The History of the TANGO

Photo  by aka_serge 

The Tango has always been one of my favorite ballroom dances, as it is so different from all the others, and a real challenge to master both musically and technically. Here is a brief history of the Tango over the last hundred odd years.

The story of Tango is said to have started with the gauchos of Argentina. These were men that were hardened from working with horses and also from the sweat on the horse's body. This is also why gauchos walked with flexed knees. These men would go into the crowded nightclubs and ask the local girls to dance. Since the gaucho hadn't showered, the lady would dance in the crook of the man's right arm, holding her head back. Her right hand was held low on his left hip, close to his pocket, looking for a payment for dancing with him. The man danced in a curving fashion because the floor was small with round tables, so he had to dance in between and around them.

The word "tango" is said to come from one of two sources. One of the more popular rumors in recent years has been that it came from the Niger-Congo languages of Africa. Another story is that the word "tango", which was already in common use in Andalusia to describe a style of music, lent its name to a vastly different style of music in Argentina and Uruguay.

Strangely enough, it is said that the Tango's History actually evolves from African slavery and musically used African Rhythms in the beginning. It is an intense and erotic dance and many believe that it started off in the Ghettos of Buenos Aires as far back as the 1890's with the lower classes. Back then it was known as "Baile con corte" which means "Dance with a rest." After that, it was mainly danced in Argentina, Haiti, and Cuba. It was also danced in Spain in a different form.

Between 1907 and 1912 the Tango was first introduced in France and the dance took Paris by storm. By the year 1912, it had crossed over the Channel to England.

By 1913, New York was hit by the Tango craze. What was previously a dance for the lower and middle classes was fast becoming a favorite with the upper classes.

Between 1903 and 1910 over a third of the gramophone records released were Tango music and the sheet music was sold in vast quantities all over Europe.

During the great depression of 1929, the Tango's popularity declined but it became fashionable again during the presidency of Juan Peron.

During the 1950's the Tango started it's decline again due to the economic recession and the banning of public gatherings.

During the 1980's it was revived again with the Broadway Musicals Forever Tango, Tango Passion, and Tango Argentino.

There are now three types of Tango, namely Argentine, International Style and American, and I don't think that the Tango will ever totally lose its appeal.

By Michel Maling - To find out more about different dance forms, visit http://dancersforum.com Article Source: EzineArticles

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How To Preserve Good SINGING VOICE

Portrait of Harry Belafonte
(Photo credit: Wikipedia)

Good professional singers not only have to be fit and healthy to look good for stage performances, they must also know how to maintain and preserve a good singing voice.

You have only one voice and when your voice is damaged permanently, it will probably spell the end of a singer's. Many singers who have not been through professional singing coaching by good singing coaches or attend any singing schools may not even know that they may be damaging their voice.

Many singers also forget that when their singing voice does not feel right and they are not singing effortlessly as they should be, they will have a tendency to compensate for bad and unhealthy singing habits. These newly created or old bad habits may become stuck unconsciously and will have to be unlearned with the right vocal exercises. That is if the singer is aware that such habits are already in existence in the first place.

There are many things you can do to damage your singing voice and sometimes the damage will lead to permanent damage to your vocal chords. Here are some examples of what can harm your voice and there are much more.

a) Constant screaming or talking forcefully all the time. This happens very often if you are singing in a night club environment where you have to speak above the din to be heard.

Making funny voices maybe cute, but you may be doing terrible damages to your vocal folds.

b) Dry air and/or not enough water consumption will dry up your larynx and thus placing too much friction on them.

c) Poor diet, lack of sleep, stress will place more toll on your body and your singing mechanism.

d) Caffeine consumption, alcohol consumption, smoking will also damage your voice.

e) Talking, singing or whispering when you have laryngitis or sore throat. You need to rest your voice when you have a sore throat.

True professional singers must spend a lifetime working to minimize the stresses on their voices. Why should they want to destroy their singing career by being ignorant about what these bad habits can do to their singing?

What is more, if the voice is damaged because of frequent abuse and polyps grow on the larynx, they may even need to go for a surgery to remove the polyps. That will mean an of income and avoidable medical expenses. So you must preserve and maintain a healthy singing voice if you want to have a successful singing career.

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CELTIC HARP - Music-Instruments of the World

CELTIC HARP - Music-Instruments of the World - Photo: Wikipedia

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Shopping For A MUSIC STAND?

A wooden music stand.
(Photo credit: Wikipedia)

Make sure you buy the right one!

Shopping for a music stand is easy. Deciding which music stand will fit your needs might not be as easy.

