วันพุธที่ 31 ธันวาคม พ.ศ. 2551

Formal Highland Attire: The Correct Wearing of the Kilt; the National Dress of Scotland

We don't simply wear a theatrical costume; we wear the national dress of Scotland. While some people might think that any proposed definition of what is "correct" in traditional Highland dress is in some way a gross infringement of their right to express their individuality, others may be interested to know just what the standards are, even if they choose to exhibit variations on the theme. Voluntarily observing the rule and custom of the Scots in the matter of dress is one way to strengthen and to reinforce the genuine and traditional of the Highland culture that we claim to celebrate.

BLACK TIE

Formal Highland attire is in order whenever the invitation on an announcement reads "Black Tie" or "Evening Wear" requested. For men, this means the Highland equivalent of a tuxedo. Burns Nights, St. Andrews Dinners, and Dining In ceremonies are all formal affairs. This includes a kilt, either white hose or other solid primary color kilt hose, tartan kilt hose, red and white, red and black or blue and white diced kilt hose and flashes, white tux shirt (with studs and cufflinks, if appropriate), black or solid colored bow tie and one of the formal style kilt jackets such as the Prince Charlie, regulation doublet, or Argyll jacket. The Argyll jacket is particularly appropriate for an individual who doesn't want to spend a fortune on several different coats as it can be properly worn for both day and evening wear. All of these are worn with waistcoats. A dirk may be worn on the right hip with a Prince Charlie or regulation doublet with the hilt between the tashes (Inverness flaps).

For the ladies, formal Highland attire means either a hostess length kilted skirt with a fancy lace trim blouse or an evening dress (either long or tea length) with an optional tartan sash and brooch. Some evening dresses incorporate or are entirely made of tartan. In Scotland, it is traditional for younger lassies to wear white evening dresses with full skirts and tartan sashes for Scottish Country Dancing. As they become older, they graduate to black dresses. The ladies should wear their tartan sashes on the right shoulder unless they are a clan chief or a colonel of a Scottish regiment, or the wife of a clan chief or colonel of a Scottish regiment, who then wear it on the left shoulder. The exception to this rule is Scottish country dancers who wear the sash on their left shoulder for safety's sake. The rules for a lady's sash apply for both day and evening wear. Women do not wear bonnets with evening wear.

WHITE TIE

White tie for men means the formality equivalent of "tails". This requires a kilt with tartan or diced hose, white pique shirt and vest with white studs and cufflinks, and a Prince Charlie or regulation doublet, with a white bow tie. The Argyll jacket is not appropriate here. Another option, and there are many for this level of formality, would be one of the white collarless shirts with lace jabot and cuffs with one of the more formal type coats such as the Sheriffmuir or Montrose doublet. The sporran should be like that worn with black tie, except that the day/evening sporran is not considered appropriate for this level of formality.

For ladies, "white tie" means long evening gowns with the option of a silk tartan sash and brooch.

Kilted Skirts

Unless in the uniform of a pipe band women don't wear kilts, they wear kilted skirts, either soft pleated or knife pleated. The lighter worsted wool falls more easily into easy soft pleats and hangs better. You can just pull the gathers or soft pleats together and place a waistband on it. Length is largely a matter of taste and varies with occasion. You can put a zipper in the side or a button or even eye & hook closing (left side). If you want to wear it for evening dress you can make it floor length (or formal). As with a man's kilt, matching up the setts in knife pleating can be very tricky, but must be done properly to look good. Some ladies wear a vest or velvet jacket of dark, complimentary colors, with a plain white long sleeved blouse under it. Lace ruffles can be snapped or sewn in the sleeves and allowed to come gracefully down half way on the hands, and a lace jabot at the neck flowing out over the vest or jacket. Most items of male Highland attire are generally not considered appropriate feminine attire, including sporrans (the possible exception would be a sporran worn as a shoulder bag, which can be most tasteful and attractive), dirks, sgian dubhs, kilt hose and flashes, etc.

Military Decorations

With formal wear, miniature military medals are worn on the left lapel of the coatee or doublet. Ribbons, campaign ribbons, unit citations, or full-size medals are never worn with formal Highland attire. The exception to this rule is the Congressional Medal of Honor, which is worn around the neck in its full-size form for day or evening wear. Non-military medals and/or ribbons are not worn. It is absolutely incredible to me that this needs to be said, but experience has repeatedly shown it to be necessary and worth repeating here. The wearing of military medals or ribbons to which you are not rightfully entitled is considered the penultimate in bad manners, deeply offensive to a great many people, and may provoke the most negative of consequences socially. In Canada and the UK it can even get you arrested.

Plaids

A full plaid may be worn over left shoulder and under right arm, pulled firm to the body. The edge of the plaid should be 11" from the ground at rear of the leg with fringe hanging down below this level. The lower edge of the plaid should be horizontal and parallel with ground. The leading edge of plaid and front face of plaid is secured by plaid brooch high on the left shoulder. While very striking, a full plaid is also very hot, and wrapping and securing it properly requires quite a bit of practice, and generally cannot be done without an assistant. A more common alternative, the fly plaid, may be worn on the left shoulder, usually under the epaulette and pinned with a plaid brooch. The upper edge of brooch should not be above the top of the shoulder, with the design properly aligned. An Irishman might elect to wear a brath instead of a fly plaid; essentially the same square yard of cloth but folded into a rectangle, draped over the left shoulder, and pinned with a kilmainham (penannular brooch). Plaids are always in the same tartan as the kilt and preferably purchased at the same time, as there can be differences in color from one bolt of cloth to the next, even from the same mill.

Sporrans

For formal wear the sporran should be a formal type with a silver-mounted cantle-top and fur pouch or a full fur and animal mask type (the animal masked sporran is one of the few all-purpose sporrans that can be worn with the most formal dress or the most informal wear). There is also a day/evening combination sporran that looks best when worn with the Argyll jacket, but looks a bit out of place with the more formal Prince Charlie. Sporrans are worn centrally over front apron of kilt, the cantle one hand's breadth below the waist belt buckle. The sporran should square the area between the hips and the knees and swing at a natural arc from the hip. Sporran straps go through the belt loops at the back of the kilt, and over the buckles at the sides (the belt is generally not worn through the belt loops, but over them and the sporran strap), with the pointed end of strap pointing to right hip. A military horsehair sporran is generally not worn except with a military or regulation doublet. Leather sporran straps are worn with horsehair sporrans (leather sporran straps also don't wear on the kilt quite as badly as chain straps). Hair sporrans are not trimmed to length. When a gentleman is dressed in Highland attire and dances with a lady, he should move the sporran to his left hip. For Scottish country dancing, you may want to take up your sporran belt a couple of notches. The sporran should also be moved to an unencumbered hip when sitting down to the table. This removes the sporran from harm's way so you don't spill on it and makes your lap unencumbered for a napkin. In general, it's just considered good manners.

Belts

For evening wear the belt should be of black leather and the buckle silver; generally belts will match the leather and hardware of the sporran. The belt is worn outside of the kilt's belt loops, it's top edge flush with the top of the kilt's waistband. It should be very snug, allowing only an index finger to be inserted between the belt and kilt. The buckle should be centered on the body, level from front to back, and both runners should be drawn up tight on both sides of the buckle. The belt should not cover the buttons on the rear of the doublet or tunic. Belts generally aren't worn together with waistcoats.

Hose & Flashes Argyll and diced hose are considered formal wear. Solid color hose are appropriate for almost all occasions. The color of hose and flashes should compliment both kilt and each other. If you want dressier hose but can't afford Argyll in your tartan, get a pair of the fancy cabled kilt hose with the ornate knitted hose tops (not the puffy "popcorn tops" of cheap pipe band hose). The top of your hose should be three fingers breadth below the outside bone at your knee, and level side to side and front to back. The leading edge of front flash may be vertically lined up with the front of the leg (in line with the center of your shoe), or just forward of the side of your leg, with no gap between the flashes. If wearing diced or Argyll hose, the leading edge of the front flash should bisect the top "diamond" of the pattern (which should be centered on the front of your leg). The sgian dubh is worn tucked inside the hose of right leg in the front-right portion of leg bisecting the flash. The handle should protrude only and inch or two above the top of the hose top. Staghorn sgian dubhs are not appropriate for evening dress.

Shoes

For formal wear, black gillie brogues or shoes with gilt or silver colored buckles are worn. With gillies the laces should not be wrapped up around the leg like a ballarina's slipper. Gillie laces are given two or three turns in the front, wrapped around the ankle, given two or three twists, then brought forward and tied off in front or the outside of the ankle. White spats are only worn with military and pipe band uniforms.

