture into this beautiful melodious world and be lost in the tunes and rhythms of your favourite stars.

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The Medieval Sounds of the RECORDER

Soprano Recorder (Photo credit: Wikipedia)

The recorder is a type of flute that belongs to the woodwind musical instrument family, and is more specifically a fipple flute. The recorder is a long tube with a wide mouth piece that the musician blows directly into. It has seven holes for fingers, one hole on the back of the instrument for a thumb and the tube tapers a little near the end of the recorder. This particular instrument has not changed much since it was popular in medieval times, which is when it was fairly popular until people appeared to lose interest in it during the 1700s.

During the 1700s, when interest in the recorder started to decline, people were beginning to favor other woodwind instruments like the flute, clarinet and the oboe. The reason for this change of interest could be that the recorder was a fairly simple instrument that was not overly complex and did not have a wide range of sounds. The other instruments offered a wider range of sounds that were quite possibly more appealing to people at the time. It could also be that people did not have much use for recorders anymore. The sound of the recorder was often associated with the sounds of birds, funerals, marriages and even shepherds when played. In fact, Vivaldi and Bach, too noted musicians, often used the recorder in their music. 

Even though the recorder may have lost popularity at one time, it was still being used. The use of the recorder would also become a little more popular during the 1900s. The biggest reason for this could be that this woodwind instrument is fairly easy to learn how to play. It is also inexpensive and easy to supply to students in schools. For this reason, many elementary schools will introduce the children in a certain grade to the recorder. For most, this will be the first instrument they will have learned how to play. It will also be the first time that many of them will see and learn how to read simple sheet music.

The instrument may not have a large range or variety of different sounds, but it is simple to play and its sound can be fairly calming and soothing. Some people don't like the sound of it, but when played right the sound can actually be quite nice. Many will not choose to play the recorder for the rest of their lives. Many would prefer to choose more complicated instruments that offer more variety in the different sounds they can make.

The recorder, however, can be the perfect first instrument for anyone who has never played an instrument before or ever seen sheet music; it is a great instrument to play when trying to learn simple sheet music. When people get comfortable with the basics, changing to a more complex instrument will be a lot easier. In the end, it may not be the instrument to choose when looking for something to play throughout your musical career, but it could be a good backup instrument that could add to the song. It may be simple, and it might not be very dynamic, but it does have a sound that is unique to its own.

By Victor Epand Victor Epand is an expert consultant for used CDs, autographed CDs, and used musical instruments. Article Source: EzineArticles

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Make a Game of Your GUITAR PRACTICE and Surprise Yourself

So you want to be improve your guitar playing?

Well, like any thing, guitar skill progress takes time and practice, but many of us have much difficulty practicing regularly because it is so easy to let other things take priority over our guitar lessons.

Broke the guitar out today. She hit for the cycle on music - recorder, piano, and guitar. Nice. (Photo credit: Wikipedia)

First, you need to absolutely make up your mind that you want to improve your guitar playing and then make sure that your progress is truly is a priority for you.

Make a list of the most important things that you need to focus on in your life right now and honestly assess where guitar fits into your list.

Ideally, you want to be engaged in a guitar lesson for at least an hour a day in order to make any significant progress.

However, you may have to conclude that at this point you are not going to be able to devote even an hour a week to the task.

If that is the case, try to spend some casual time reading guitar-related publications or listening to your favorite guitarists to nurture your love of the music.  When your priorities change and you have more time, you will then at least still have a strong interest in becoming as good a guitarist as you can.  Listening to Eric Clapton or other greats will only kindle your interest and may even cause you to reprioritize your guitar lessons.

Once you see where your guitar practice fits in with the rest of your life, make a true appointment with yourself.  Put your practice into your schedule.  Get it in your planner or it won't get done!
Okay, now that you are regularly spending time with your beloved guitar, what should you do?
First, make sure it is quality time.  Don't have the television on or be hanging out with friends. Then, make sure you are working on skills that you need to sharpen.

If you spend time strumming popular solos and cranking up your amplifier, you may have some fun, but you will not improve your skills.

Think about the chords and scales that you struggle with.  Grade yourself on them on a scale (no pun intended) of 1 to 10 and then re-evaluate every week or so.  Re-grading every practice or guitar lesson is not appropriate because it is unfair to measure progress that frequently.

No one improves in a straight line.  You may hit a certain chord great one day and then have two of the strings sound very unclear the next day.  However, if you work diligently you will make progress when measured every couple weeks or so.

Do the same thing with scales and even notes depending on your current skill level.

Once you have a way of measuring your progress, you will be inspired to continue with your regular practice regimen and guitar lessons.

As an advanced step, after you have made progress with a certain group of chords and scales, you should find a song you like that uses many of those elements and work on that as a way of applying your improved ability.

This can be very rewarding.

You may even want to start with the song and work backwards, but make sure that you do spend a great deal of time on the fundamentals before you get serious about the song.

The key to all this is regular consistent work and a measurement of results.  Achieve this, and you will enjoy your practice time more and more.  Challenge yourself to be at a certain grade by a specific time.

Make a game of your practice efforts and you will surprise yourself!