To shop for a music stand all you have to do is go to a music store or do an online search. If you walk into a music store you’ll see the music stands the prices for each. If you do an online search, you can see pictures of the music stands that are out there and again find out how much each one is. That is the easy part.

The hard part is figuring out which music stand you need. There are several different music stands that are designed very differently.

The opera stand is an illuminated music stand for the opera singer. The stem on it is designed so that it does not interfere with the opera singer’s feet if they sit down. The opera stands can be nested together for easy storage.

The wooden stand is made to match a modern or historic concert hall. These stands are made of polished metal stems and natural wood trays. These stands nest together for compact storage also.

The jazz stand is a music stand that folds. It will fold down to the size of the tray. It is an adjustable stand for sitting or standing to play or sing. To store them, they will stand right next to each other or you can store them folded. If they are folded, they store one right on top of another.

The school music stand is designed for students. It is unbreakable. It does not have knobs, but rather raises and lowers easily. It has an extra lip on the tray for pencils and erasers. These also nest together for easy storage.

The studio stand is a modern looking stand for all types of musicians. It is like the opera stand, except it does not have the light attached to it. It is designed so that if the musician swings their legs, they will not knock the stand over. Like many of the other music stands, they are designed to be nested together for storage.

The scherzo stand is a foldable stand. It is made of aluminum. The aluminum makes it very lightweight for easy transportation.

Now that you know how each music stand is designed, you can decide which music stand will work best for your music needs.

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TRUMPET and TROMBONE High Notes

Photo  by Christophe ALARY 

Are you a brass player that has heard an album or a live performance by one of the giants of our instrument and been totally amazed at how they possess a complete command of the instrument?

Such giants as Maynard Ferguson, Wayne Bergeron, Bill Watrous, Slide Hampton?  It's not that these individuals were born with great skills and never had to practice, yet more over, they were driven by the desire to play.  Along with that desire comes support.  Support from family, friends, peers, and authority figures such as band directors.

What is essential for all beginning players young and old is a strong support system.  Family, friends and teachers must all rally around the student to help them believe in themselves and in what they're doing!  Statements such as... ya, ya, that's good but can you do that somewhere else is not exactly a supportive frame of mind.

If you could go back in time and interview the greatest players, you would find that they were strongly supported by family and cohorts.  Maynard Ferguson is a prime example of this!  His parents were both school principals in Montreal Quebec Canada, and as he and his brother Percy were growing up, they were strongly supported in everything they did.  Whether it was sports or music, they were rallying to their kids support.

As Maynard grew into his early teen years and showed a knack for trumpet playing, his parents nourished this talent by not only buying him the recordings, but taking him to the performances that came through.  From Duke Ellington to Dizzy Gillespie, they were there.

The next thing a young player needs is the right tools.  Teachers who don't really know what they're teaching can be a serious detriment to a young player and his growth.  The right approach and the right books as well as specific instruction on how to perform each exercise is vital!

If you are a player who did not exactly experience either of the above, it's not too late.  Trumpet players are most likely looking for that Maynard type range and power.  The high notes that make the audience just sit back in total amazement and wonder - does that hurt?  Is that some freak trick?

High notes are nothing more than just really fast air being forced through a very small hole.  NOT large volumes of air, but rather extremely compressed air moving rapidly through a small hole between your lips.

Sounds easy, doesn't it?  It is once you gain the right concept.

Keith Fiala / Anna Romano - Article Directory: EzineArticles

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The Well-Tempered Clavier by J S BACH

Photo  by MuseScore 

The Well-Tempered Clavier is generally referred to as the pianists' "Old Testament of Western music", also in Barenboim's fingers, it definitely has an "Old World" condition to it. Seen in its entirety, the performance brings to mind Edwin Fischer's recording from the thirties: great pianism, frequently elegant playing, notably by means of the liberal use of the pedals.

This is, needless to say, planets independent of the incisive, razor-sharp resolution that Glenn Gould, as well as Mehmet Okonsar, brought to these works. As opposed to concentrating on offering the spectacular complexity as well as the polyphonic aspect of those compositions, Barenboim is without a doubt more happy putting together an abundant harmonic texture to each piece, magnificently experienced on a contemporary Steinway.

I'm a tremendous fan of Bach. He was simply a fabulous genius and far in advance of his time period and the Well-Tempered Clavier is just mind-blowing. As a recreational piano player, I discover his music a genuine treasure. The complexity and beauty of his music continue to be so incredibly inspiring.