Bonnets

The balmoral is worn with ribbons tied; the glengarry with the ribbons left untied. The balmoral is worn level on forehead 1/2" above the eyebrows, with the cloth top pulled over right side of the head. The cockade should be centered over the left temple. The bow should be centered at the back of the head. The glengarry is traditionally worn canted to the right; 1" above the left eyebrow and 1/2" above the right eyebrow, with point of the glen centered on the head, aligned with the nose (although some regiments wear them square on the head). In Scotland, the balmoral is the more popular style, in various colors, with or without the red "toorie" on top. The glengarry owes its popularity to the Highland regiments and pipe bands. Civilians, officers, and pipers generally wear plain glens; enlisted ranks and drummers wear dicing. The diced (red checked) band indicates loyalty to the House of Hanover, i.e. the royal house of England. Highland civilians generally do not wear dicing. The caubeen, the traditional green bonnet of the Irish piper, is worn level on the head with the cap badge centered either over the left eye (Royal Irish Rangers) or right eye (Royal Irish Guards), with the cloth pulled over to the opposite side, similar to a balmoral. The Irish caubeen is often decorated with a "sheillah"; the harp of Erin, or a shamrock. In the Republic of Ireland, the harp is usually displayed without the crown for obvious reasons. Traditionally the only adornments should be the cockade and your clan crest worn in a strap and buckle form or your own crest if you have one. It's also common for veterans to wear their regimental badges, and sometimes firefighters and law enforcement officers their badges. It is also appropriate to adorn the bonnet with a sprig of your clan's plant badge, or rosemary on Remembrance Day, and rising no more than about 1 1/2" above the top of the badge. It's also customary for pipers to wear the red poppy on their glens for Remembrance Day, as the bass drone tends to brush them off of jacket lapels. The poppy is usually displayed forward of and on the same side as the glen badge (although I know of at least one regiment which has an aversion to anything being forward of their regimental badge; even a red poppy).

Remember that the bonnet isn't a cowboy hat; it shouldn't be the repository of your lapel pin collection. However, a friend of mine wears an old USMC collar pin on his; as it dates from his visit to the Chosin Reservoir, I don't think anyone has ever questioned his right to wear it any way he pleases. Feathers in the bonnet are traditionally reserved only for clan chiefs, clan chieftains, and armigers. Officially the rule is; a Chief wears three feathers, a chieftain wears two, and an armigerous gentleman (one who personally has a right to heraldic arms) wears one. The wearing of bonnet feathers by those who are not chiefs is generally considered presumptuous in Scotland. However, Americans, who have the right to keep and bear arms guaranteed under the second amendment of our Constitution, could arguably wear one eagle feather in good conscience. Feather hackles are awarded to regiments for battle honors or a special reason. Therefore, serious consideration and research should be given prior to hackles being worn by a civilian pipe band, much less an individual.

One last word on hats; uncover when you go indoors. It is considered bad manners to continue to wear the bonnet indoors, especially in someone's home or in church. The only exception is when you are under arms. Examples of this would be carrying a flag or tartan banner in the Kirking of the Tartans, or while playing the pipes. Pipers should uncover when not actively piping.

The Kilt

The inside and outside aprons are securely fastened by buckles, with the inner apron folding to the left, usually secured by one buckle, and the outer apron folding to the right, usually secured by two buckles (buckle the lower one loosely). Ladies' kilted skirts fold the opposite way. The kilt is not meant to be worn like blue jeans, down around the waist near the hips. The top of the waistband should be at your navel; military-cut kilts rise high enough to come to the wearer's bottom ribs. Highland dancers and Scottish country dancers often ask for a very high rise so that when they raise their hands above their heads, tartan is still seen beneath the jacket instead of a white shirt front.

The lower edge of the inner apron should not be visible. If the inner apron consistently shows from beneath the outer apron, you'll need to tighten the strap on your left hip, even if it means cutting away the buckle and moving it back a few inches. The lower edge of the kilt should break somewhere between the middle and top of the kneecap. Above the knee, and it's not a kilt, but a Catholic school-girl skirt. Below the knee, and it becomes a tea-length dress. The apron should be centered and the hem should appear even from front to rear and side-to-side. If you wear a kilt pin, the proper place to wear it is three inches from the bottom of the kilt and three inches inward from the right side of the apron. The kilt pin should only go through the top apron and not be pinned to the bottom apron. Any variation in this general area is considered OK, and if you have a double thickness on the right side of the apron, you might affix it to that area. As with the sgian dubh and the sporran, the kilt pin should be appropriate for the level of dress and the occasion. Keep in mind that kilt pins can become snagged upon all sorts of objects, potentially tearing the outer apron.

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Getting Rhythm - Three Tips for Guitar Beginners

If you are just starting out learning guitar one of the hardest things can be getting a good rhythm and keeping that rhythm going while you change chords with your left hand.

When I first started learning guitar I would strum along happily until the chord change and then my right hand would stop while I changed the position of the left.

This makes your playing sound terrible. In fact if you can keep that right hand strumming or picking the sequence, you will sound good. If you are a bit slow with your chord changes and strum some open strings in between you will still sound good. But lose that rhythm and everybody knows that you are messing up.

Here are my top three tips for getting past this learning stage.

#1 Play open strings for the last beat in the bar so you have time to change chord shape. For example if your are to play | G G G G | D D D D | C C C C | instead play | G G G O | D D D O | C C C O | where O is a strum of the open strings. Listen carefully and you will notice a lot of guitar players do this. And it sounds just fine.

#2 Move your body to the rhythm. When I started out I was told to tap my foot to the rhythm.

1 2 3 4 | 1 2 3 4 | 1 2 3 4

I just couldn't do it. It seemed like one more thing to remember and overloaded my system. Then I learned to move my head to the rhythm and immediately my timing improved. I would nod to the beat and move side to side a bit as well. I guess it's just horses for courses. You need to find what works best for you but if you can't tap your foot try nodding your head or even bouncing the whole of the top half of your body. Get the beat rattling through your bones!

*** Increase your tempo gradually one beat at a time. You can use a metronome to keep time but I prefer a drum machine. I need to really hear that beat in order to know that I'm with it. You can get Metronomes and Drum Machines to download to your PC. For an excellent free drum machine visit www.just-jammin.com.

Once you have your drum machine, set it up so that there is a heavier beat on the first beat in the bar. Then set a nice easy tempo. If need be start as low as 70 beats per minute. When you can play your piece smoothly at this speed play it again at 71, then 72 etc. You'll be surprised at just how quickly you can get up to full speed.

Darren Power is the webmaster at <a target="_new" href="http://www.just-jammin.com">http://www.just-jammin.com</a> where you will find the best price on your new guitar, reviews of the latest training products along with guitar news & freebies

Downloading MP3s Made Easy

The MP3 movement started out with a huge audience of music enthusiasts on the internet. The MP3 digital music format has had, and will continue to have, a huge impart on how people, gather, listen to and share music.

The MP3 format is a compression system for digital music that helps reduce the size of a digitized song without disturbing the sound quality. Digital music is converted to MP3 format and made available for use, usually via the web. MP3 files can be downloaded onto your computer from the internet and special software, either commercial or freeware. Using your computer and software you can convert digital music from a CD into MP3 format.

MP3 files can be played in three different ways:

1. They can be played directly onto your computer.

2. They can be decompressed and recorded onto a CD.

3. These files can be played on a portable MP3 player.

The advantage of MP3 players is that they are small, lightweight and rugged. They are a great way to carry your MP3 files with you!

With a portable MP3 player, a personal computer, and the appropriate software, you can do the following:

1. Obtain free or low-cost music from the web.

2. Create your own mix of music by downloading MP3 files from the web and converting the tracks from CDs.

3. Listen to near-CD quality music wherever you go.

4. Listen to more music (up to 10 hours' worth).

If you want to convert your songs from your CDs into MP3 files, you can use ripper and encoder software. A ripper copies a song's file from the CD onto your hard disk. The encoder compresses the song into the MP3 format. By encoding songs, you can play them on your computer or take them with you on your MP3 player. The ripper and encoder software may come with your MP3 player.

The specific instructions will vary with the individual software programs, but the following steps will definitely take place:

1. Place the CD from which you want to convert songs into your drive.

2. Select the track(s) that you want to convert to MP3 format.

3. Convert the selected track(s).

4. Copy the new MP3 files on to your computer's hard disk.

Now you are ready to download these MP3 files into your portable MP3 player.

Once you have MP3 files on your computer, you can use the software that came with your MP3 player to download the files into your MP3 player. Again, the specific instructions will vary depending upon your software program and player, but you will:

1. Create a playlist from your MP3 files.

2. Plug the player into your computer's parallel of USB port.

3. Transfer the MP3 files according to the instructions.

Once you have downloaded the MP3 files into your portable MP3 player, you are ready to take your music anywhere. Most MP3 players are small, lightweight, and solid-state. Because most players are solid-state, there are no moving parts to break down or skip, so the sound quality is uninterrupted regardless of your physical activity. MP3 players are equipped with various types of headphones or earpieces.

Portable MP3 players can play music longer than a portable CD player. The length of play for a CD player is about 74 minutes, the length of one CD. However, the length of play for an MP3 player depends upon its memory capacity, which can be upgraded on some models. A standard MP3 player can play for about half an hour (32 MB) to a few weeks (40 GB)! Some models can be upgraded with additional memory devices.

Keith Kingston is a professional web publisher, offering information on downloading mp3's such as <a target="_new" href="http://www.4-mp3-downloads.com">Eminem MP3</a> and finding <a target="_new" href="http://radio-stations.allspecialoffers.com">free internet radio stations</a>

วันอังคารที่ 30 ธันวาคม พ.ศ. 2551

How to Improvise Using a Few Chords

When a painter is getting ready to paint, a color palette is usually chosen first. For example, if a forest is to be painted, the artist may choose browns, greens, and blues for the sky. Once the palette is chosen, it makes it easier to create the painting. Why? Because color decisions are now out of the way.

We can apply this concept to music as well. In particular, New Age piano playing. In your lesson, Reflections in Water, we have four chords to play with and we have the order in which they are to be played. Now, all that is required "to paint" your sound portrait is the ability to take these chords and play around with them.

