วันพฤหัสบดีที่ 5 กุมภาพันธ์ พ.ศ. 2552

The Joy of Spontaneous Expression

Do you remember finger-painting as a child? How fun it was. How exciting to be able to dip your fingers into a color that called out to you and put it on paper. The excitement of it all came from the feeling that you were an explorer, looking into uncharted territories of your own creative source.

Now music can be that way too! All that is necessary is to understand that you don't need any special talent or ability to create music with. Two chords are enough to begin experiencing the joy of spontaneous expression. In the lesson "Oriental Sunrise" we have 2 chords to play around with. And two chords are more than enough to create with

The problem that most adults have is the ability to relinquish control. They want to be able to make decisions and direct the music to where they want it to go. And of course, they lose the ability to create. Why? Because they believe they must make decisions as to what notes to play, what chords, how fast, etc. It can be very threatening for some to allow for "mistakes."

Many adults feel that they must be perfect. But it is this perfectionism that destroys the spirit and stops any creative impetus dead in its tracks. The solution to all of this is to remember the finger-painting child within each of us. Each of us knows intuitively what colors call to us the most. The key is to be able to trust that intuition, and let it guide you!

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!

Sheet Music ? Violin and Other String Instruments

The violin is a bowed stringed instrument and is the highest pitched member of the violin family. It sits along side its cousins ? the other members of the violin family - the viola, cello, and double bass. The bow of the violin is a narrow, slightly incurved stick of Pernambuco about 75 cm long, with a band of horsehair stretched from end to end of the bowstick. The violin has four strings tuned a fifth apart, to the notes g, d', a', e'': On early violins the strings were of pure gut. Today they may be of gut, gut wound with aluminum or silver, steel, or perlon.

Sheet music - violin is often provided to students by the conductors of their orchestras or their private teachers who wish to learn to play this fine instrument. For players who aren't officially students anywhere, however, there are a wide variety of sources from which to obtain sheet music. Very recently, the Internet may actually have surpassed music stores as the best place to find new pieces to play.

An enormous variety of violin sheet music is available for free download from the Internet. Violin players of any skill level should be able to locate the sheet music they want online, and in some cases, even for free. Sheet music can be free to share online if two qualifications are met. First, it must be seventy years or more since the piece was composed; after this amount of time, creative works enter the public domain. Specific editions of a work can still be protected by copyright, however, as editors and arrangers maintain their own copyrights over versions they have created.

Digital sheet music is available for a wide variety of genres, so if you're playing on your own, you won't have any restrictions on the type of music you work on. There is certainly a great deal of classical sheet music - violin and other stringed instruments similarly, available online, and you might want to try some of the pieces that are considered great classics. If they are really not your preferred style, however, you can find anything from pop to jazz to bluegrass fiddle parts.

Some of the most popular selections of sheet music - violin are, in fact, for pop and rock songs. Take, for example, the Dave Matthews Band, who gave a global fan base for their unique sound which prominently features the violin. If you want to learn Boyd Tinsley's parts, you can search the Internet for legitimate copies of the sheet music to purchase.

Another time when it can be great to have the option to find sheet music ? violin online is if you are listening to a piece and you want to be able to refer to the score. Even someone who can't play the Sibelius violin concerto himself may be able to read or understand a musical score well enough to benefit from looking at the music while listening to the piece. This can enrich the listening experience of anyone with a musical background, as well as helping you build your own reading ability in ways that ultimately benefit your playing.

Looking for information about the violin? Go to: <a target="_new" href="http://www.mrviolin.com">http://www.mrviolin.com</a> 'Mr Violin' is published by Helen Baxter - The Complete A to Z Of Violin Resources! Check out more violin articles at: <a target="_new" href="http://www.mrviolin.com/archive">http://www.mrviolin.com/archive</a>

วันพุธที่ 4 กุมภาพันธ์ พ.ศ. 2552

How to Create Hip, Mature, and Lush Harmonies [correction]

Rarely is a chord played with its tones contained in a single octave, the root on the bottom, the third in the middle, and the fifth on the top.

Usually chords are "voiced!"

This basically means that the positions of a chord's tones are scattered over the keyboard. The tones may be altered, doubled, added to, missing, and so forth.

There are a great variety of possibilities available in voicing chords. Voicing chords properly is an art within itself. Using the correct voicing techniques in your playing will give your improvisation a "hip," mature and full sound. Chords played in root position just does not seem to do the job when playing Jazz, Rock, Pop, Blues, Gospel and "Smooth Jazz" piano.

Learning and mastering good voice leading techniques in your playing is not difficult if you just follow some simple rules.

1. The most important notes in any chord is the 3rd and the 7th. The 3rd of the chord defines whether the chord is a major or minor chord. The 7th of the chord will define whether the chord is a dominant or major chord. Usually the bass player will play the root and fifth. The root and fifth are not essential tones and can be completely left our from your chord progressions. If you must use the root and fifth try using it in your right hand, not your left. You should add your "color" tones in your right hand.

2. When you are taking a solo and not "comping" (accompanying) for another soloist you should play your chord voicings in your left hand, so that the right hand can be free to improvise, do fills, double the left hand, add extensions, etc.

3. The range of your voicings is also very important. A good rule of thumb to remember when voicing your chords, is to always try to voice your chords around middle C. Keeping your voicings around middle C will sound full and clear. Limits of approximately an octave above or below will assure best results by preventing the voicing from assuming a quality of thinness or muddiness.

Copyright 2005 RAW Productions

Ron Worthy is a Music Educator, Songwriter and Performer. His Web Site Offers Proven Tool, Tips and Strategies (that anyone can learn) to Play Rock, Pop, Blues, R&B and Smooth Jazz Piano. <a target="_new" href="http://www.mrronsmusic.com/playpiano.htm">http://www.mrronsmusic.com/playpiano.htm</a>

How To Find The Right Guitar Teacher

Finding a good teacher is not always easy, at any level. At the beginner level it is important to get on the right foot and as an intermediate player you need to know that your teacher really knows his or her stuff if you want to move forward. What it really comes down to is "Are you getting the right information?".

The big problem when it comes to music instruction is that it is not necessary to have any diplomas or awards in order to set up a teaching practice. Conversely, the best teacher may not have a degree in music, just a phenomenal talent for teaching.

The first thing to understand when finding a good teacher is that the best teachers are not necessarily the best players. And it certainly goes that great players are invariably not the best teachers, possibly because they are far too wrapped up in their own playing to be concerned about anyone else. OK, a generalization but a theory with legs.