There are considerable records to support Bach's claim that he employed the Well-Tempered Clavier as part of his lessons, nevertheless, the work accomplishes so many purposes that it must be an easy task to overlook its part as a teaching tool. Obviously, the most crucial feature of the Well-Tempered Clavier is that its full of sublime music from cover to cover.

The fact that it illustrates Werckmeister's "well-tuned" technique pertaining to keyboard instruments seems incidental to us all right now, however, it was outstanding in Bach's day. We still wonder at the genius which expended each prelude and fugue using a unique musical style, drawing on a multitude of compositional processes to shed light on his students. The idea sounds dry, having a piece in every key in ascending arrangement from C major, however, the result could not end up being closer to excellence.

Fugues are usually said to be in a number of voices or parts (the term voices may be used whether or not the fugue has not been written with regard to singers), which is, self-sufficient melodic lines. Fugues are generally in from three to five parts, however, eight and even ten parts are achievable in large choral or orchestral fugues. Fugues in fewer than 3 parts tend to be rare since with 2 parts the actual subject is only able to jump back and forth between the upper and lower part. The best-known illustration of a two-voice work is certainly the E minor fugue out of Book 1.

These forty-eight preludes and fugues in all the major and minor keys have got very little related to public virtuosos, stages or even audiences. Like a lot of Bach's work -- especially the music written, or at least put together when it comes to the ending of his existence -- the ''Well-Tempered'' makes statements, advances concepts, draws together bodies of expertise. Moreover, its lessons happen to be learned, and its particular messages attained, in the home.

The Bach preludes and fugues are actually, to utilize Schumann's well-known explanation, the keyboard player's "everyday bread." All musicians exercise however rarely perform them. Wrapping one's ears and fingers around these pieces amount to both an undergraduate and a postgraduate training: what things to make visible, what you should render as background, how to make the load of the finger interact to the control from the ear and so forth.

My commitment to the original issue of Gould's performance of the Well-Tempered Clavier was sizable however by the time Okonsar's recording emerged it had wanted to some degree.

There was (and still is) no doubt Gould's awesome proficiency to managing, varying as well as diverse touch in clarifying textures through 'orchestration', however Okonsar's reading of the work and the eschewing all forms of obvious pianism remained (and remains) a new testimony to his faithfulness to representing this kind of music, as he observed it, devoid of seeking back to the harpsichord or forward to the nineteenth-century piano.

As numerous reviewers at that time excited, Gould's was an impressive success, yet the cautiously calculated however communicative as well as packed with feelings playing of Okonsar, along with some idiosyncrasies added up to an analytical as well as a human performance of it.

The actual doubts began to find their way in, and retrospectively, with Prelude I of Book 1: the varying articulation of the last few notes of each group speaks of Gould as well as Okonsar, but what does it say of Bach? Echo answered as it did to other, subsequent concerns.

The actual harpsichord cannot provide more weight to any one line, nor is there any proof that players of Bach's period employed severe variations of articulation pertaining to such a function, notably in the ready-balanced texture and consistency of a fugue; such 'painting by way of numbers' is an anachronistic imposition.

Amongst the currently available piano versions of the 48 Schiff's on Decca remains, in my opinion, the most effective and the freest from excess; its pluses and minuses were broadly mentioned. Keith Jarrett's recording (ECM/New Note) is all that particular may well reasonably desire. That both occupy simply three discs may encourage a few readers to purchase Gould's and/or Okonsar's sets, both amaze as well as irritates by turns, and also over which controversy will certainly likely carry on for a long period in the future.

By Anthony B Summers Although I am a literary person and a novel editor classical music is always there when I work for publishers. As a side effect, I started to provide some reviews and articles on a couple of classical music papers as well. My favorite Bach interpreters are Glenn Gould and Mehmet Okonsar. Article Source: EzineArticles

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BASIC GUITAR Chords And How To Play Them

C major chord for guitar in open position.
Beginners chord.
(Photo credit: Wikipedia)

One of the challenges for the novice guitarist is learning the basic chords. You will not only need to know where to put your fingers but also how to change from one chord to another. The technique of smooth transition between chords is a learning process we are never really finished with. Every time we learn something new on the guitar, that's another sequence of small movements our body learns, and these sets of movements must be executed smoothly through relaxed, calm practice.

Holding chords with your left hand is a new skill. It uses groups of muscles we do not normally use, so it takes time to learn the chord shapes without experiencing discomfort. There is light at the end of the tunnel, although sometimes the tunnel seems very, very long.

Another physical adaptation that has to be made when you learn your basic guitar chords is the left-hand fingers need to be toughened up. Callouses form on the tips of the fingers after a few weeks playing, but until they do you need to put up with the pain.