Once the decision about what chords to play and how to play them are out of the way, you can now focus on making music. This is how I created Reflections in Water. I knew that the piece would be in the Key of C. I then chose a few chords from this key and fooled around with them.

It can be very confusing for the beginner in improvisation.

There are so many choices and ways to go about making music. This is why limiting choice is important. Also, it is equally important to begin by using simple means. Many students think that if they can't compose like Beethoven or Mozart, they are untalented. Get rid of this idea quickly. Everyone starts from simple means and it's a good idea to begin your experience in improvisation the same way.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

วันจันทร์ที่ 29 ธันวาคม พ.ศ. 2551

Shut Up And Sing

What is it with these performers and their politics? Do they really think that people who pay $100 or more to hear them sing want to hear them utter political opinions? The audience pays hundreds of thousands of dollars to see and hear a performer PERFORM. You want to spout politics, run for freakin office, you moron! When performers use a paid venue to play politics they are abusing the paying audience, the venue, the sponsors and everyone connected to their artistic performance. It's an inappropriate venue and inapproprite behavior to voice your political viewpoint, you jerk! And they wonder why people boo.

Somebody pays a small fortune for their ticket to see them perform and ends up being subjected to a political opinion from someone who makes millions of dollars a year but doesn't have a real job, doesn't have to live in reality and doesn't have a clue about the real world! Yeah, right, tell me about your political views while I'm sitting here waiting to be entertained by you. That's why I came here and that's what I paid for isn't it, you ungrateful clueless idiot. You want to spout off, do it for free. Yes, free. Why don't you perform for free then you can say anything you want to your audience. Then it's fair and balanced. Then the audience gets what it pays for.

And what about the incident in Orange County, CA where the performer makes a comment about Linda Ronstadt and audience starts booing and the performer responds with how America used to be a place where you could openly discuss your views. Ha! Twenty thousand people and he's the only one with a microphone! Open discussion, my ass.

So, a word to the wise. You want to keep performing, keep making millions, keep living in your fantasy world? Shut up and sing.

Maya Pinion is a freelance writer and contributing editor for News4Net. Article inspired by radio talk show host, Dennis Prager, who has a brain in his head and a heart in his chest.

The Dark Side of P2P File Sharing

P2P file sharing programs are free. Period. But there are P2P scam sites out there that want you to pay them instead. P2P scam sites are rogue companies that have set up shop to fleece unsuspecting music downloaders looking for file sharing programs by charging a fee for an otherwise free service.

No P2P file sharing software costs money. Exceptions would be a site asking members to make a monetary donation to help pay for bandwidth, hosting costs, and other administrative costs.

Some P2P file sharing programs offer "pro" versions of their free software. But again, their basic service is free to the public. I want you to fully understand this, because paying a P2P scam site money can not only make your wallet a bit lighter, it can also make your computer vulnerable to dangerous spyware.

That's right. These scam sites are only interested in making money off you. As well as actually taking your money by fooling you into paying them, they'll make money off you by installing spyware on your PC, so that they can get paid by sharing your online habits and personal information with others.

For music download beginners, all of this can be very confusing. Why? Because these scam sites advertise all over the Internet. Search engines return results chockful of these scams alongside the real P2P file sharing programs; their banner ads riddle the Internet landscape; sites are promoting these scams to get their piece of your money.

Most real P2P programs don't advertise much on the Internet. The reason is that they're not money makers. It takes money to advertise, and who has more money-- the free P2P file sharing programs or the scam artists? You guessed it. P2P relies on word of mouth. The scam sites rely primarily on advertising.

<h4> How Can I Tell a P2P Scam Site? </h4> This is the easy part, if you know what you're looking for. P2P scam sites often use phrases like 100% Legal, which is absolutely untrue. This is a trick they use to prey on people interested in P2P file sharing programs, but who are worried (rightly) about Recording Industry Association of America (RIAA) lawsuits. Keep in mind that sharing and downloading of copyrighted files is, at this moment, an illegal activity.

Another tactic is to use fake endorsements and recommendations from legitimate companies. Other cons are to use phrases like Direct Downloads!, Get Access Now!, Download Unlimited Free Music!, and other phrases that are promising you things they absolutely CANNOT deliver.

<h4> How Does It Work & How are They Doing It? </h4> To be honest, I do not know the ins and outs of P2P scam sites. But I know this: all P2P file sharing programs are free. Think about it a moment. It is because music files are being shared free of charge (without artists receiving royalties) that organizations like the RIAA are mad and suing.

These P2P scam sites are merely taking your money, downloading a little spyware to your PC, then connecting you to one of the real P2P file sharing programs.

This is all convoluted by the nature of P2P, which is a series of servers networking files to one another. Unless you're buying your music MP3 downloads from a legitimate company, either per song/album or through a monthly subscription, you cannot be sure where your music is coming from.

The legal status of P2P file sharing programs is confusing. We know that MP3 files themselves are not illegal. For example, it's legal to possess MP3s, to rip your CDs to your hard drive, and to burn CDs for your personal use. But, by sharing and/or downloading these files, you are breaking copyright laws. To my knowledge, P2P scam sites are not actually breaking any laws. But why pay for something you don't have to?

One of the most common techniques these scam artists use is to set up sites that are misspellings or derivations of popular P2P file sharing programs. KaZaA is probably the most hijacked name being used these days.

Other sites may not actually charge you anything at all, but they'll "give you the software for free" if you give them your email address. This too is a scam. Because once again, they're just sending you along to a proper P2P program, but after collecting your email address, they're selling it to third parties. Don't give these scammers any of your personal information!

If you're on a website you trust, even this website, you may see ads by these scam artists, preaching their lies about 100% blah, blah, blah. For your own security, don't click on the links. They're still scams. (Many independent websites rely on ads to pay the bills. We don't always have full control over what advertisements appear on our sites. Keep in mind that most online advertisements are arranged and distributed by third-party companies who pair up advertisements with appropriate keywords. So a page that discusses "music downloads" is likely to have an ad from a scam site singing their own false praises.)

On this note, there are sites all over the Internet that actually promote P2P scam sites. Why? I have my opinions. First, these scam sites are paying large sums of money to affiliates who promote their sites. For example, a scam site may be charging you $29.95 for their non-service. Well, they're paying affiliates over half (I've seen the pay-out as high as 75%) of that just for getting you, the visitor, to their scam sites.

<h4> I Think I've Used One of these Scam Sites. What Do I Do Now?</h4> Stop! Right now, stop using that service. If you've got some type of monthly payment with them, stop paying them. Cancel your "membership," contact your bank or credit card company, and stop paying them immediately! Secondly, your computer has probably have been infected by spyware, and you need to remove it right away. I recommend purchasing spyware-removal software like Pest Patrol because they do the best job at clearing out spyware parasites.

If you've been pulled into a scam site, just rack it up to experience. Their ad copy is very convincing, and you just wanted to "be legal" while downloading. Take heart in knowing that you're not alone. But you're better off now, with this information at your disposal.

In my opinion, this is another reason to consider not using P2P file sharing programs as a means to get your online music. I think that these P2P scam sites will increase in number, and will use more clever tactics to get your money and your information. Until the peer-to-peer communities are regulated in some way, I fear that these types of activities will get worse before they improve.

A former financial advisor and NYC book editor, Bill Paulk blends these two experiences by helping people make sound buying decisions. His passion, building digital music collections through MP3 downloads, is the subject of his first website. <a target="_new" href="http://www.mp3-music-downloads-scout.com">http://www.mp3-music-downloads-scout.com</a> reviews and recommends the best in legal MP3 downloads.

วันอาทิตย์ที่ 28 ธันวาคม พ.ศ. 2551

The History Of Drums - A Journey Of Sound

Music and musical instruments are an extremely important part of human history. The use of rhythm and song has long been used to express meaning, and feeling and accompany rituals.

Music has been part of human life for as long as anyone can trace. Early civilizations of humans used music as a way to communicate and express feelings. Out of all of the musical instruments that we see in our society today and use on a regular basis, there is one instrument that stands out in musical history, the drum.

The history of drums is interesting and unique. When you examine this instrument historically, you will find that drums have had a place in almost all cultures around the globe. Variations of drums and drum sets occurred in many different cultures, the standard variety of a drum consisted simply of a hollowed out log or gourd with a piece of skin stretched taunt. Different sizes of gourds and logs created different sounds and beats.

The African Influence

In most African cultures, drums were very important in the use of rituals and religious ceremonies. The people of different African tribes relied on the use of drums to express themselves and when the slave trade began, the drums made the journey across the ocean as well.

African drums and drummers provided a unique sound that heavily influenced Western Rock and Roll music. Those same rhythms and beats still provide a strong influence in today's sounds.

The Early Drum Set

When it was discovered that one player could play two or more drums at the same time, people started placing groups of drums together for one musician to play. These groups were comprised of an assimilation of drums of different cultures and from all around the globe. Cymbals and tom tom drums were brought in from China and the size was adjusted to allow for ease of play when played with drumsticks.

In the early 1930's, musicians slowly discovered with the proper drum placement and a lot of practice, one musician could handle a set of drums, and an entire band of drum players was not required anymore. Thus, a basic kit evolved and took place.

In An Early Kit

The early drum kits were simple in their design, they typically consisted only of:

1) A bass and foot pedal
2) A snare drum
3) Tom Toms
4) A hi hat cymbal
5) One or two sets of hanging cymbals

The Evolution Of The Drum Set

In the 1930's the drum set was heavily influenced by the sounds of the time, and the early forms of Rock and Roll music. The sounds had a strong basic beat backing them.