So let's assume you are just starting out, an absolute beginner, so what do you do? Well, the first resource I would use is your own personal contacts. You may have a friend or cousin that also took lessons and he or she may be able to recommend someone. Music stores often provide instruction and you can also look in your local paper for private instructors. Even do a Google search. It's actually very easy to find a teacher, but can you count on them to feed you all the right information?

Let's assume you have a short list of teachers in you area. I think it is definitely in your interest to make sure that they are teaching simply because they love to teach. Not because they are waiting for their "big break". This is why I think it is important to find a professional teacher, not an aspiring pop star. So you might ask a series of questions:

*How long have you been teaching?
*What teaching qualifications do you have?
*How many other students do you have?
*Can you give me the phone numbers of two of your students?

This may seem harsh, but I just think it is so important to get the right person from the start. Why? because as a student you have no idea whether your potential teacher actually knows what they are talking about. So don't be shy to ask.

As an intermediate student you probably need to rely more on word of mouth to get the right teacher to take you forward. In your local neighborhood, especially if you have been playing a while, you are probably already hooked into who the teachers are so it may not be such a problem.

The other issue, aside from musical expertise, is that your teacher and you need to like each other. If you are to be successful studying together this is so important. I remember growing up that I would excel in the subjects where I actually liked my teacher. And of course I dreaded going to class with those teachers I did not like.

I am happy to say that I really liked all my guitar teachers except for one, and that person lasted just a few lessons. I got lucky with the others there is no question. But other students may not be so lucky. I have heard a number of times that students realized much later that they did not have a good teacher. So at what point do you decide to move on and find a new teacher?

If you have done the prerequisite research I mentioned then this should not be an issue. However, guitar playing is such a personal undertaking that finding the right teacher is relative to each student. What works for one, clearly does not always work for another.

Your teacher should care about you and take an interest in seeing you advance as a player. I think this would be the biggest red flag to me if I was taking lessons all over again. I would want to know that there was some nurturing involved. If you feel that there really is no connection between the two of you then I think this might be a factor you can use to determine whether you move on or not.

It's tricky. As a student you want the best teacher for you but you may not know if there is no barometer to show you.

I also think that many times the student is to blame for being a lousy student. I remember when I used to give private lessons that a few students would come back week after week and had not done any practice at all. I found myself explaining the same things over and over because we couldn't move on until the essential groundwork was covered. These students eventually gave up because they had no drive or ambition to improve. This can be very frustrating for a teacher. Other times extremely talented players would come for just a few lessons because all they needed was a little fuel to go off on their own and practice. They were literally sponges. These students are heaven for teachers!

So do the research, then take a lesson or two and see if that teacher is right for you. If you are serious about working at your instrument then you shouldn't be to blame for being a bad student. At that time it's simply a matter of finding the right person. Don't short change yourself.

Chris Standring is an international jazz recording artist and educator. For more information about his highly acclaimed home study guitar courses please visit <a target="_new" href="http://www.PlayJazzGuitar.com">http://www.PlayJazzGuitar.com</a>

How to Create Interesting Textures

A lot of new age piano music consists of repeating patterns, or textures in the left hand while the right hand improvises a melody. This approach is really a good one! It frees you up to create in the moment. First you decide what chord or chords you'll be using in the left hand. You then create an ostinato or arpeggio that lays the foundation for the entire piece.

It's like the background a painter uses before the foreground is drawn in. In the case of music, the background would be the textural patterns in the left hand. Then the right hand comes in "to paint" in the rest of the picture - in this case, the improvised melody.

George Winston used this approach in the piece "Rain." First you get this beautiful textural background created exclusively by the left hand. He covers more than an octave with the left hand using the thumb to reach past and make the music sound fuller. Now, in this piece he uses only a few chords, but interest is maintained through the improvised melody. In my piece, Flashflood, from Anza-Borrego Desert Suite, I use the same technique.

I start by playing an ostinato in the left, than add in the melody in the right. I keep playing the ostinato for as long as my intuition says, "this sounds good," then add in some contrast, either by changing chords, or by adding in new material.

It's important to realize that complete textural backgrounds can be created using the left hand alone. In fact, entire pieces of music can and have been created using this very versatile approach. It's especially suited for new age music. So, here's a step-by-step procedure for creating textures:

1. Choose your chords - These can be triads, or Open Position Chords, or any chord structure

2. Create a pattern for your left hand

3. Improvise a melody with your right hand

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!

Piano Lessons and Perfectionism

Are you a perfectionist? Does every note have to sound right before it comes out of your piano? If so, you might be cheating yourself out of the joy of music making. Most of us learned how to be perfectionists as children, trying to please Mommy or Daddy. We wanted their approval so we tried to get it right.

In the process, we learned that getting it right meant giving up happiness. It wasn't enough that we could express ourselves musically. We had to do a good job of it as well. As good as we could make it. Getting all the notes right. Trying to please music teachers who could care less if we were enjoying ourselves. All for what? To get a grade or a "that's good?"

It's a shame but this happens all the time in music schools. It's not until we become adults that we realize the damage that has been done. By then, it's usually too late and most never pick up an instrument again. What a pity that is. What a shame that we all must create to someone's standard of what good is. And worst of all, when you finally achieve that high standard, you are told that it is never good enough anyway.

The way out of this perfectionist's rut is to let go of the need to please others and refocus on pleasing ourselves. Now there is room to make mistakes and explore what art really is - namely EXPLORATION OF THE UNKNOWN! Here is where the real adventure begins my friends. Here is where excitement truly is! Not knowing what is going to happen next. Not judging what comes out of us but being beholders of it all.

Improvisation is the key that unlocks this door. It is the one art form that is invention from one moment to the next. Experience the joy of improvisation and all need to get things right disappears. Just for a moment you feel like the music is playing you. Isn't that enough?

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 3 กุมภาพันธ์ พ.ศ. 2552

How To Overcome The Lyric Writing Hurdles That Are Keeping You Behind

The lyric writing side of songwriting is known to create an enormous number of problems for some folks. No matter how hard they try, they are unable to write a single line that they can be pleased with.

In many cases these very same people make phenomenal advancements in writing music and melodies. However they just can't seem to figure out how to come up with suitable lyrics to match them.

If you are facing such a situation, there's probably no need to worry. By taking certain appropriate steps you should be able to overcome lyric writing hurdles and write songs that deliver.

(1) Here are some essential ideas for overcoming these hurdles.

1. Collaboration

If you're very good at writing melodies but can't seem to write a single line, one solution might be collaboration. Instead of beating your head against the wall for ideas, find someone who is very good at writing lyrics and work together. You may be surprised at the wonders that can emanate from a combination of his excellence at writing lyrics and your brilliance at writing melodies.