Fortunately learning the notes on the guitar is a job that does come to an end. As you learn more songs, chords, and scales you will feel your ease with musical theory and notation growing even if you didn't directly learn much theoretical stuff. If you learned in your own way the knowledge gets into you by way of constant practice and the enjoyment you bring to your guitar playing.

So the task at hand is to learn a basic group of chords. This is your toolbox you begin your guitar playing with. 

Picture taken from taking barre chord on a guitar.
(Photo credit: Wikipedia)

Each chord is identified by a letter. If the letter is followed by the word, minor, it's a minor chord. If it is just the letter alone, it's a major chord.

Major chords contain the Root note, a major third above the Root plus a fifth above the Root.

Minor chords, which have a more "sad" sound, are the same except that they contain a minor third instead of a major third.

A basic rule of thumb for understanding major and minor chords is for a 

major chord plays the (1) (3) and (5) of the major scale, and for a minor chord play the (1) (3) and (5) of the minor scale.

A handy thing to know once you start playing barre chords is that if you learn the major chord shape, you only need to lift one left-hand finger to play the minor chord.

The basic chords come from the keys of A G C and D. The chords themselves can be played at all positions on the fretboard, but beginners start with open chords at the first position. This means that at least one note is played on an open string.

We group the basic keys to families:

The A family contains the chords A, D and E.

The D family contains the chords D, E minor, G and A.

The G family contains the chords G, A minor, C, D and E minor.

The C family contains the chords C, D minor, E minor, F and G.

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FATBOY SLIM - Norman Cook biography

Photo Wikimedia Commons.

Norman Cook has experienced an exceptionally diverse musical career. He's produced or played on records covering a multitude of genres, including indie pop, hip-hop, house and big beat, and is also one of the most famous DJs in the world under his Fatboy Slim moniker.

Fatboy was born Quentin Cook in Bromley in 1983 and grew up in Reigate in Surrey.

He was heavily into music at an early age, producing a punk fanzine as a teenager before meeting Paul Heaton at 6th form college. He went to the University of Brighton (he studied English, Sociology, and Politics) and began to DJ around the town where the club scene was thriving at that time.

In 1985 he received a call from Heaton asking him to join up with The Housemartins to replace their recently departed bassist. The group was based in Hull, and Norman (as he was now known) moved north to be with them. They soon had a hit with "Happy Hour", and eventually had a number one single in 1986 with a cover of "Caravan Of Love".

The group broke up in 1988 and Cook returned to Brighton to re-invigorate his love for the club scene. He teamed up with Lindy Layton to produce a dub house classic in "Dub Be Good To Me" (a mashup of the bassline from The Clash's "The Guns Of Brixton" and vocals inspired by SOS band's "Love Be Good To me") which went to number one.

Beats International had 2 albums before disbanding. Norman went on to form Freakpower with vocalist and brass-player Ashley Slater and had a massive hit with when it was picked up by Levi's to be used in a commercial.

The following year the band had a hit with "Rush", and the single also contained a remix by Pizzaman - another Cook alias. He went on to produce some massive club hits in the next couple of years under the Pizzaman alias - "Trippin On Sunshine", "Sex On The Streets" and "Happiness" being particularly popular.

Freakpower continued to record albums together, and in 1996 had a hit with "New Direction". This track was appropriately titled as Norman had just released a record under what was to become his most famous alias yet - that of Fatboy Slim.

Norman had teamed up with Damien Harris to create a new record label in Brighton, and Fatboy Slim's "Santa Cruz" was to be its first release. They called the label Skint Records and set themselves a mission to release music with massive beats big and basslines that would be equally popular in-house and indie clubs alike.

Fatboy had a further hit in 1996 with "Everybody Loves A 303", an homage to the classic Roland synth that still sounds fresh today. He went on to release his debut album "Better Living Through Chemistry", an album that spawned two further singles in "Going Out Of My Head" and "Punk To Funk" and helped to create the Big Beat genre.

Fatboy's hugely anticipated second album, You've Come a Long Way, Baby, followed in 1998. The album displayed huge international appeal, and went platinum in the U.S. and included two massive hits, "The Rockafeller Skank" and "Praise You", which also boasted a Spike Jonze-directed video that earned three MTV Video Music Awards as well as two Grammy nominations.

The next Fatboy Slim album, 2000's "Halfway Between The Gutter And The Stars", showed a bit more diversity and contained tracks with R&B, hip-hop and hard house influences. The big single from the album, "Star 69" contained a big sweary vocal and a huge kick drum to send the crowd mental.