In the 1950's as Rock and Roll music began to develop, the sounds became more complex and likewise, the drum sets became more evolved, with new additions added to them. Rockers began expanding the drum kits adding more cymbals and tom toms drums to them. In addition, as time went on, electronic drums were added to the drum kits as well. All of these additions allowed the musicians to expand their sounds and diversify their music.

Types Of Drum Kits

In the past, as drums evolved and drum kits developed, new companies were formed and products were fine-tuned and made better. The Ludwig Drum Company is known as one of the most influential and historical drum companies of our time.

The Ludwig drum company was started by a young man who enjoyed playing the drums. He could not find a bass pedal that would hold up to his intense drumming style. He shopped around everywhere and could not find an appropriate pedal, so he fashioned one out of wood. The pedal was superior to anything else on the market. His brother, felt that an even stronger pedal could be created out of a metal product, so they teamed up to create an even better bass pedal. Thus, the Ludwig Drum Company was born.

Ringo Starr, the famous drummer for The Beatles used a Ludwig drum set and was known for preferring the Ludwig drums. He is said to still own the original Ludwig drum set that he played with the Beatles.

There have been many other types of drum kits and company names that have played an important and influential role in the history of drums. Yamaha, Pearl, Tama and Gretsch are all famous brand names whose drums and drum kits have helped form the drum set, as we know it today.

The Future For Drums

What does the future hold for drum sets? No one can be sure. However, with the creation of more and more technology, we can be sure that the sounds will evolve even more. A combination of new sounds and traditional will always be found. And the limit for drum set creation will simply be the imagination of the musicians.

? 2005 http://www.drum-sets-now.com

Kevin Brown is successful author and publisher of many informative websites including <a target="_new" href="http://www.drum-sets-now.com">http://www.drum-sets-now.com</a> . His websites offer tips and advice on a wide array of topics including <a target="_new" href="http://www.drum-sets-now.com">drum kits</a>, African drums, percussion instruments and more.

วันเสาร์ที่ 27 ธันวาคม พ.ศ. 2551

Guitar Practice (Part 2) - Does Practice Make Perfect?

You've probably heard the saying "practice makes perfect" and it sounds true enough, but is t really? We all know the importance of practicing a new skill in order to become proficient at it. This is especially true when it comes to playing the guitar, or any other musical instrument for that matter. But, practicing incorrectly can actually be a detriment to your progress.

How is that you say?

Because you will continue to reinforce whatever it is you practice. So, if you always practice doing something the wrong way, you will end up with the wrong result. For example, if you practice holding your hands in a poor position, it will eventually become a habit that will be difficult to correct. Poor position of either your right or left hand when practicing the guitar can create tension, thus making certain techniques more difficult to execute. Poor hand position can also increase the possibility of developing injuries that are somewhat common to musicians, such as Carpal Tunnel Syndrome. This is a very debilitating injury of the wrist which can bring your guitar playing to a complete halt. When practicing, use a "cupped" hand instead of a "flat" hand to help promote a good relaxed position.

Another problem area for some students regarding guitar practice, is rhythm. Rhythm is so foundational to every aspect of music that I really can't stress its importance enough. Whether or not you know how to read music isn't the issue. But you absolutely should try to learn how to count the beats within a given measure of music in order to play the piece correctly. If you can't keep time, no one will really be able to tell what you're playing anyway. It will also be very difficult for you to play along in a band, or with other musicians who just want to "jam."

Speed is one of the biggest practice obstacles I see among my students. When speed is king, rhythm and timing are often sacrificed. It is absolutely necessary to SLOW DOWN in order to interpret the timing correctly, especially if it is a fast lick or strumming pattern. Speed also affects articulation, which simply means "to pronounce distinctly." What good is it if you can play something real fast,but do it poorly? Who is going to be impressed with that? Instead, take your time and practice playing each tone clearly, at a speed that is comfortable for you. Try using a metronome or drum machine to set a tempo. Then practice short "speed bursts" one section at a time. Keep increasing the speed until you can play the entire lick, riff or measure, etc. at the desired tempo. But, do not sacrifice hand position, rhythm or articulation in the process. These three things should receive top priority when practicing the guitar. After they are well established, work on the speed or tempo of the music.

Knowing what finger position to use when playing notes on the guitar fretboard is also important. If you use a haphazard or random approach, you will likely become confused and disoriented as you begin to move around. I tell my new students that the guitar is "upside down and backward" to give them some idea of what they're facing when it comes to learning the notes on the fretboard. Meaning that the guitar is played both horizontally and vertically, as opposed to the piano which is a linear instrument. When learning to read notes on the guitar, you must flip it upside down to match it to a fretboard diagram. Down is up and up is down when referring to direction and how it relates to the pitch of each string.

To sum things up:

1. Start Slowly
2. Develop a relaxed "cupped" hand position
3. Learn how to interpret the rhythm (timing)
4. Emphasize articulation (clarity)
5. Gradually increase speed (tempo)

So, it is true that "practice makes perfect" if you learn to develop a "perfect" practice routine. In order to do this, you will need to work on establishing your priorities and developing good practice habits. Realize that it takes time to become a good musician so don't rush the process, instead, embrace it and enjoy it.

If you keep these ideas in mind you should see a steady, progressive improvement of your overall playing in a relatively short time. You will also discover that when you develop good habits, you automatically develop good technique. Once you have established good technique, playing the guitar will seem much easier and that will make it all worthwhile in the long run.

FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following information:

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on buying a guitar, songwriting, recording and creating a music career, please visit: <a target="_new" href="http://www.abclearnguitar.com">http://www.abclearnguitar.com</a>

Who?s Playing What? A Guide To The Guitars Of The Pros

Eric Clapton performs his slow-handed magic on his. Even with just nine fingers, Jerry Garcia kept countless Deadheads dancing as he played with his. At the mere sight of his, the King of Rock-n-Roll could make a grown woman faint. Of course, I'm talking about guitars. Professional musicians have been stroking and strumming, picking and playing the world's greatest guitars and making the world's greatest music. If you want to play like the pros, you're going to need to know what guitars are rocking their worlds.

Since 1946, Fender guitars have defined rock-n-roll. Fender's line of world-famous instruments, such as the Telecaster?, Stratocaster?, Precision Bass?, and Jazz Bass? guitars have rocked the world stage for decades. From the very beginning with Buddy Holly, Jimi Hendrix, and Muddy Waters to the modern maestros such as Stevie Ray Vaughn, Kurt Cobain, and Eric Clapton, Fender guitars are a must for the serious professional and aspiring amateur!

A Guitar Named After A World War I Battleship ? What Will They Thin Of Next?

The dreadnought guitar was made famous by the Martin Guitar Company. Since just about that same time, the best and brightest guitarists throughout the 20th and 21st centuries have shown why a Martin guitar means excellence. Martin musicians include a who's who of guitar greats from Jimmy Buffet, Neil Diamond, and Ben Harper to Tracy Chapman, Elvis Costello, and Jerry Garcia. When you throw in such rock icons and string virtuosos as Michael Hedges, Sheryl Crow, Bob Dylan, Willy Nelson, Tom Petty, and Neil Young, you'll begin to understand that you're in good company when you go with a Martin.

Gibson Supplies The Who's Who Of Stars

Starting making guitars way back in 1936, the Gibson Guitar Company has been making some of the world's finest guitars for nearly 70 years. Most famous for its Les Paul line of guitars, Gibson has been the guitar of choice for such musical legends as Earl Scruggs, B.B. King, and Elvis Presley. When you add two of the most talented Beatles to the mix, George Harrison and John Lennon, as well as Jeff Beck and Jimmy Page, you're talking a guitar that shines out as one of the best of the best.

For those of you who are looking for a less mainstream guitar choice, don't fret; Ibanez, maker of all manner of musical instruments, is known as the perfect guitar for the select. With such guitar icons as Joe Satriani, Steve Vai, Pat Metheny, and Boz Scaggs on board with Ibanez, you can rest assured that you'll be able to get your strum on just fine with this highest quality of guitars.

Yamaha Makes More Than MotorBikes

Beginning in 1887, Yamaha started making world-class instruments. Granted they didn't start producing their guitars for years to come, but nobody would argue with the fact that Yamaha guitars are some of the best in the world. With an attention to detail that is second to none, Yamaha is a guitar to watch. But, if you want to listen, don't take my word for it. Lee Ritenour, Edwin McCain, Keb Mo, and Richie Sambora will gladly show you how diverse Yamaha can be.

If you're ready to rock like the superstar, get strapped with a guitar of the pros. With so many great brands to choose from, be sure to ask your local guitar store expert for their recommendations to get the best guitar for your money. When you take into consideration your playing style, experience, and budget, you're sure to find the perfect guitar and start playing like the pros in no time at all! Rock on!

Jon Butt is the publisher of <a target="_new" href="http://www.the-musical-instruments-guide.com">Musical Instruments Guide</a> , a free resource dedicated to all things musical. From electric guitars to drum sets, tubas to bagpipes, and every musical accessory in-between, the <a href=" a target="_new" href="http://www.the-musical-instruments-guide.com/guitars.html"http://www.the-musical-instruments-guide.com/guitars.html/a">Musical Instruments Guide</a> is packed full of informative articles, find top-rated musical instruments and online merchants

วันศุกร์ที่ 26 ธันวาคม พ.ศ. 2551

The Open Position Piano Chord

Chords. They're amazing. There's no doubt about it. Especially when it comes to piano playing and the Open Position Chord. Here we can use both hands to create music with. The chord is broken up into its main elements and its voicing is spread out which gives it a nice open sound. The sound that's perfect for the New Age style.