2. Lyric writing tools

Perhaps you may be hoping for some other solution. While you don't mind the idea of collaboration, you want to allow yourself to get better at writing lyrics, instead of leaving it to someone else.

As far as I'm concerned, the importance of laying hold on good songwriting "tools" should never be underestimated. Educate yourself as much as you can. Make use of songwriting books, programs, courses, software, articles or whatever valuable resources that you have at your disposal.

3. Motivation

You've probably heard it said a thousand times ... Without motivation, you won't go very far. This also applies to your lyric writing. While the songwriting "tools" outlined above can help you improve, without adequate motivation failure is inevitable.

(2) Here are a few tips to help you generate lyric writing ideas.

1. Use different lyrics to bring the same message across.

Choose a theme which is known to have made a few hits. What message does this theme bring across? Write different lyrics that bring the same message across. A typical example of this is John Denver's "I'm Leaving on a Jetplane" and Wyclef Jean's "Gone till November". These songs made hits in different eras. Their basic message was similar ... Baby, you don't need to cry because I'll return.

2. Add a unique twist to a cliche.

Turn on your radio and you will hear cliches being repeated over and over. Using these very same cliches is simply a futile exercise. My suggestion is to add a unique twist to these cliches. This is something I am focusing on more and more.

A typical example of adding a unique twist to a cliche is found in Dianne Warren's "Unbreak my Heart" made popular by Toni Braxton. The ever popular cliche, "break my heart", was twisted.

(3) Here are three lyric writing suggestions.

1. Write a song about a particular incident. Your song should tell a story.

2. Write lyrics that have absolutely nothing to do with anything you've actually experienced.

3. Get lyric writing ideas from newspapers, magazines, movies, TV and so on.

Overcoming lyric writing hurdles involves a lot of determination, hard work and perseverance on your part. Implement the suggestions presented above and move one step closer to lyric writing success.

About The Author

Mantius Cazaubon offers lots of valuable songwriting tips, techniques, suggestions and advice on his site <a href="http://www.ultimatesongwriting.com" target="_new">http://www.ultimatesongwriting.com</a>. Visit <a href="http://www.ultimatesongwriting.com" target="_new">http://www.ultimatesongwriting.com</a> for the ultimate truth about lyric writing and songwriting.

<a href="mailto:mantius@ultimatesongwriting.com">mantius@ultimatesongwriting.com</a>

Review: The Bled - Pass the Flask

Released in 2003, Pass the Flask turned this little quintet from Tucson, into a mainstream success overnight. Classifying this band as 'metalcore' or 'indie' or 'hardcore' is quite futile, because for every genre you pick, someone is going to disagree, and have a solid backing for their view. Everyone however can agree that whatever The Bled are doing, they are doing it well.

This album bursts into action from the first song, and doesn't let you down for 38 minutes. Personally I would like to see a longer album, but releasing a short disc like this sure does make you long for more. The album is very tight throughout, featuring a 'machine gun' riffing section in nearly every song. If you love the stereotypical 'hardcore' breakdowns, you will love every minute of this album.

As with all bands in the 'metalcore' genre, the guitar work on this album is fantastic, a great blend of soothing indie tones, contrasted next to dissonant riffing doubled by the bass guitar and kick drums. Showcased best in 'The sound of sulfur' guitarists; Jeremy Tally and Ross Ott put on a spectacular performance highlighted by the breakdown section half way through the song. Building slowly with one hard panned guitar, the riff slowly progresses over 8 bars, culminating in a machine gun section with a 4/4 crash beat forcing you to nod your head. 'I hope he loves you like I did/ when you needed me / I came for you that night'

The vocals on this disc are nothing short of phenomenal, the band manages to turn a simplistic guitar melody and soothing vocal line 'and I'd burn alive to keep you warm/when you're alone/shiver under blankets in the basement&quot; and slowly turn it into a thrash symphony that Metallica approve of. The most important aspect of music is dynamics; there is no use in playing something heavy unless you can juxtapose it next to something quiet. The band knows this, and they have crafted their songs masterfully using this concept.

Known for their intense stage show, the music conveys a sense of urgency, as if the band knew they need to have this music heard, and they aren't going to sit down until you've heard exactly what they have to say. You will hear it, especially since I you'll find yourself turning up your speakers periodically as the album progresses.

One of the most memorable moments on this disc comes on the 9th track, 'we are the industry' after 3 minutes of heavy riffing and screaming, the song slowly degrades into a simple guitar melody with calm, matter of fact vocals whispering 'we are the industry / the birth and the death' while the drumming and guitar slowly grows over the next few bars; adding a simple change every 4 bars gives the song an epic buildup, eventually the music, and vocals reach a fevered pitch and then drop off, into static.

If you're looking for a solid album with heavy guitars, solid drumming and excellent screaming vocals, there is a damn good chance that you will enjoy the bled. If not, you have terrible taste in music, and you should be shot! Well, perhaps that isn't the case, but I really like this disc, and I hope you do as well.

Overall: 8.4

Chris Elkjar is the founder of 'trust.me' an online music magazine for the enthusiast. He spends all of his spare time immersed in music, be it writing reviews, interviews with leading bands or writing his own music.

For more of his writing, check out <a target="_new" href="http://trust-me.ca/">Trust-Me.ca - Music for robots</a>

วันอาทิตย์ที่ 1 กุมภาพันธ์ พ.ศ. 2552

How to Stop Thinking and Start Playing

Learning how to improvise is confusing for most. The sheer number of choices becomes a burden. Should I play this note? What chord next? Where do I go from here? All valid questions newbies (and oldbies) at improvisation sometimes ask themselves.

The number one reason people have problems creating in the moment is that they won't let up on themselves and just play. They knew how to do it once as children but now that memory is gone and with it, a void has taken its place.

Fortunately, there is a solution. It's really a two-pronged solution because once we do learn how to ease up and just play, we are left with another problem and that is, what game are we playing.

The game of improvisation is a game like any other. We have a few rules, some guidelines, and then the game is played. You see, we must have some kind of structure to play the game of improvisation. Why? Because without it there would be way too many choices and this would prevent most people from even beginning.

Here's a perfect example. In Lesson 5, "Winter Scene," we have 2 chords, a scale, and a way to play these chords. With these choices out of the way, we can now focus on and enjoy the act of improvisation. We can play around with the music and feel good about our play.

Some think working within a set of limitations is uncreative. I thought so too once until I realized that until I learned how to do this by following the examples of others, I couldn't be free to create my own set of limitations.

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!

An Interview with Angus Young of ACDC - Why He Plays a Gibson SG

Steven:
Maybe more than any other guitarist ever, you're inextricably linked to the Gibson SG? What was the evolution that brought you to this particular instrument?