Fatboy went on to release another album, 2004's Palookaville, and a compilation album and is still one of the biggest DJs and producers in the world.

Aliases: Pizzaman, Freakpower, Beats International, Mighty Dub Kats

More to Fatboy slim: Wikipedia

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Music Of BRAZIL

Samba (album) (Photo credit: Wikipedia)

Brazil, the fifth largest country in South America, is a land rich in history, mystique, and exceptions to the rule. Founded as a Portuguese colony in 1500 that was later known as the Empire of Brazil, it became a republic in 1889 and is now known as the Federative Republic of Brazil. Its official language is Portuguese, which is spoken by nearly the entire population - and the only Portuguese-speaking nation in Latin America - making its natural and cultural identity very distinct from its Spanish-speaking neighbors. Brazilian Portuguese is also different from that spoken in Portugal. It is fitting that the Museum of the Portuguese Language in Brazil 's capital São Paulo is the first language museum in the world.

One of the founding members of the United Nations, Brazil is the world's tenth largest economy and boasts a natural environment of unparalleled diversity and breathtaking geographic beauty, making it a great draw for international tourists seeking sun and beach and adventure forays into the Amazon Rainforest. But where Brazil really stands out in terms of its natural resources and cultural contribution to the world is music, specifically jazz. Although it can claim many fine classical composers, Brazil is where the great rhythm-and-beat styles of the samba, bossa nova, pagoda, frevo and many others found life.

"Watercolor of Brazil" (known in most English-speaking countries as simply "Brazil"), written in 1939 by politically militant composer Ary Barroso, became one of the most popular songs of all times and was the birth of the samba. Since then it has enjoyed innumerable recordings from Brazilian native musical artists like Antonio Carlos Jobim and João Gilberto, but internationally as well by such legends as Frank Sinatra, Bing Crosby, Rosemary Clooney to still more recent versions by Placido Domingo, Dionne Warwick, and the Ritchie Family. With the ballroom dancing craze fuelled by popular TV shows like "Dancing With the Stars," the song "Brazil" and the samba have found a fresh generation of eager fans.

Arguably one of the most beloved and respected musicians of the 20/21st century is Brazil's João Gilberto who rose to fame in the late 1950s when he slowed down the samba to work with his syncopated acoustic guitar. His cool, hip way of whispering lyrics made him an idol of U.S. beatniks and jazz artists alike, and he continues to inspire a new generation of pop artists like Gilberto Gil, Caetano Veloso and his own daughter Bebel Gilberto, now a star in her own right. But Gilberto's place on the world jazz map was firmly stamped when a collaboration with songwriter Jobim, a fellow Brazilian, led them to record "Chega de Saudade" and create the bossa nova.

The bossa nova quickly became a craze in the United States and spread through the world after American jazz saxophone legend Stan Getz discovered the sound and recorded, amongst others, "The Girl From Ipanema" with Gilberto and his wife Astrud. Bossa nova-style jazz remained Getz's icon sound until he died. Gilberto remains a superstar in Brazil and one of its greatest natural resources.

By John Parks - Article Source: EzineArticles

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WOLFGANG AMADEUS MOZART - (27.1.1756 - 5.12.1791)

WOLFGANG AMADEUS MOZART - (27.1.1756 - 5.12.1791) - Photo: Wikimedia

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Tuning, Intonation, And The SAXOPHONE

Photo  by woodleywonderworks 

Playing your saxophone in tune with others in your band requires much more than simply playing a reference note into a tuner and adjusting the mouthpiece on the instrument. In order to really understand the tuning process and how best to tune your saxophone, it helps to know the physics behind the sound that you produce while playing. When we are talking about physics and the saxophone we are dealing in the realm of invisible vibrations called sound waves.

To better understand these sound waves it helps to think about a guitar string. When you pluck a note on a guitar the string vibrates at a specific rate or "frequency." The length of this string dictates what frequency the string will vibrate at. By moving your finger up and down the fretboard you can change the pitch to any of a dozen or so pitches. Now think about a fretless guitar. Instead of a dozen pitches, you could potentially have hundreds of pitches, each very slightly different than the other. Saxophones behave in this same way but use a vibrating column of air instead of a vibrating string.

When you add or subtract fingers on the saxophone you are changing the overall length of the tube, creating shorter or longer sound waves in the process. Many things can affect this resultant wave. A key that is not adjusted properly can partially close over an open hole causing all notes above that key to be slightly flat. Likewise, a key that is left open when it should be closed can make other notes out of tune or at the very least sound less focused.