To use the OPC requires little more than fingering the chord itself because once the chord is played, music comes out. All that's required now is to be able to experiment with the sounds and textures. It's absolutely critical that the thinking mind stop and feeling be allowed to come to the front.

This is possible by adopting an attitude of abeyance. Not being concerned with what's coming out of you.

For example in Lesson 20: "Reflections in Water," I use the OPC to create a gentle mood. How? By first allowing myself to get in right-brain mode, then letting my fingers do the walking! I know what the chords are, I know that I'll be using the OPC. I then let it all go and let my feeling lead me to where it wants to go and this always leads to the ideal music.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

How Piano Lessons Benefit Young Children

Piano lessons provide a wide range of benefits to young children. Here are my &quot;Top Five.&quot;

1. Piano lessons help preserve and develop children's natural creative abilities. The best analogy of how children learn through music that I've found is from Donald Kroodsma's book &quot;The Singing Life of Birds.&quot; Every songbird can be identified by the unique song it sings, but a baby bird has to be taught by its parents to sing the family song. Baby birds, like humans, just 'babble' at first. Mother birds sing the family song over and over to the baby birds as they try to repeat it back. At first, the baby birds are only able to sing back one or two notes, but they gradually learn to sing the whole song. And birds with two voice boxes even learn to sing their own harmony parts! Once baby birds learn the family song, they can start developing their very own songs. Similarly, I encourage students to compose their own music after developing needed skills. In my experience, young children in piano are a lot like baby songbirds!

2. Piano lessons help children perfect their natural learning processes. Music is a language, and children are programmed to absorb languages. Studies have shown that kids can most easily learn new languages when they start at a young age. Piano lessons help children develop the very same skills needed to accomplish language arts, like reading. In piano, students learn how to follow directions, scan written materials, think critically, create solutions and translate writing into action. For example, students must look at each note, measure and phrase and decide how to play each note to make the music come to life. Many children (including my own sons) have become much better readers after starting piano lessons. Further, piano lessons involves an interplay of both right and left brain activity that stimulates neural development.

3. Piano lessons help children learn how to stay focused and achieve goals. Piano lessons help children set specific goals and then work towards reaching these goals. Each new piece of music a student learns requires a specific set of skills and playing habits. To achieve these goals students must learn to stay focused and study each note, measure and phrase to understand how to play the song. In doing this students learn to think critically and creatively as they decide how to make the music come to life. Staying focused over time develops good study habits that become natural. This is important because learning to practice good habits that match their goals shows children how to make their dreams come to life!

4. Piano lessons help children develop courage. It takes courage to face challenges without letting our anxiety and worries get the best of us. Piano lessons help students learn to accept challenges such as learning a difficult song, as well as to perform pieces in front of teachers, friends, and families at recitals. Lessons also help kids learn the importance of keeping a positive perspective despite difficulties. Learning to handle uncertainty and stress in a way that minimizes anxiety and maximizes creativity is a valuable life tool. We all need practice at this!

5. Piano lessons teach children to persevere. A key part of accomplishing anything difficult is not to give up easily. As children grow, piano lessons teach kids to try and then try again if they don't initially succeed. However, as Yoda explained to Luke Skywalker, the objective isn't just trying itself, but accomplishing the desired goal -- &quot;Do or do not, there is no try!&quot; Piano lessons teach students how to adjust their expectations if they can't initially master a tough song or skills, and to tackle these big goals by taking small incremental steps. In the end, just like the baby songbirds that eventually learn to sing, students learn that they can accomplish great things and reach their dreams through careful and consistent effort.

Copyright 2005, Cynthia Marie VanLandingham

Cynthia VanLandingham is the owner of TallyPiano & Keyboard Studio in Tallahassee, Florida where she has been teaching piano for 20 years. She is a member of the American College of Musicians, the National Guild of Piano Teachers, a graduate of the Florida State University College of Education, and President of TallyPiano Enterprises, LLC. You can visit her website and download her original compositions free at <a target="_new" href="http://www.tallypiano.com">http://www.tallypiano.com</a>

Cynthia is also an author of a series of exciting books for children, with the mission of Using Music, Art, Science and Literature to Help Children Achieve their Dreams. Her illustrated series for piano students is called, Little Bear's Piano Adventures!TM These stories take young piano students on a Musical Adventure to find out what piano lessons are all about in a fun way that children can easily understand.

For more information about these wonderful books E-mail Cynthia at <a href="mailto:cindy@tallypiano.com">cindy@tallypiano.com</a>, where you can also subscribe to her free internet newsletter, Piano Matters!

TallyPiano Studio: (850) 386-2425
Hotline: (850) 264-7232

Home Run Gigs

Are you still playing your heart out to small audiences on gigs at unappreciative dives (excuse me, I meant to say nightclubs) that feel paying you a couple of hundred dollars for a 3-4 hour gig is also paying you about $150 too much?

Unless you are a masochist, why do you continue to take such beatings? Is it due to laziness, complacency, cynicism, your now being jaded, or a combination of any of the above?

Are you aware that you could dramatically improve your live performance income by making simple changes in the types of performances that you accept?

For instance, see the below list of gig types and the average earnings possible, compared to traditional nightclub work:

* Weddings ($1,000 *minimum* for 2-3 hours work)

Instead of working yourself to death, so to speak, by chasing wedding performance opportunities on an individual basis, consider approaching a number of area caterers and offering your services to them as an add-on to their own services as, obviously, they will have significantly more client opportunities.

Not only will your music service now give catering companies more value, as the client can now also purchase the wedding entertainment through a single source as opposed to contracting performers separately, but this single joint venture alone will dramatically increase your income, and on a more consistent basis.

And, the best place to seek caterers is in your local Yellow Pages under the categories of "Caterers."

As additional potential wedding income sources, you would also do well to leave your portfolio and/or business cards with area bridal shops, tuxedo shops, bridal consultants, wedding planners and wedding supplies and services.

* Ship Cruises

Talk about getting paid to, literally, travel the world! This is exactly what this amounts to...a paid vacation! There are a minimum of seven major high paying cruise lines that are actively seeking you to work with them. Truthfully, I cannot do this any further justice, other than telling you to immediately visit the ProShip Entertainment site below to fall into a musician's paradise.

<a target="_new" href="http://www.proship.com/">http://www.proship.com/</a>

* Corporate Functions

When I say corporate functions, I am speaking of getting incredible gigs with such companies as; Microsoft, IBM, and that ilk. Corporate functions are fairly regular, as they readily lend themselves to employee motivation.

Without a better point of reference, I suggest your starting with these types of companies' Human Resource department, which can better direct you to an appropriate department that coordinates their corporate events if the Human Resource department does not. You will likely need to send your standard media kit for consideration.

* Private Parties

One of the best places to seek private party entertainment opportunities, is through the Society Pages of your local newspaper. The Society Page usually lists private events held by the wealthy and philanthropists who host fundraisers, charities, etc. You may also wish to consult your local library for possible local society directories that can also provide you with additional contacts.

* Grand Openings

Best places to check out your opportunities for Grand Opening performances are, again, your area newspapers, as well as Chambers of Commerce. Practically all new companies host grand openings in order to alert the public to their new business venture. They also go "all out," so to speak, in terms of media coverage through television, radio and print media advertising, as well as interviews. Any and all of this can serve to make far more people aware of you when you perform at these locales.

By the way...in any of these situations, *ALWAYS* request permission beforehand from your employers to sell your music, as this peripheral sales income will only increase your overall take. In some cases, you may be allowed to do so while, in other cases, you likely will not be allowed. However, it never hurts to ask and, by all means, ALWAYS ASK!

Hopefully, these several income outlets can give you a much better income base while, eventually, taking you out of the hardworking, yet, low-paying nightclub arena.

Kenny Love is president of <a target="_new" href="http://www.MuBiz.com">http://www.MuBiz.com</a>, a radio promotion and media publicity firm that also provides business and career services to musicians.

วันพฤหัสบดีที่ 25 ธันวาคม พ.ศ. 2551

How to Compose Your Own Music Using 8-bar Phrases

Some people think composing is this miraculous thing that only genius's do. What a myth! It's a skill that can be learned. What can't be learned is the intuition that guides the creative force. What can be learned is the technique. And the most important part of composing technique has to do with THINKING IN PHRASES.

A musical phrase can be 2-bars long. It can be from 4 to 8-bars long as well. It is a unit of music that composers use, along with repetition and contrast to create ENTIRE SECTIONS OF MUSIC. There is no secret here people. It's like building up a structure. That's why music is often referred to as frozen architecture. It is built up. The building up creates FORM. A structure such as ABA form can be composed of the A section (8-measures) B section (4 or more measures) then back to the A section.

Now you may be thinking, it looks logical but how does it transfer into actual music? Ah, this is where you get your feet wet and actually try composing a piece. We start from simple means and learn the principles of repetition and contrast first. We start with an 8-bar phrase for the A section.