Angus:
I started playing on banjos and re-strung them up with six strings. [But] an acoustic guitar, an old bang up little ten-dollar job, that was probably the first thing I started playing on. Me brother Malcolm got a Hofner off of one of me other brothers and he got a Gretsch and passed the Hofner on to me after much squabbling.

It was semi-acoustic and had all been packed with cotton. But I never used to really take it as a serious thing; I just used to fool around with it. When I was about 14 was when I really started playing it seriously. I got an amplifier for about sixty bucks that used to distort all the time. It was a Phi-Sonic. After that I got out and got a Gibson SG that I played until it got wood rot because so much sweat and water got into it. The whole neck warped. I bought it second-hand, it was about a '67. It had a real thin neck, really slim, like a Custom neck. It was dark brown. After about a year, you lose about half the power in the pickups so you either get them re-wired or put new ones in. Just ordinary Gibsons.

Steven:
Did these early instruments still have that tremolo arm attached?

Angus:
They did but I took it off. I used to fool around with them but you begin sounding like Hank Marvin.

Steven:
And why did you remain loyal to the Gibson SG for the remainder of your career?

Angus:
It was light [weight-wise]. I'd tried the other ones, Fenders, but you've really got to do a number on 'em. They're great for feel but the wiring just doesn't got the balls. And I don't like putting those DiMarzios and everything because everyone sounds the same. All the other sort of Gibsons I tried like the Les Paul was too heavy. Hip displacement.

When I first started playing with the SG there was nothing to think about. I don't know how this came about but I think I had a lot thinner neck. Someone once said to me they [Gibson] make two sized necks, one was 1 ? and one was 1 ? and this was like 1 ?, thin all the way up. Even now I still look all over and I still haven't found one; I've been to a hundred guitar shops and I found the same guitar [model] but with different necks.

Steven:
Did you ever experiment with the Gibson SGs when they were called Les Pauls [Eric Clapton's graphically appointed Cream-era guitar is probably the most famous representative of this model]?

Angus:
Yeah, I had a really old one I bought, a 1962. But it had a very fat neck; it was good to play but it felt heavier than all the other ones. That's why I stopped using it. And when you're running around a lot, it weighs you down.

Steven:
So from High Voltage on it's always been the SG. Have you ever tried using more modern types of instruments?

Angus:
Yeah, I tried a Hamer but I wouldn't buy an expensive guitar ? especially in my case. It's always getting beaten around. With the SG, you can do plenty of tricks with them.

Steven:
And you've been faithful to Marshall amplifiers as well?

Angus:
Ever since I've been in this band I've been using Marshalls. I've tried Ampeg and they weren't too good for the sound I wanted.

On stage I have four stacks going, all hooked up with splitter boxes. 100-watt stacks ? it's good for your eardrums. I use a real lot of volume, I turn that up; I turn the treble and bass on about half and middle, the same. I don't use any presence. If I don't think it's putting out enough top, I will kick up the presence.

With Marshalls, if you're using a fair bit of volume, if you whack the treble and bass at half, that's where they're working. We get them from the factory, that's what we do. We go down there and try them out and fool around with amps and tell them what we want and they doctor them up. At the moment, they're all back to the old style of Marshalls, they're very clean. They don't have these master or preamp settings.

Steven:
You have entered the modern age of electronics in your use of a wireless system.

Angus:
Yeah, I use the Schaffer-Vega. I've been using that since '77. On the receiver you've got like a monitor switch you can boost the signal and in the transmitter you've got the same sort of thing. You can really give a guitar hell with 'em. I have used the remote in the studio and it worked really good. I don't believe I've ever had a wah-wah or a fuzz box. It's just the guitar and the amp and if I need anything, if someone says they want a different approach to the sound, then I'll get it with the guitar.

Steven Rosen is a Rock Journalist. Since 1973 he has accumulated over 1000 hours of audio content and 700 articles and interviews...all now available for licensing or purchase.

Contact Steven Rosen for more information and review more of Steven's published interviews at <a target="_new" href="http://www.classic-rock-legends-start-here.com/classic-rock-interviews.html">http://www.classic-rock-legends-start-here.com/classic-rock-interviews.html</a>

Classic Rock Legends biographies, discographies, top 10 albums and more at <a target="_new" href="http://www.classic-rock-legends-start-here.com">http://www.classic-rock-legends-start-here.com</a>

Guitar Players...Learn About The Point Of Discipline

Have you ever started learning a lick or exercise and stopped practicing it before you had mastered it? Now I don't know you, but my guess the answer to the question is yes! Why is that? Why did you stop, when it was something that you REALLY wanted to learn?

There are quite a few reasons for it, but the one I would like to mention now is what I call the "point of discipline" . This is the point when the initial enthusiasm of learning that new lick/exercise wears off. It is no longer so new and exciting. This is the time when you will have to use your self-discipline to complete the task at hand.

A lot of guitar players will tell you at this point?"Hey man, guitar's supposed to be all about fun! If I have to use my self-discipline, I'll no longer enjoy it." If anyone says that to you, have a look at their playing. Most of the time they are not very good :)They have not reached a virtuoso level of playing, so why listen to them!

The point of discipline is when most guitar players quit. Rather than using their self-discipline to TRULY master the lick/exercise, they stop practicing it and move onto something new. It's tempting isn't it? We've ALL done this at some point in our development as a guitarist. But what's the cost of doing this?

Some of the negative consequences of quitting at the point of discipline include:

1. You'll never reach the virtuoso levels of guitar playing. Can you imagine virtuosos like Yngwie Malmsteen , Rusty Cooley , Michael Angelo etc, quitting before they have mastered what they are working on? I don't think so! They didn't become so incredible by being quitters. They have learned to tap into their self-discipline.

2. You'll never have that feeling of pride that comes with truly mastering something.

3. You won't learn to confront your present technical limitations and overcome them. This will mean that you'll learn a lot of new things but your overall level of playing won't become elevated.

4. You'll know about 1007 bits of songs, but if someone asks you to play a song from start to finish, you can't.

Not a pretty picture is it? So what are some things that you can do about it? Here are a few ideas?

1. When learning a new lick or exercise, set a speed goal. Keep practicing the lick/exercise until the speed goal has been reached. Realise that this can sometimes take weeks, months (or even years!).

2. Learn to enjoy using your self-discipline. Feel proud about yourself every time you follow through and master something.

3. Use visualization. See yourself in your mind's eye becoming a guitar virtuoso. This will help keep you motivated and enthusiastic!

4. Make a commitment to completion. With everything you learn, refuse to quit. Keep working on it until it has been mastered.