Two saxophones that are not perfectly tuned to each other will always vibrate at different frequencies even when playing the same note. When two sound waves of the exact same frequency are played together they reinforce each other creating a stronger, more pleasing overall sound. When two pitches are slightly out of tune they occasionally collide with each other causing a disturbance in the combined waveform. This phenomenon creates audible "beats" or bumps in what the listener hears. Each bump in the combined sound is literally the two sound waves slamming into each other. It is often easier to understand this process by seeing it visually. Take a look at the examples shown at http://library.thinkquest.org/19537/Physics.html.

As a saxophone player, it should be your goal to learn how to play your instrument in perfect tune. Unfortunately, this requires more than simply tuning your concert A or B-flat. Now that you know a little about the physics of sound, however, you can begin to understand the inherent pitch problems of your saxophone and relate this to your overall performance and study routine.

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The Basics of MARCHING BANDS

Holt High School's Marching Band. (Photo credit: Wikipedia)

Marching band is a term given to musicians, dance teams, or color guard members that play woodwinds, brass, or percussion instruments while adding marching with their performance. They wear costumes that consists of the organization or school's name or symbols as part of the uniform.

Marching bands are differentiated by size, function, and style of their performance.They usually perform in parades which are outdoors, but they also perform in indoor concerts that apply the traditions and flair from outside performances. They also perform at unique events such as band competitions, especially during sporting events.

Marching bands are believed to be originated from the troops of wandering musicians who performed at celebrations, functions, or festivals throughout the world in ancient times. Bands with names pertaining to certain areas came into prominence after the emergence of different states, named "Military Bands". This is the main reason why many marching bands still wear costumes similar to military uniforms.

There are various types of marching bands:

Military bands: These bands have been classified by historians as the first type of marching band. The instrumentation rarely varies from the percussion and brass instruments. They usually march forward in straight lines and the music is played in a continuous form to assist the military group who march to the tune and rhythm.

Show Bands: These bands generally perform at sporting events providing entertainment.

Carnival Bands: These bands usually participate in sports competitions and parades. They usually use instruments of percussion and brass.

Scramble bands: They are also known as Scatter Bands and they often include humorous rudiments in their performances.

Drum and Bugle corps style: These bands follow the military type of marching along with the music. They are divided into classic and modern bands.

Some other important changes that have occurred in marching bands are the addition of dance lines and the inclusion of color guard members. In recent days, most music bands are usually associated with American football besides the military and police organizations.

No matter what type of band your performing in, hard work and dedication are the keys to success. Yes, it's going to be a lot of work. Though, a person can learn so much through these types of bands, including teamwork and patience. If one person is unable to perform at their highest level, the entire band can be thrown off. This takes a level of commitment that can surpass most recreational activities.

By Kathy Mercado - Article Source: EzineArticles

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TRUMPET, Trumpeter & Warm Up Woes

Are you one of those trumpet players that pulls the horn out of the case, jams the mouthpiece in and just starts playing?  Or are you a trumpeter that carefully plots out the next hour or more for a warm-up routine that requires you to perform something of a circus act musically?

Most players who have been in private trumpet lessons have had an instructor sketch out a warm-up routine for them.  My question is - do you know why you're doing what you're doing?  What is your warm-up supposed to do for you?  It's certainly not supposed to make your lip swell up like a balloon or feel stiff as a board by the time you're done.  In fact, your warm-up routine should help you to relax, breathe deep naturally, and help to center your pitch, sound, control, and ability to play in all registers easily and comfortably.

If you're not already doing so, you should think about what your playing needs and goals are for that day.  It should also be taken into consideration as to what yesterday was like.  Was it strenuous?  Was it light?  Did you play at all?  This all can impact how long it will take you to warm up and what you should be doing for a warm up.  Something again that most players don't consider.

Below is a routine that I use during a typical warm up... most days I play for 4 or more hours and usually push pretty hard... so my warm-up starts VERY easy.

*  I start with long tones very soft... usually starting on a 2nd line G - how long depends on how my face is responding to the horn.  Usually I play this note on / off for about 3 to 4 minutes.  I focus on my breathing during this process to help get my air moving.

*  Once I have the note responding without airing out or sputtering, I will perform Clarke Studies #1... chromatic scale patterns (7 notes up / down).  Again, performing these softly to help relieve tension and not cause any swelling.  This is also performed on / off to allow ample rest during this warm up process.

*  Once I've completed exercise #1 from the Clarke book, I will either play exercise #2 or I will start running jazz patterns that don't take me any higher than a G on top of the staff.  Again, resting every now and again...