Now a problem arises. How do I fill up this section? You can either start with the melody or with the chords. If you've had a chance to look at my free lesson, you'll see that by improvising, MATERIAL IS INSTANTLY CREATED! This solves your problem doesn't it? Now, you may be thinking, how do I get this material into the 8-bar framework you've been talking about? First, you need to be able to count in 3/4 or 4/4 time. Not very difficult but if you can't do this now, there are many sites on the web that can teach you this.

Now it's just a matter of transferring this raw improvisational material into the 8-bars. Most likely, you will be jotting down your chord changes. I explain this in a lot more detail in my online class. It's a quick sketch method. You have the raw uncensored germ coming from your improvisations - you then write down what chords you are playing and perhaps the first 2-bars of melody so you remember what the initial impulse was.

The reason I use the 8-bar phrase is that it is a nice unit of time to work with. I don't try and reinvent the wheel here. It's been used for centuries and can be used in New Age music as well. Once you have this 8-bar phrase you can repeat it and add in another section (B) to add contrast.

This may be hard to understand by just reading about it. You have to do it in order to really understand.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

When Does Practice Make Perfect? Not Much Of The Time Unless All The Pieces Fit First

Often people receive a banjo, mandolin, fiddle, guitar or some other musical instrument as a birthday, Christmas or special occasion gift. There's glee and joy everywhere. The giver of the gift knows how much the receiver of the gift wants to learn this instrument and the receiver of the gift is ACTUALLY holding the coveted instrument in his/her hands instead of lusting for it down at the corner store or through the shop window. NOW WHAT?

Finding an instructor that fits into a busy work schedule is hard enough?but once you decide on a lesson plan, then the student must calculate the practice time, how to practice, what to practice ? and let's face it?not all people learn something the same way. We have math-wizard types that write everything down, social butterflies that strictly learn by only talking to others about it and yet others that envision a categories and divisional compartment-style strategy for a problem and logically devise a plan to solve the problem in a completely different way than there next door neighbor! So?in order to learn a musical instrument, how much practice time is enough and what kind of practice is right for you?

First the student must identify some goals:

1. What is the desired gain? Do you want to be a virtuoso or a hobbyist?

2. How much discretionary time is available to invest in the learning process

3. Is the student really willing to invest the time for the ultimate gain

4. Would the student be satisfied with a more social/casual study of the instrument

5. Identify why the student wants to learn 'this specific instrument&quot;

There is no set amount of time that anyone should practice a musical instrument. When I was enrolled in programming classes, I could have studied nightly for 5 hours each night. It would have taken me years to learn the art and craft of computer programming. Though I'm intrigued by the systematic logic of it, my aptitude is towards another genre all together. However, on the other hand, if I spent an hour every couple days with a passionate hobby like playing the violin, not only would the time fly quickly?I'd also be learning at a much greater pace since the built-in passion is the motivation for advancement.

So as much as it's important to practice, a step back from that strategy is to first find the compatible instrument that fits you as a person; as an extension of your personality. If you're learning the guitar because it's cool and every guy can snag chicks if he plays guitar?.- & obviously that's the modern-day hip-factor mindset, however, you might not be actually aligning your highest aptitude for musical fulfillment with your most creative advantages you have to offer.

It's been my experience that every person has a certain level of musical talent. My enjoyable challenge has been to assist them in this adventure and actually locate their best abilities as quickly as possible. Then and only then can we match student with instrument and truly begin a fun and exciting Zen-walk down the road of happiness and contentment; where music, aptitude, personality and soul all congregate. Once this piece of the mystery puzzle is in place, I've never had to work at motivating a student to practice?.

Lee Tribbey is the marketing manager for <a target="_new" href="http://www.LessonsAnytime.com">http://www.LessonsAnytime.com</a>, a totally online music lesson emporium and instrument teaching resource.

The Case Against Traditional Piano Lessons

How would you like to spend 4 years in a University learning how to play other peoples music? If you think this is ridiculous, you're right! Because that's what thousands of piano music students do each day.

They sit in front of their piano or keyboard with sheet music of a dead composer in front of them. Then they are told to "play it right." Have you ever heard of such nonsense? Imagine a budding writer forced to copy another novelists work? In essence, this is what classical piano students do. They copy.

Although many think this is a creative act, it is not. It is a re-creative one. It's purpose? To give people who are told how to listen to music a chance to hear what is considered "good" music. Only in classical music is there such pomposity. And it exists because a very few people wish to hear the classics.

Let me tell you something. I love classical music. But I don't spend my time trying to recreate what has already been created. No. Instead, I want to connect with my own source and allow the music that is inside me to come out. I want to be creative too! And my philosophy is that anyone can be "a composer."

All it takes is the desire to create - to want to hear ones authentic self expressed through music. Difficult? Not at all! It's as easy as putting fingers to keys and playing. Hard to believe but true. You see, music students have been cheated from the get go by an academic snobbism that destroys the spirit and the will to create.

The suggestion is that the best music has already been created so why bother. The answer is crucial to our own well being. We bother because it makes us feel good. That is all that is required and that is all that is needed to make music.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

วันพุธที่ 24 ธันวาคม พ.ศ. 2551

Top 7 Donts for Successful Improvisation

1. Don't try and make something happen. Trying blocks the creative flow and will result in blocks.

2. Don't expect to create something good. Expectations will always come with judgements and, consequently, you'll end up feeling let down.

3. Don't worry about what is "coming out." Improvisation is about play and freedom to explore. Abandon unrealistic expectations and experience the joy of improvisation.

4. Don't try and please others. The first person you must please is yourself. This may seem obvious but don't underestimate the strong need to please - ESPECIALLY WHEN IT COMES TO THE ARTS!

5. Don't try and accumulate a "lot of knowledge." All it takes to improvise is a few chords and the proper attitude.

6. Don't think. Improvisation is about FEELING. It's about being in the moment and experiencing the moment through the music. Thinking will take you away from your intuition, which will guide you if you listen to it. Intuition will lead you places thinking never could!

7. Don't quit. Practice is what makes intuition stronger. The more you practice or play, the stronger your intuition will grow and the more you will trust it. Your unique voice will emerge and will grow stronger each time you sit down to play.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

วันอังคารที่ 23 ธันวาคม พ.ศ. 2551

Music for Corporate Entertainment

For many years I have supplied music for and played in bands that provide music for corporate entertainment. Clients have included Audi, The Evening Standard, Sainsburys, P.C. World, Safeways, Large corporate clients at Henley and Ascot, I.T.V. and H.M. Treasury. Because of this experience I felt it would be relevant in putting down some pointers in helping clients choose the right kind of music for their particular corporate entertainment.

Interestingly enough, most corporate hospitality entertainment work tends to require music as an ingredient to a larger recipe. What I mean by this is a great deal of corporate events are offering a multi service package. Typically an organization may be putting on an evenings entertainment to thank its workforce for a particularly successful year. They may be offering music, food, comedy, a close up magician, a casino and a caricaturist. The corporate client organizing needs to decide what part the music has to play in the days/evenings entertainment.

Questions he or she needs to ask are:

Is the music specifically for entertainment or is the music for background listening?

Do we need one style of music early on in the proceedings and then a change of style later in the days/ evenings entertainment?

Do you expect the corporate clients to be networking and discussing business or are they just there for a good time?

What overall atmosphere do you want to project with the event?

Is there going to be a change of location for the music as the entertainment event unfolds?

Different styles of music bands lend themselves to different corporate hospitality situations. Below are a number of typical corporate hospitality events with music suggestions for suitable music entertainment.

Corporate entertainment model 1.
Evening reception with dinner and speeches.
In a situation such as this you will typically need music from the outset as part of the meet and greet of the corporate evening. A four-piece swing or Latin group is ideal with a larger ensemble for particularly large gatherings. A professional outfit can pitch the music at just the right decibel level so your guests can talk and enjoy the entertainment without it encroaching on conversations. The musicians would typically be dressed in Lounge Suits or Tuxedos (or the female equivalent) to mirror what the guests are wearing themselves. The music portrays an atmosphere of sophistication, which again hopefully reflects the evenings overall ambience.

It is rare for corporate clients to want to dance especially as clients there relationship is business not pleasure! In most cases it is more important that the band is flexible in when it is needed over the course of the evening i.e. At the top of the night for the reception, a smaller version of the band (The pianist maybe for the dinner), stopping for speeches and then after the speeches to play until other entertainment is put on for the corporate clients. In this situation give the band a clear idea of how you expect the evening to go. What to wear, when they will be needed, when they need to get their instruments in the building and be set up, when breaks will be required, let them know if it is convenient or not to feed them and then finally how they can leave when finished so as not to disrupt the rest of the entertainment.

Corporate entertainment model 2.
Company Party.
Still corporate entertainment, still corporate hospitality but a totally different set of requirements for the music. Ask yourself these questions: Are your work force the type of workforce who will want to dance at some point in the proceedings? If they are, then a professional band with flexibility is essential. My experience is that people of all ages will join together to dance to music from the sixties and seventies. Whatever background music you require earlier in the day/evening be it Latin, Swing, Rat Pack or Lounge, if you are hoping to provide entertainment that will get people dancing remember this fact. Sixties and Seventies. For some inexplicable reason this is the music that gets people up on their feet.

When choosing your music ask the band if they can cover this part of the corporate entertainment requirement. Get samples of their music if need be. There is nothing worse than an ill equipped band struggling through alien repertoire. However good the band is, if they do not play the right repertoire, the right style of music then the corporate entertainment will fall on deaf ears.