I guarantee that if you learn to tap into your self-discipline your guitar playing will improve at an accelerated rate! Of course, if you want to sit on the couch watching TV and eating bags of potato chips,dreaming about one day becoming an awesome guitarist, that's cool also!

Copyright 2005 by Craig Bassett. All Rights Reserved.

Craig Bassett is a professional guitarist, guitar tutor and author living in Auckland, New Zealand.

Master the notes on the guitar fretboard...
<a target="_new" href="http://www.pentatonic-guitar-lessons.com/note-mastery.html">Master the Guitar Fretboard.</a>

วันเสาร์ที่ 31 มกราคม พ.ศ. 2552

Jazzing Up Your Leadership Style

I met New York jazzman Tim Armacost in college almost 25 years ago, at a time when we were both grappling not only with what careers we ought to pursue, but with what kind of adults we wanted to become. Tim comes from an illustrious family, boasting more than its fair share of bank presidents, ambassadors and college presidents. I would not have been surprised if he had gone into finance, diplomacy, or academia. And yet, with seemingly limitless professional options open to him, Tim chose a more modest path ? that of the jazz musician. For two decades he's been traveling the globe, pursuing his career as a professional tenor saxophonist, in such exotic locations as Amsterdam, Delhi, and Tokyo. His albums, including Live at Smalls and The Wishing Well, have received high praise from the Washington Post and Jazz Times. Fluent in Japanese, Tim is also a longtime student of Zen Buddhism; his meditation practice infuses his music and contributes strongly to his relaxed yet passionate performance style.

I asked Tim to share a few of his thoughts on team leadership ? from a jazz improv perspective. Here are his insightful comments:

&quot;What I've learned from leading jazz groups, and from being a sideman for that matter, is that a group functions best when the leader is strong, confident, and has a vision. Within the context of that, he must also give the members of the band the feeling that they are totally free to express themselves within the boundaries of what the leader is setting out to do. I often find myself describing an improvising quartet as an excellent example of living, dynamic democracy. The jazz group was born to express the American spirit, and it has evolved into a form that is capable of expressing the spirits of communities of musicians throughout the world.

&quot;The leader needs to pick members who will be compatible, and create an environment of mutual respect. With this in place, the sidemen can relax into a feeling of safety, from which they can explore and take risks without being judged unfairly for mistakes. If the leader is too selfish or demanding, the band members start to see themselves as just being there to do a job and collect a paycheck, and they lose respect for the leader. But more importantly, they become detached from the music and go on autopilot, ceasing to be actively expressing their own true music. On the flip side, if the leader defers too much to others in the band, the sidemen lose respect for him because they expect to be led somewhere interesting. This situation can result in everyone acting like a leader to pick up the slack in the band, and arguments over decision making and the direction of the music inevitably ensue.

&quot;Then there's the issue of &quot;swing&quot;. There's the fundamental level of swing where everyone is feeling the beat together, and the music has natural momentum. Then there's the next level where four artists all hearing the music in its moment of creation together generate an incredible propulsion. The rush of that stream carries each individual and the group into a place where they are all playing in a way that no one imagined before or could possibly recreate. The music is not only in the moment, it is of the moment. That's what I live for! Occasionally it happens, and I dream of the day when I can play enough and have enough work for my band to live in that place more.

&quot;So I see the wisdom of team leadership lying in the ability to acknowledge and nurture each individual's freedom and creativity while simultaneously having the vision to create a group dynamic that takes the individuals bound together to a new and unforeseen place.&quot;

Editor's Note: Business team leaders can learn much from the world of Jazz improv. Before your next meeting, considering asking yourself the following questions:

1) Do I have a strong, confident vision for my team, and if so, what is it and have I communicated it sufficiently? Am I taking people somewhere &quot;interesting&quot;?

2) Do I provide my &quot;sidemen&quot; the freedom to express themselves within the boundaries of my vision?

3) On the flipside, do I provide so much freedom that my team members are confused about the direction they're being asked to take?

4) Do we &quot;swing&quot; as a team? Are we attaining, on a regular basis, that feeling of flow you get when people are functioning at their highest performance level? If not, what aspects of my leadership style might be preventing this?

Let the spirits of Miles Davis and Duke Ellington be your guide.

(Visit Tim Armacost on the web at www.timarmacost.com)

Dave Blum is the founder of Dr. Clue treasure hunts, the national leader in business teambuilding with a treasure hunt game as the core simulation.

Visit us on the web at <a target="_new" href="http://www.drclue.com">http://www.drclue.com</a>

Legal Music Downloads

On July 28, 2004, French Internet access providers and music copyright owners signed a joint national charter aimed at cracking down on illegal downloads and expanding the amount of legal music tracks available online (AFP). This is the latest in a series of moves taken across the world to combat music piracy as production labels see more and more of their profits being lost to illegal downloads of music files.

The music industry has been saying the same thing for several years now: peer-to-peer (P2P) file sharing networks are exponentially distributing pirated music across the world through the Internet, and this constitutes a copyright infringement. In English, this means that the fact that I downloaded a Tori Amos track through Kazaa yesterday and am listening to it right now makes me a criminal. So far, so good. Quite true as well.

But the real problem is not that people do not want to pay for music. Often I sample new music off the Internet before buying the CDs. Chances are that if I like most of the album, I'm going to buy it. On the surface this is what radio stations do when they play music. The difference, however, is that it has become insanely easy for me to acquire almost-as-good-as-original quality mp3s of any track that I want to listen to, and even if I don't pay a dime, no one is there to catch me.

The principle of accountability has vanished. When one sees that there are two ways to acquire the same product, but by sacrificing a 'little' bit of quality you can get it for free without being penalized for it, what would most rational people do? P2P networks have made finding music off the Internet ridiculously easy, and most of us tend to 'forget' our social responsibility when it comes to such 'trivial' matters. To contribute to this, copy-protection techniques used on CDs by major production houses are always a step behind the latest cracking algorithms, and steps taken to prevent 'ripping' of CDs and DVDs have proven fruitless so far.

Enter music downloads of the legal kind. Disregarding the small number of 'free' legal music available for promotional purposes, more and more artists and labels have begun to provide a pay-per-download music service. In essence, you can purchase individual tracks or complete albums through a secure online transaction and then download your 'purchase' and, with variable limits to personal use, pretty much do whatever you want to do with it (Several providers digitally encode the files to prevent them from being played on other computers, or to be burned onto CD-Rs) This is both a move to encourage free-riders such as me to start acquiring 'legal' music and an economic adjustment to the digital music revolution. Developing technologies are changing the way people perceive and use music. The advent of iPod and other mp3 players has meant that more and more people are becoming accustomed to carrying around their complete music collections with the latest players offering space for around 10,000 songs. This holds frightening possibilities for record companies. There is a very real concern within the industry that the CD format is fast going out of style, and as technology evolves, consumer demands for the best 'medium' will change as well. Till a few years ago audio CDs offered unparalleled music quality, a factor record companies used to encourage people to 'buy instead of steal (download)'. However, today's high-quality digital formats mean that audio quality is comparable, and in some cases equal to, CDs. Some experts are even starting to predict that within a decade CDs will become history as digital music will evolve to a point where we will be have access to our entire music collection (hopefully paid for) wherever we want it: in our car, at work, anywhere in the house, even on the beach. Matched with promises (and the reality) of audio quality, this is a serious threat to traditional business.