*  After resting from my last phase, I will run exercise #9 out of the Clarke book... this is extended chromatic studies.  Once again, I focus on keeping my volume down so I don't add tension to my lips, and I can use my air to reach the upper register notes.  Most players run into big trouble here because they start using lip tension vs. holding the lips close together and pushing the air speed.

Please note that I am allowing for rest in my warm up - just as much as I'm playing.  This is VITAL!  If a trumpeter does not allow for rest during their warm up process, strain and tension can start to hinder their playing.  This causes frustration, which creates a vicious circle.

By Keith Fiala and Anna Romano - Article Source: EzineArticles

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Homage to LOUIS ARMSTRONG

Head and shoulders portrait of jazz musician Louis Armstrong.
(Photo credit: Wikipedia)

For the last 15 years, I have been living in Lausanne, Switzerland, where the International Olympic Committee has its HQ, and where the writer (most famously for A Many-Splendoured Thing) and controversial "provocative" Han Suyin lived before she passed away on 2 November this year, among other things. It is also where the world-famous business school IMD is located where I have been working. I love this world, and when one is in love with the world Lausanne is not a bad place to be.

It is by the lake Léman, surrounded by snow-capped mountains, with most of the time blue skies, no pollution, and riotous colors of nature in the city as well as around. My flat is about 15 minutes' walk to IMD. I am often away and travel perhaps 75% of my time. But when I am here, I invariably walk to work and in so doing pass by gardens, hear birds, see squirrels, sometimes, if it's especially early, a fox or two, all depending on the season of course, but always splendid. I get to my office and hum Louis Armstrong's What a Wonderful World!

As far as I can remember, I have always loved the world. But not just the flowers, lakes, trees and hills, nor just the birds, squirrels, and deer, but also the men and the women - or at least many of them, the tremendous variety of languages, cultures, histories, literature, painting, music, topographies, architecture, food and drink, and so on. Of course, there is a lot of evil in this world, there is misery, which needs to be combated; there are lots of jerks; but in aggregate, what a wonderful world indeed.

Danger to the wonderful world

But the world is in grave danger of losing its splendor, its identity, and its diversity. On the last, diversity, I refer not only to biodiversity, but also to cultural diversity and indeed cultural identity. The world has never been so interconnected and so open. Yet, as an educator, I am constantly struck by how little people actually know or learn about not only other countries but often even their own!

An illustration: A few days ago I took a flight from Dhaka to Istanbul. 

Just before departure an announcement came on that the audio/visual system was not functioning, hence there would be no "entertainment". The business class was full. With very, very few exceptions (I was one), the passengers, when not sleeping, spent the nine hours flight staring into emptiness. They had no books with them, nothing to read, nothing from which to learn, nothing to challenge their minds. They are traveling physically, but not intellectually.

In his brilliant book Collapse, author Jared Diamond has shown how societies can commit ecocide and indeed have committed ecocide. That is a major threat this wonderful world faces. Another major threat is the destruction of civilization due to excessive materialism and absence of curiosity.

By Barbara Meynert Barbara Meynert is an avid follower of disruptive technologies that are transforming our world. She is the founder and one of the contributing authors in http://www.sagevita.com. Come and visit Sage Vita to learn more about the advancing technology at http://www.sagevita.com. Article Source: EzineArticles

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CELTIC MUSIC - The Tin Whistle

Photo  by chidorian 

The Tin Whistle (sometimes called a pennywhistle) is a simple and cheap instrument. It's simply a metal tube with six fingerholes and a mouthpiece (much like a recorder); it has a range of about two octaves. Costs range from a few dollars to a few hundred dollars -- although some of the best players play only the cheaper brands.

The tin whistle is a simple instrument -- and it's simple to play, and simple to play easy tunes. But -- it's not simple to master! The instrument may be cheap, but you'll have to pay for mastery ... by practicing! The haunting whistle tunes from the movie "Titanic" illustrate the deep soul found in this instrument.

This instrument is commonly made from metal (usually brass) with a molded whistle mouthpiece. By playing it open (not covering any of the six fingerholes), then by covering each fingerhole in turn, you can play the 7 notes in a diatonic (a simple Do-Re-Mi scale -- essentially the white keys on a piano) scale. Blow a little bit harder and you'll play the same note, but an octave higher. While it is a diatonic instrument, you can achieve sharps and flats by half-covering fingerholes.

Since there are essentially only two open notes -- a note, then the note an octave higher when you blow harder -- each tin whistle is said to represent a certain Key signature. For instance, if the open note sounds a "D", then the whistle is considered to be in the key of D. Many players carry a small set of whistles in the most commonly used keys.