Let me at this point provide a caveat. Your workforce work together They are not always going to be the best of friends however professional their relationships are at work. Answer truthfully, will they really want to dance together or is it asking too much? I would say that in all the years of providing music for this kind of corporate entertainment / hospitality , as long as the music is right, the workforce tended to dance 30 or 40% of the time. It could be said that a workforce who will enjoy each others company in this way is a reflection on the talent of senior management to create a happy team!

Corporate entertainment model 3.
Company Fun Day.
These come in two types. The type to entertain your own workforce or the type to entertain prospective clients. Both types of corporate entertainment require music that is fun. This means that the music must be perceived as fun and the band must be perceived as fun. In both cases Jolly Dixieland Jazz or the summer sounds of Latin music are most suitable.

Ask yourself these questions: does the band need to be mobile? Meaning do you want the music to move around the site at various points in the proceedings? If so then the jolly jazz route is most suitable. A good professional outfit of four or five players can play acoustically and move around a site as directed.

If the band can be static and close to electrical power then either Jolly Jazz or Latin Music is suitable.

Is the event outdoors or indoors and do you have provision for bad weather? This is England, never trust to luck, assume the worst! Any band that needs power cannot play in the rain for health and safety reasons. At the first hint of inclement weather a band will have to breakdown their equipment. Build this situation into your corporate entertainment music decisions.

How do you want the band to dress? It is a fun day after all! In the past I and my musicians have dressed as Elvis, Cavemen, Circus Clowns, in fact all manner of characters in the name of corporate entertainment and corporate hospitality. Good bands will have suitable outfits for most situations but don`t hesitate in providing something off the wall for a special event. Most professional players have a strange urge to jump into such costumes at the earliest possibility! As someone who has played at a nudist camp and for a toga party, both dressed accordingly, take my word for it!

To draw this article together let me say this. Choose the right kind of music for the event. Brief the band accordingly but make sure you have a professional and flexible outfit, things can change over the course of the event and you want to make sure the band are both co-operative and able to fulfill your needs. Don`t hesitate to ask the band for any special requirements you have. Do it in plenty of time so they have time to prepare.

The corporate entertainment and hospitality you offer to your guests reflects directly onto your company. The music and musicians must be the type who are aware of this. Dont go for second best just to save a small amount of money. You need a well prepared, well dressed band who are both polite and charming to your guests. They need to play the right kind of music for the event in order to help make the day or evenings corporate entertainment a resounding success!

About the author
Jeff Williams is a London based trombonist and vocalist who has worked all over the world in most areas of the business. He also runs a successful, specialist, live music agency using the best of London musicians, servicing both private and corporate clients playing all over the country. He would be happy to advise you with your own event or party and offers bespoke solutions for the perfect occasion.

Contact him on +44(0)20 8761 8932 or +44(0)7747 801471 Email him on <a href="mailto:bonejeff@aol.com">bonejeff@aol.com</a>

Visit the website <a target="_new" href="http://www.jazznotjazz.co.uk">http://www.jazznotjazz.co.uk</a>

5 Sure Fire Ways to Get Radio Play for Your ?Independent? Music!

You have to find radio airplay time if you're going to be heard and we're not just talking the local college campus. The trick is called promotion. Now that doesn't mean you just put your press kit in an envelope with a demo and hope they take pity on you. Perhaps you call a station and they give you the standard pitch of, &quot;Send it and if we like it we'll put you in rotation.&quot; After a few months of never hearing your music, you automatically think you're not worthy.

First, don't buy that. You're one of hundreds, maybe even thousands depending on your city. Your disc will probably end up in the trash or, for more enterprising DJ's, on Ebay in a one-cent CD sale. If you want to be heard and make potential sales, you have to stand out from the crowd, and in this jewel of an article, I'll show you Five(5) Knock 'em Dead Ways to Do Just That!:

#1 - Get your CD into the right hands. The intern that's too busy to getting coffee or typing up a report for the station manager isn't going to be the one making the airplay decision. So find out who the head honcho is in that department and touch base with them. If the club you're playing at charges an admission or you have a show coming up offer to send the stations tickets to give away to listeners. Now keep in mind you can't give the tickets to the staff, since that's illegal and called payola, but you can offer free giveaway items to your potential audience.

#2 - If you've got one station in your pocket, then drop names. Let them know that WABC is playing your music and it's getting a great response.

#3 - Make genuine friends in the business. If you've got a disc jockey that's got you in rotation and really likes your sound, get to know them. Find out why they enjoy it and see if they've gotten any responses from listeners. If they haven't, ask if perhaps they might Q & A their callers about your music so you get a feel for your target audience. It's not a bad idea to ask them for a testimonial or quote if they're well known in your area if you know them personally. People help people. That's a fact so if you treat your area disc jockeys like a living and breathing human and not dollar signs, that's a foot in the door. Another good source is club owners. If they play your music and the fans go nuts ask them to say a few words about your sound that you can pass along to prospective stations, but be sure to sit down for a drink with them. Ask them about the picture of him and the woman and two kids behind the Magic Kingdom. Don't be fake, but be genuinely interested.

#4 - Network. Find out if someone you know (or someone they know) has connections to the music stations. Remember six degrees of separation - you're only six people away from knowing anyone on the planet and yes that includes station managers, concert promoters and record execs. The trick is it takes a great deal of work and time, but if you're serious, it's well worth it.

#5 - Go local, state, national. Don't think you're going to skip your local and state stations and be the next Matchbox Twenty. It doesn't work that way. Start small and then get big.

Making contacts and getting names can be tough, that's why you should start with a tested and proven music industry resource like The Industry Yellow Pages - Music Industry Contact Directory at http://www.TheIndustryYellowPages.com

The TIYP is helpful and loaded with contacts you can start using immediately without doing all the legwork yourself.

This article was written by Ty Cohen, the music industry's most recognizable voice! Ty is the C.E.O of Platinum Millennium Publishing, Platinum Millennium Records as well as owner of <a target="_new" href="http://www.MusicContracts101.com">http://www.MusicContracts101.com</a> and <a target="_new" href="http://www.MusicIndustrySuccess.com">http://www.MusicIndustrySuccess.com</a> .

Some of his work includes: books, directories, mini-courses and software programs including the titles: "How to Make a Fortune in the Music Industry by Doing it Yourself" and "How to Make $500,000.00 "or More" A Year in the Music Industry by Doing it Yourself".

To find out more about Ty Cohen, his services, products and how he may be able to help you succeed in the music industry go to <a target="_new" href="http://www.MusicIndustrySuccess.com">http://www.MusicIndustrySuccess.com</a> and sign up for his free limited edition music industry success 10-part &quot;Mini-Course&quot;, it will work wonders for you and best of all, it's FREE, but EXTREMELY VALUABLE!

วันจันทร์ที่ 22 ธันวาคม พ.ศ. 2551

Music and Emotion

The Age-old Puzzle of Human Response

If you've listened to more than a little music, you've most likely received an emotional reaction from some of it. You've probably noticed that whenever that happens, the effect is initially unexpected and varies in its intensity. Its also a safe bet that you cannot truly explain or define why it affected you.

You might be listening to a Symphonic work, a Jazz combo, something Country or a Folk song. Whatever the style, it becomes obvious that certain musical creations are able to communicate in a way that transcends the moment.

Those with a broad and varied interest in music soon discover that not all music is equal. Some of it may simply be functional, contrived, uninspiring and produce little or no emotional reaction. Other music may call forth a few emotional moments here and there but you find yourself wishing for more.

Then, there are those truly inspiring musical creations that lift one out of oneself, somehow transporting the listener in a way that defies explanation.

Inspiring music appears to contain an abundance of emotional peaks and valleys that may evoke pleasure, sadness and other diverse manifestations of emotion. For the listener, this often becomes a very unique and moving personal experience - and the oddity is that neither the composer nor the performers of the music will be able to explain exactly how or why it creates that effect.

This seeming inability has nothing to do with the extensive technical abilities of the composer or members of the orchestra. Rather, it concerns the difficulty anyone encounters when attempting to define or describe the ethereal nature of inspiration. For example, how does one go about describing the Source?

Apparently, it matters not the musical style - a simple folk song might trigger an emotional reaction as powerful as that created by a complex symphonic work.

Why this happens has been debated for ages but most musicologists will agree that trying to find the answer to this and other human response questions becomes a gigantic task due to the plethora of human, technical, psycho-biological and other variables that permeate an inspiring composition and its performance.

Another unusual aspect is that no two people will react to any given piece of music in exactly the same way. What might be a moving experience for one person might be somewhat different for another.

Back to the future

In order to gain a better understanding of why this disparity occurs, look to the subject of human conditioning - for it contains insightful information regarding how and why people react in the manner that they do.

The concept of human conditioning is based upon the premise that human perspective is influenced from birth onward by parental, societal, religious and other forces. Consequently, all future human experience is filtered through and measured by past experience.

Therefore, it does not require too great a stretch to understand why individual responsiveness to music may vary from person to person. Simply stated, each life experience is different for each person and though experiential similarities may exist, responsiveness remains uniquely individualistic.

A mysterious something

What is it in music that gives it that remarkable ability to reach and so strongly affect the human psyche? How is it able to calm, soothe, heal and minimize pain? And what about its darker side - wherein it is capable (as some researchers suggest) of actually creating pathological conditions in humans, animals and plants?