Thus, providing legal music online is a means of the industry trying to position itself to take advantage of the rising trend of portable music collections. A quick glance across major online music stores tells us exactly so. While offering free-riders affordable music (allowing them to purchase only the tracks they like instead of forcing them to buy the complete album) to ensure that they do not turn to music piracy, sites like eMusic and Apple's iTunes are backing the new trend. iTunes, Apple's online music store, has the added distinction of being supported by perhaps the best mp3 player in the business, the iPod. In this combination, Apple has found a very secure marketing brand and ensured that it takes full advantage of this cross between technology and music.

Legal music downloads appear to be the perfect answer to stopping music piracy, at least the downloading kind. Therefore there is no surprise when one sees major record labels pushing to expand such services. However, recent developments tend to make us question what the overall agenda really is. After a period of consolidation of the digital music market in the last two years, albums available for download online are being priced higher than they would normally be in retail stores. It used to be that you could download a song for $0.99 and a complete album for $9.99, but now stores are setting higher prices, with tracks going for $1.50 or even $2.49 and $11.50 albums being sold for $12.50 and $13.00 online. What is going on? In positioning themselves to take advantage of changing market forces, the music industry has also hit upon another major factor in determining sales: consumer behavior. Legal music downloads offer people like me the comfort of never having to waste time in retail stores looking for my favorite track from high-school days or wondering when the latest album of Nickelback would hit the shelves. Instead, all the hassles are removed with everything easily searchable, previewable and downloadable from the comfort of my computer chair (and this baby is very, very, comfortable). Consumers may not be usually rational, but they are always looking to save the effort when it comes to making any sort of purchases. Online stores (or is it the major recording labels? Who knows?) are now cashing into this very aspect of human psychology and are beginning to charge extra for a service they are portraying now as a privilege. Having already consolidated their core target market, the time has now come to increase revenues.

Would this drive people back towards music piracy? Highly unlikely. People are not evil, or criminal, by nature. Appeals to their better nature usually work, and that is the strategy adopted by agencies like the Recording Industry Association of America (RIAA) who are actively involved in putting a stop to illegal music sharing. Media campaigns encouraging music lovers to pay a dollar or two for tracks instead of 'committing a crime' by downloading them for free are actually working as slowly but surely, more and more people flock to online music stores. And with existing customers sticking to this more 'comfortable' way of buying music, the industry is finally starting to win back ground it lost due to music piracy.

For more information about this topic please visit www.Every.ca admin@every.ca

Mike Ber is the owner of the Canadian Domain Name Portal called <a target="_new" href="http://www.Every.ca">http://www.Every.ca</a>. He is also a contributing author to <a target="_new" href="http://www.computermagazine.ca">Canadian Computer Magazine</a> and <a target="_new" href="http://www.Developer.ca">http://www.Developer.ca</a> website.

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>

วันศุกร์ที่ 30 มกราคม พ.ศ. 2552

How I Compose a Piece of Music

A number of people have asked about my own methodology for creating a complete piece of music at the piano. At the risk of oversimplification, the steps are as follows:

1. I sit down at the piano without any thought of creating something and tune in to my feelings.

2. I start to play the first thing that comes to mind. In other words, my fingers come before my brain. I let it all hang out and see where the music wants to go. If something resonates or has energy I stay with it until the energy dissipates. If the music does not seem to want to go anywhere I get up and leave.

3. Now, (assuming that I am on to something) I draw bar lines - enough for an 8-measure phrase. I then write down the chord changes on top - hopefully for the entire 8 bars. If the entire 8-bars don't come, I try for four - but I usually succeed in filling up this 8-bar space. I'll then pencil in the melody, but only the first 2-bars.

This way, I let the rest of the melody come of its own accord. The first 2-bars is enough to allow me to improvise the rest until it gels into its final form

4. After the first 8-bar section is complete (or incomplete, it doesn't matter) I'll write down another 8 or 4-bar phrase and listen for the next section of music - if there is a next section. If something comes I follow the same procedure as above.

What I usually try for in this section is contrast. Something different. In this regard, I do usually start out with a preconceived idea of what the final form of the music will be. It will be A-B-A form 90% of the time. Knowing this allows me to use the techniques of composition (repetition and contrast) better.

Although this seems to contradict the idea of letting the music tell you where it wants to go (improvisation) it is useful in composition to give shape to the music. I explain this in more detail in my online class.

5. Now, I have the rudimentary parts of the entire piece. If I only have the A section and the B section does not want to come, I leave it and come back to it. Sometimes it never comes and that's all right too. I can then combine different sections to different pieces of music and all works out. I give it a title (nature titles for me since that is my inspiration).

6. The piece is finished only after I play it a number of times and it has a chance to gel. I can't think of a better word for this process. After you play what you have written down a number of times, the music settles into what it will finally become. You just know when the piece is finished. It is an intuitive thing. Sometimes I'll repeat sections a number of times because the inspiration is fresh and because it feels right. Other pieces are very short because more repetition of a section just does not work.

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!

วันพฤหัสบดีที่ 29 มกราคม พ.ศ. 2552

How To Play The Violin

This article gives the essential basics for how to play the violin. Generally violins are quite commonly available instruments and it is reasonably easy to rent or buy a violin. Children may need smaller violins (from an eighth, quarter, half, three-quarters, seven-eighths up to full size) to accommodate smaller hands if they are going to be learning over an extended period.

The Basics

The bow is held in the right hand with the thumb bent underneath the frog to support it and the other hands loosely gripping the wood. There are many different holds and it its important to find one that suits your hand size and strength. The violin is held with the left hand, with the chin on the chin rest supporting most of the weight, and the fingers loosely coiled around the neck of the violin. The thumb should be relaxed but firm. The left elbow should be curved under the violin. The violin should be roughly horizontal and the right arm held high. The main methods of playing the violin are bowed and pizzicato.