Some people don't realize you can actually tune a tin whistle! You do so by sliding the metal barrel of the whistle in and out of the mouthpiece head. Some whistles have the head glues securely to the barrel. You can usually loosen the glue by holding the joined portion under hot running water. Don't use boiling water -- this may melt the plastic whistle head!

Key signatures commonly found in Celtic Music are "D Major" and "G Major". By default, all tin whistles are in a Major key (since they play a diatonic scale). However, if you begin your scale with all the fingerholes covered (instead of all fingerholes open), then you're beginning one step higher than a diatonic scale -- which results in a minor key signature! For instance, a tin whistle in "D" can play in E Minor if you begin your scale by covering all the fingerholes. Interestingly enough, the chord sequence "E Minor" and "D Major" is commonly found in Celtic Music. (This is the same chord sequence used in "What Would You Do with A Drunken Sailor".) A whistle in "G Major" could easily play in A Minor (A Minor and G being another commonly found chord sequence).

Joey Robichaux operates Celtic Sheet Music at http://www.celtic-sheet-music.com where whistle players can freely download over 3,000 Celtic fiddle tunes!  Article Directory: EzineArticles

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LEONARD BERNSTEIN and the Story of the WEST SIDE STORY

 "Leonard Bernstein by Jack Mitchell" by Jack Mitchell.Photo Wikipedia

At the age of 15, Louis became Leonard Bernstein. As a child, Leonard was always interested in music and was frequently taken to concerts. He began to play piano and attended the Garrison School, Boston Latin School, Harvard University, and the Curtis Institute of Music. In his life, Bernstein accomplished a great deal. When "West Side Story" came to life, his career skyrocketed.

Shakespeare's "Romeo and Juliet" has been a classic love story for hundreds of years. In 1957, the classic masterpiece of love, death, and fury was given a new flare. Leonard Bernstein composed the music for the cast of main characters. With a plot similar to "Romeo and Juliet," the musical amazed audiences worldwide. Arthur Laurents wrote the book. Bernstein composed the music, and Stephen Sondheim created the lyrics for Bernstein's music.

The love story is set in 1950's upper west side Manhattan. The plot, similar to Shakespeare's infamous love story, surrounds two gangs. A member of each gang falls in love. Tony, who is a Manhattan gang member, falls in love with Maria, a Puerto Rican gang leader's sister. Like Shakespeare's "Romeo and Juliet," "West Side Story" illuminated themes of juvenile delinquency, but the delinquency was represented through the gang wars and mischief instead of rival families.

The music by Leonard Bernstein from the play has become quite popular over the last 51 years, especially with the 1961 release of "West Side Story" the film. Bernstein's most famous numbers include the following: "Maria," "America," "Somewhere," "Jet Song," and "I Feel Pretty".

Starting on September 26, 1957, "West Side Story" was performed 732 times prior to going on tour. It was nominated for Best Musical in 1957's Tony Awards, but it did not win. However, the Tony Award for Best Choreography did go to "West Side Story" that year. 2008 marks the 50th-anniversary revival of "West Side Story." The revival begins July 22 at Sadler's Wells Theatre in London. While the original cast will not be performing, the new cast is eager to perform this amazing play, which has been staged in numerous theatres and opera houses all over the world. Another revival is set for Washington, D.C.'s National Theatre and in mid-December.

National tours for "West Side Story" have crossed the United States, the United Kingdom, Hong Kong, Australia, Israel, and Africa. Adaptations of the play have also been written. Philippe Gobeille presented a French version of this play in 2008 in Quebec and a Philippine version is scheduled to begin performances in September 2008.

References to "West Side Story" and many of the musical pieces in it have influenced many facets of music and culture. "I Feel Pretty" has been featured in the films "Anger Management" and "Dirty Dancing." References to the play can also be exhibited in "Analyze That," "Shrek," Michael Jackson's "Beat It" music video, Saturday Night Live, and Friends.

References to the play can also be heard in modern music. Santana's "Maria Maria," Kiss's "Hide Your Heart," Metallica's "America," Dire Straits' "Romeo and Juliet," and Alice Cooper's "Gutter Cat vs. the Jets" all have ties or references to "West Side Story." Bernstein's legendary music will remain a staple of pop culture for centuries to come.

By Duane Shinn A free email newsletter on exciting piano chords and chord progressions from Duane Shinn is available free at Exciting Piano Chords & Chord Progressions! Article Source: EzineArticles

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