Regarding the latter, a number of research projects have convincingly demonstrated that music can be harmful or beneficial dependent upon the type. Most notable is the work of Dorothy Retallack, Dr. T.C.Singh, Dr. Harvey Bird and Dr. Gervasia Shreckenberg. (see below)

Unlike the research mentioned above, other sources of information often prove to be more conjectural than factual. For sure, one can find the usual authoritative comment in any good library...but much of that opinion appears to focus on the effects of music rather than its ethereal nature and origin.

However, deciphering and understanding the ethereal may ultimately require more than human rationalism and logic can provide. Perhaps this is one reason why the puzzle of human response to music has yet to be solved.

Logically, one would think that thousands of years of musical endeavor should have produced something in the way of bona fide evidence; something that would provide an irrefutable explanation for that musical-empathic link that so often lifts the human spirit. Obviously, that link has yet to be established and if history is any indicator, the solution to the puzzle may be a long time in coming.

Meanwhile, inspiring music continues to fulfill a strong human need. It speaks to the heart and because of this, improves and enhances our lives. This is why certain music has been so successful as a stress management tool. It calms and provides respite wherein recovery may take place.

As for solving the puzzle, that is best left to the musicologists. Listeners need not and should not be too concerned with the complex issues and technical aspects of music. As a matter of fact, focusing on the complex tends to block one&#8217;s ability to feel. Why? Because it is impossible to analyze and feel simultaneously.

A passing mention should be given here concerning the existence of something that is best described as sonic mayhem. Sonic mayhem cannot subsist for long without the support of high-powered marketing hype, numerous theatrical effects and high decibel amplification. It is called music by its practitioners and followers but that is a misnomer. Rather, it is a form of abrasive-aggressive entertainment. This subject will be pursued further in a future article.

So where does all of this leave us? Well, we have a world of music at our disposal and where we go from there is up to us. Perhaps, during the process of listening to music, we may experience one of those magic moments wherein we discover ourselves.

Finally, inspiring music contains a message for everyone and to receive that message, all we need do is simply listen with an open heart and allow the music to do what it has always done best - uplift the human spirit and soothe the soul.

For more about the work of Dorothy Retallack, Dr. T.C.Singh, Dr. Harvey Bird and Dr. Gervasia Shreckenberg go to: http://www.channel1records.com/how_music_affects_your_kids.htm

Copyright ? 2003-2005 Channel 1 Records All rights reserved

Bill Reddie is the owner of Channel 1 Records, a company that has been producing music for stress relief and stress management since 1972. Further information regarding the beneficial effects of music and its potential for relieving stress, anxiety and burnout may be found at: <a target="_new" href="http://www.channel1records.com">http://www.channel1records.com</a>

The Open Position Piano Chord

Chords. They're amazing. There's no doubt about it. Especially when it comes to piano playing and the Open Position Chord. Here we can use both hands to create music with. The chord is broken up into its main elements and its voicing is spread out which gives it a nice open sound. The sound that's perfect for the New Age style.

To use the OPC requires little more than fingering the chord itself because once the chord is played, music comes out. All that's required now is to be able to experiment with the sounds and textures. It's absolutely critical that the thinking mind stop and feeling be allowed to come to the front.

This is possible by adopting an attitude of abeyance. Not being concerned with what's coming out of you.

For example in Lesson 20: "Reflections in Water," I use the OPC to create a gentle mood. How? By first allowing myself to get in right-brain mode, then letting my fingers do the walking! I know what the chords are, I know that I'll be using the OPC. I then let it all go and let my feeling lead me to where it wants to go and this always leads to the ideal music.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

วันอาทิตย์ที่ 21 ธันวาคม พ.ศ. 2551

Win Friends & Influence People Through Music -- Is It Possible?

The idea that studying music improves the social development of a child is not a new one, but at last there is incontrovertible evidence from a study conducted out of the University of Toronto.

The study, published in the August issue of Psychological Science was led by Dr. E. Glenn Schellenberg, and examined the effect of extra-curricular activities on the intellectual and social development of six-year-old children. A group of 144 children were recruited through an ad in a local newspaper and assigned randomly to one of four activities: piano lessons, voice lessons, drama lessons, or no lessons.

Two types of music lessons were offered in order to be able to generalize the results, while the groups receiving drama lessons or no lessons were considered control groups in order to test the effect of music lessons over other art lessons requiring similar skill sets and nothing at all. The activities were provided for one year.

The participating children were given IQ tests before and after the lessons. The results of this study revealed that increases in IQ from pre- to post-test were larger in the music groups than in the two others. Generally these increases occurred across IQ subtests, index scores, and academic achievement.

While music teachers across the country greeted the new research enthusiastically, in fact, many other studies have previously shown a correlation between music study and academic achievement.

In 1997, well known music researchers Frances Rauscher, Gordon Shaw and their team at the University of California (Irvine) reported that music training is far superior to computer instruction in dramatically enhancing children's abstract reasoning skills, the skills necessary for learning math and science. A group led by the same two scientists had earlier showed that after eight months of piano lessons, preschoolers showed a 46 percent boost in their spatial reasoning IQ.

The March 1999 issue of Neurological Research published a report by another group of researchers, also at the University of California (Irvine), who found that second-grade students given four months of piano keyboard training, as well as time playing newly designed computer software, scored 27% higher on proportional math and fractions tests than other children.

Students with coursework and experience in music performance and music appreciation scored higher on the SAT, according to a Profile of Program Test Takers released by the Princeton, NJ, College Entrance Examination Board in 2001. This report stated that students in music performance scored 57 points higher on the verbal and 41 points higher on the math, and students in music appreciation scored 63 points higher on verbal and 44 points higher on the math, than did students with no arts participation.

Another part of this same study shows that longer music study means higher SAT scores. For example, students participating in the arts for two years averaged 29 points higher on the verbal portion and 18 points higher on the math portion of the SAT than students with no coursework or experience in the arts. Students with four or more years in the arts scored 57 points higher and 39 points higher on the verbal and math portions respectively than students with no arts coursework.

Another study also found support for a relationship between math achievement and participation in instrumental music instruction. The researchers found that students who participated in instrumental music instruction in high school took on the average 2.9 more advanced math courses then did students who did not participate.

In fact, various studies over the last 10 years suggest teaching kids music can heighten their aptitude for math, reading, and engineering. (One explanation for improved ability in mathematics is that music theory is based on mathematical truths. Rhythms are divided into fractions - half notes, quarter notes and eighth notes. Scales have eight tones, and the steps between them follow an equation.)

A McGill University study in 1998 found that pattern recognition and mental representation scores improved significantly for students given piano instruction over a three-year period. The researchers also found that self-esteem and musical skills measures improved for the students given piano instruction.

And data from the National Education Longitudinal Study of 1988 revealed music participants received more academic honors and awards than non-music students, and that the percentage of music participants receiving As, As/Bs, and Bs was higher than the percentage of non- participants receiving those grades.

In 1994, a report entitled "The Case For Music Study In Schools" was printed in Phi Delta Kappan, the professional print journal for education. It included details of research conducted by physician and biologist Lewis Thomas, who studied the undergraduate majors of medical school applicants. Thomas found that 66 percent of music majors who applied to medical school were admitted, the highest percentage of any group.

The same report asserted that the very best engineers and technical designers in the Silicon Valley industry were, almost without exception, practicing musicians.

The world's top academic countries also place a high value on music education. In a study of the ability of fourteen year-old science students in seventeen countries, the top three countries were Hungary, the Netherlands, and Japan. All three include music throughout the curriculum from kindergarten through high school.

St. Augustine Bronx elementary school, about to fail in 1984, implemented an intensive music program, and today 90 percent of the school's students are reading at or above grade level. And a ten-year study at UCLA tracked more than 25,000 students, and showed that music making improves test scores. Regardless of socio-economic background, music-making students get higher marks in standardized tests than those who had no music involvement. The test scores studied were not only standardized tests, such as the SAT, but also in reading proficiency exams.

Music training helps under-achievers as well, according to research published in Nature magazine in May 1996. In Rhode Island, researchers studied eight public school first grade classes. Half of the classes became "test arts" groups, receiving ongoing music and visual arts training. In kindergarten, this group had lagged behind in scholastic performance. After seven months, the students were given a standardized test. The "test arts" group had caught up to their fellow students in reading and surpassed their classmates in math by 22 percent. In the second year of the project, the arts students widened this margin even further. Students were also evaluated on attitude and behavior. Classroom teachers noted improvement in these areas also.

In 2005, it appears the pace of scientific research into music making has never been greater. The most recent evidence from the University of Toronto confirms what many other researchers have already detected - that music boosts brainpower, academic achievement,socialization skills, and emotional health.

It's logical, when you think about it. People who learn to play an instruments are in groups -- bands, choirs, orchestras, combos, worship teams, etc. And working and making music with others is bound to help relateabilty with people and foster close bonds with fellow musicians.

So it appears that learning to play music, whether guitar, piano, or some other instrument, actually does contribute to your ability to "win friends and influence people."

Duane Shinn is the author of over 500 music books and products such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He holds an advanced degree from Southern Oregon University and was the founder of Piano University in Southern Oregon. He can be reached at <a target="_new" href="http://www.pianolessonsbyvideo.com">http://www.pianolessonsbyvideo.com</a> He is the author of the popular free 101-week e-mail newsletter titled "Amazing Secrets Of Piano Chords & Sizzling Chord Progressions" with over 55,000 current subscribers. Those interested may obtain a free two-year subscription by going to <a target="_new" href="http://www.playpiano.com/">http://www.playpiano.com/</a>