Bowed

The bow should be drawn swiftly and smoothly across the strings, about halfway between the fingerboard and the bridge. A down bow starts with the hand close to the strings pulling across the string from left to right, and is generally used on strong beats. An up bow goes the opposite way, right to left, and is used on weaker beats and upbeats. However with practice down bows and up bows should be fairly difficult to distinguish. Slurs in music indicate that all notes within a slur should be played in the same bow movement. To play loud notes, the bow is pressed down harder on the string using the index finger or the bow is drawn across the string faster. To play more quietly use less pressure or draw the bow across the string slower. In classical music bowed music is indicated by the Italian term arco.

Pizzicato

To play pizzicato (often abbreviated to pizz.) the right thumb should be placed under the fingerboard and the index finger used to pull the string quickly upwards and across. For faster passages, the bow can be held while playing pizzicato, still using the index finger but without the support of the thumb. In more complex and advanced pieces, a small cross above the stave indicates the fingers of the left hand plucking the strings.

Fingering and positions

As there are no physical aids such as frets for violinists as there are for guitarists, accurate tuning comes with immense practice. On a full size violin, the tones are roughly two centimeters apart, but this is difficult to judge when playing since you are seeing from a different perspective. To aid tuning, it is very helpful to have a piano or other keyboard instrument when practicing.

The fingers of the left hand are conventionally named first (index finger) to fourth (little finger). When playing notes other than open strings (G, A, D and E), these fingers must press down hard, so that the string is shortened convincingly for a higher pitch. The standard intervals taught to beginners is tone, tone, semitone, tone (ie. G-A-B-C-D, D-E-F#-G-A, A-B-C#-D-E, and E-F#-G#-A-B). Of course the notes in between can be played by rearranging the hand position.

This is known as first position, where the first finger plays up to a tone above the open string. The next position usually taught is third position, where the first finger plays the note a perfect fourth above the open string (so, for example, third position on the A string would start on the D). All positions from first up to anywhere around tenth can be thus played, and two octaves on one string are considered fairly standard.

Looking for information about the violin? Go to: <a target="_new" href="http://www.mrviolin.com">http://www.mrviolin.com</a> 'Mr Violin' is published by Helen Baxter - The Complete A to Z Of Violin Resources!

Check out more violin articles at: <a target="_new" href="http://www.mrviolin.com/archive">http://www.mrviolin.com/archive</a>

If Setting The Gain Correctly is So Important, Why Dont Mic Preamplifiers Have Meters?

When you first learn how to use a mixing console, you will be shown how to set the gain. Your instructor - either in audio school or in the workplace - will emphasize the importance of this and kick your ass every time you get it wrong, until you can't do anything other than get it right.

Setting the gain correctly optimizes the signal level for further processing in the mixing console. EQ, inserts, auxiliary sends, routing, fading, solo and mixing all depend on having the right signal level for optimum performance, and the gain control is precisely where you set that.

But outboard microphone preamplifiers commonly only have rudimentary metering facilities - perhaps only a single 'clip' LED - or no metering at all! So how can you possibly set the gain correctly?

The answer is that firstly the preamplifier needs to be correctly designed with plenty of output level available. For example, the Manley Labs Mono and Dual Mono microphone preamplifiers can supply up to 30 dBV of output before clipping. That is one hell of a voltage in audio terms - around 30 volts, compared to normal operating level of around one volt.

It's probably fair to say that there is no way you are ever going to clip this brute of a preamp, whatever you are driving. So if there is no possibility of clipping, there is no need for metering.

Where you do need metering is in the equipment you are driving with the preamp, probably your recording system. So the procedure for setting the gain with the Manley preamp is to choose the lowest setting of gain, and also set the 'input attenuate' control to its lowest setting (the attenuator controls the level of signal going into the preamp circuit). Then reduce the amount of attenuation while watching the meter on your recorder. When you are getting a good, healthy signal level with a reasonable margin before clipping on your recording, you have the right settings.

If if the level from the mic is too low to reach a good indication on your recorder's meter, increase the gain as far as necessary but no further.

Setting the attenuator and gain controls in this way will optimize the noise and distortion performance of the preamp.

Now since this is a tube preamp with variable 'character' according to the gain setting chosen, then once you have mastered setting the gain in the technically correct way, you are free to break the rules...

When you see smoke coming from your recorder, that's when to stop!

David Mellor, <a target="_new" href="http://www.record-producer.com">Record-Producer.com</a>

วันจันทร์ที่ 26 มกราคม พ.ศ. 2552

How to Use the Entire Piano Keyboard

There are 88 keys on the piano keyboard. Most pianists use about 1/3 of this number most of the time. Why?

Well, if you're playing sheet music, the answer lies in how the composer used the piano. If you're creating your own music, the answer lies in experimenting with the possibilities.

Now, most of my own music is played near the middle of the keyboard. It's not planned that way but this is the area of the piano I naturally gravitate towards when sitting down to play. Of course, I do and have used most notes available on the piano and it would be a shame not to. But I allow the music to tell me where it wants to go. If I sit down with a predetermined agenda to play high notes, then I am not listening to my intuition.

Although I have to admit that in Lesson 5: "Winter Scene" I wanted to create a crisp wintry sound so I started further up the keyboard with the left hand and played higher register notes in my right. But most times, I will let my intuition guide me and 9 times out of 10 begin at the middle of the keyboard.

There is nothing wrong or uncreative about this at all. In fact, it doesn't really matter where you begin because once started, the heart and mind work together as one bringing you the ideal music. It is the only true music that could come out of you because you listen to what your heart wants to play. If you play a few bass notes to begin with fine. Want to start at the high end of the piano, OK.

The key here is authenticity. Some compositions and improvisations sound contrived because they were - that is they were thought up. There really is nothing wrong per se with this approach - as long as you let the music guide you. For example, you may decide you want to do as I did and create a certain mood piece. However, once you get the general idea for the music, let it guide you to where it wants to go - that is, listen, listen, listen for what is coming next. This approach never fails and will most always yield good results.

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 to Use the Entire Piano Keyboard

There are 88 keys on the piano keyboard. Most pianists use about 1/3 of this number most of the time. Why?

Well, if you're playing sheet music, the answer lies in how the composer used the piano. If you're creating your own music, the answer lies in experimenting with the possibilities.

Now, most of my own music is played near the middle of the keyboard. It's not planned that way but this is the area of the piano I naturally gravitate towards when sitting down to play. Of course, I do and have used most notes available on the piano and it would be a shame not to. But I allow the music to tell me where it wants to go. If I sit down with a predetermined agenda to play high notes, then I am not listening to my intuition.

Although I have to admit that in Lesson 5: "Winter Scene" I wanted to create a crisp wintry sound so I started further up the keyboard with the left hand and played higher register notes in my right. But most times, I will let my intuition guide me and 9 times out of 10 begin at the middle of the keyboard.