Author: Jeremiah Thompson

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The Muscles Role in TRUMPET PLAYING

People literally use TOO many muscles when they play. They use muscles that actually work against playing as well as muscles that help playing. They pull with the cheeks out and pull with the corners in; they pull the chin down and try to make the lips compress. These are OPPOSITE actions and they just tire us out. Think about what the muscles do and then how they affect playing. When we learn where the extra tension is then we are automatically stronger.

Duncan Wilson playing Rotary Bass Trumpet in C with the BBC Symphony Orchestra
(Photo credit: Wikipedia)

Isometrics are good for adding muscle strength but NOT good WHEN we are playing. As far as isometrics go all you need is a unsharpened pencil. It costs 5 cents and gives you all of the workout you will ever need. Most people use the muscles UNDER the lower lip for compression and the pencil isolates that better. The pencil exercise should be done with the teeth CLOSED. That makes the lower lip do the work. When the teeth are apart the jaw moves and the pencil is partly supported by the jaw and neck. Working the neck is a BIG concern for many players as some of them have real issues with the throat closing.

The corners of the Buzz or vibration is INSIDE the mouthpiece. The actual mouth corners are isolated from the embouchure by the mouthpiece rim and pressure. Poor choice of words from many years ago. There are many embouchures and the corners play a significant part in only ONE of them. You have to realize that people have done themselves a disservice by blending and mixing embouchure ideas together that don't fit.

Sand is OK. Water is OK. Water and sand together make MUD. That is what we do when we keep assuming that ANY embouchure idea or exercise will work with another one. We muddy up our abilities.

What is the BEST embouchure? None of them. Maynard Ferguson used some pucker. Andrea Tofanelli rolls his lips in and uses a forward jaw. Arturo Sandoval buzzes. Walt Johnson has his top lip overlap his lower lip. Bob Odneal uses compression made by bunching his chin. Nick Drozdoff uses his tongue against his lip as part of the embouchure.

6 high note players and 6 completely DIFFERENT embouchures. Yet for some reason people think there is A high note embouchure. (NOT mixing several embouchures together by accident IS the high note embouchure.) Some of those NEED mouthpiece pressure to work. When you over lap the lips pressure IS the way they make compression. Now that is different. Some embouchures need tongue arch to induce a slight curl (when the tongue moves it moves the jaw and that realigns the lips and causes curl.) But in some like the Stevens; tongue arch is useless because the lips are already curled (the tongue can't move enough to add to the curl.)

See those 6 embouchures I have mentioned are NOT all of them. Plus there are variations on each. There are even some others I haven't mentioned yet. Bill Houghton - Principal Trumpet - BBC Symphony Orchestra plays with ONE lip against the tongue. The tongue takes the place of the bottom lip. (That was first written about in the ITG Journal Sept 1995.)

See there are many variations that work as long as we don't mix something from embouchure A with something from embouchure B and something from embouchure C. Mixing these elements often adds excess and throws off the balance that we need between lip aperture, firmness, relaxation, air support.... When this balance is upset then our progress halts and sometimes reverses.

Putting Ford parts on a Chevy doesn't work. That is why MOST embouchure experiments fail. The WAY we use some muscles and the WAY we use our jaw and the WAY we set our lips makes each of us a Chevy, or Ford, or Cad, or&& This makes actions that are VITAL to some setups completely worthless for others. See the old habits and over built muscles have to be overcome BEFORE the experiments have a chance of success.

If somebody smiles to play high we get them to set the embouchure by pulling the corners in so it is much harder to smile. That gives them a chance to learn to use compression. It could very well be that your playing embouchure reinforces things that prevent your experimental embouchure from growing. For example people who already use lip curl get ZERO benefit from tongue arch. Tongue arch helps BECAUSE it creates some lip curl as the tongue movement makes the jaw move. If you already use much curl the effect will NOT be noticed because the ratio of tongue movement to jaw movement is 16:1. That is why Stevens didn't use ANY arch. But on a pucker embouchure or a buzzing embouchure arch is like a turbocharger.

ALWAYS Useful for playing:

Actual lips themselves the Orbicularis oris ---------- close mouth, purses lips.

The muscle in middle of chin the Mentalis ---------- protrude lower lip and makes compression.

The muscle that goes from under corners of lower lip the Depressor anguli oris ---------- frowning and makes compression.

OFTEN Harmful for playing:

The muscle of the Upper cheek the Zygomaticus major/ minor ---------- smiling and thins the lips.

The muscle that goes from the cheek bone and lips the Buccinator ---------- compresses cheek and thins the lips.

The muscle that goes from the ear to mouth corners the Risorius ---------- smiling and thins the lips.

The muscle that goes from the lip to nose the Levator labii superioris ---------- raises upper lip and parts the lips and pulls top lip above teeth gap

The muscle that goes from the jaw to mouth the Depressor labii inferioris ---------- lowers lower lip and parts lips.

The muscle that goes from the neck muscle that goes from jaw to shoulder the Platysma ---------- depresses mandible, lowers the lip and parts the lips.

The largest cheek muscle the Masseter ---------- closes jaw and chokes the air flow.

The muscle that goes from the top of cheek towards back of head the Temporalis ---------- closes jaw (elevate mandible) and chokes air flow.

Many players use ALL of these muscles but when you actually look at what they do then you see they hinder playing. So my best advice to you is that you check and see what elements are supposed to be present in the embouchure that you play and to not add ideas from other systems to it.

By Clint McLaughlin http://www.BbTrumpet.com Article Source: EzineArticles

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