There is nothing wrong or uncreative about this at all. In fact, it doesn't really matter where you begin because once started, the heart and mind work together as one bringing you the ideal music. It is the only true music that could come out of you because you listen to what your heart wants to play. If you play a few bass notes to begin with fine. Want to start at the high end of the piano, OK.

The key here is authenticity. Some compositions and improvisations sound contrived because they were - that is they were thought up. There really is nothing wrong per se with this approach - as long as you let the music guide you. For example, you may decide you want to do as I did and create a certain mood piece. However, once you get the general idea for the music, let it guide you to where it wants to go - that is, listen, listen, listen for what is coming next. This approach never fails and will most always yield good results.

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 25 มกราคม พ.ศ. 2552

Music Mini Course: Learn The Basics Of Reading Music On A Keyboard Instrument

Welcome to the wonderful world of music. As you begin reading this Music Mini Course it is fun to realize that you are also participating in a very important cultural aspect from around the world which has been going on for centuries. Did you know that pianos in some form have been around for over 500 years? Some of the first instruments of this kind were created in the late Medieval Period and were called clavichords. They had a very light, metallic sound because the small hand-pounded 'hammers' were made of very light weight metal-like material. These hammers struck strings of varying lengths to create different tones or pitches. The next cousin to the clavichord was the harpsichord invented by Cristofori in Italy around 1450 A.D. This keyboard instrument had a mechanism in it called the plecktrum which 'plucked' the strings and produced a slightly stronger sound than its predecessor. Whether you are playing an acoustic instrument, which is the closest relative to the history just mentioned, or an electronic keyboard, you are now participating in a centuries old musical art form.

SOME PRACTICAL CONSIDERATIONS: PIANO OR KEYBOARD?

Does it matter if you apply the information in this course to a keyboard or a piano? Certainly not. The only real difference is that a full size piano has 88 keys (counting both the white and black keys). Keyboards come in several different sizes. Some have 60 keys, some even less. There are also 88 key electronic keyboards and digital pianos that produce very realistic acoustic sounds. Whatever size your instrument may be, remember that the ARRANGEMENT of the keys and the ORDER of the KEY NAMES is the same on both instruments. Rest assured that your basic knowledge of the fundamentals of music can be done very effectively either on a keyboard or a piano.

Musical Terms

Begin your musical study by becoming familiar with these very important musical terms:

BAR LINE - A vertical line which separates notes into groups

DOUBLE BAR LINE - A set of two (2) vertical lines which stand for the end of a piece of music

REPEAT SIGN - Double bar with two dots at the end of a section or piece of music which indicates that section will be played twice.

MEASURE - The distance between two bar lines.

TREBLE CLEF - The S-shaped symbol which stands for notes played with the right hand. This is also referred to as the G cleff since this inner curve of the symbol rests on the G line.

BASS CLEF - The reversed C-shaped symbol which stand for notes played with the left hand. This clef is also referred to as the F cleff since the two dots beside the clef surround the F line.

STAFF - The five lines and four spaces of both the bass and treble clefs.

QUARTER NOTE - Musical symbol with solid note head and stem which gets one count of sound.

QUARTER REST - Musical symbol resembling a sideways W which gets one count of silence.

HALF NOTE - Musical symbol with hollow note head and stem which gets two counts of sound.

HALF REST - Solid half block sitting on third line of the staff which gets two counts of silence.

DOTTED HALF NOTE - Musical symbol with hollow note head, dot and stem which gets three counts of sound.

WHOLE NOTE - Musical symbol resembling a circle on the staff which gets four counts of sound.

WHOLE REST - Solid half block hanging from the second line on the staff which gets four counts of silence.

CHORD - Two or more notes played at the same time.

BLOCKED CHORD - Two or more notes from the same chord played at the same time.

BROKEN CHORD - Two or more notes from the same chord played in sequence.

INTERVAL - The distance between two notes on the musical staff.

FINGERING - Refers to which finger number is used to play a particular note (See Chapter Two: Fingering)

CURVED FINGER - Refers to playing with a rounded finger and on the tip of each finger. This is the best position of the fingers for playing piano or keyboard because it develops finger strength and independence.

INTRODUCTION TO THE WHITE KEYS

There are only seven (7) letter names used on the piano: A B C D E F G. It is interesting to note here that no matter what instrument you play, whether it is piano, tuba or violin, ONLY the seven letter names above are used in the entire realm of music! There are two very easy ways to visualize and remember the names of the white keys on your piano and keyboard. Remember, the note names on an electronic keyboard are the same as on the acoustic piano.

C D E F G A B C D E F G A B C D E F G A B C D E F G A B

Understand that the 'CDE' note groups are always located directly underneath the two black note group. The letter name 'D' in the white key always located directly in between the two black key note groups. ANY TWO BLACK NOTE GROUP on the piano has the letter name 'D' as the white key located in between them.

KEYBOARD EXERCISE:

Go to your keyboard NOW and start to play all of the C-D-E groups from the lowest (bottom left) to the highest (top right) on your keyboard. Say C - D - E as you play each key. The F - G - A - B note groups above are located directely beneath each three black note group on any piano or keyboard. Simply locate any three black note group on your piano or keyboard and realize that the F-G-A-B white keys are located directly beneath them. Directly outside of the three black note groups are 'F' on the left hand side of the three black note group and 'B' on the right hand side of the three black note group. Just fill in the outer 'F' and 'B' with G and A and you are done!

KEYBOARD EXERCISE:

Go to your piano or keyboard NOW and find all of the F-G-A-G white keys underneath each three black note group. As above, play slowly and evenly saying the letter names as you play the F-G-A-B groups from the bottom of the piano or keyboard (low left hand end) to the top of your piano or keyboard (top right hand end). Congratulations! You now know ALL of the white key names on the piano!

TREBLE AND BASS CLEF NOTE NAMES

Both the Treble and Bass clefs each have five lines and four spaces. Learning the actual note names of each line and space (the spaces between each line) is very simple. Please memorize the sentences below for the Treble Clef Line and Space Notes: Treble Clef Line Notes (starting from the bottom line and moving up) E G B D F Every Good Boy Does Fine (the first letter of each word helps you remember the order of the notes)

Treble Clef Space Notes (starting from the first space and going up): F A C E Just remember that the treble clef spaces spell the word 'FACE'.

Bass Clef Line and Space Notes are as follows: Bass Clef Line Notes: G B D F A Great Big Dogs Fight Animals Bass Clef Space Notes: A C E G All Cars Eat Gas

Now you know all the names of the white keys on your piano or keyboard. You have also learned the actual letter names of each line and space on both the treble and bass clefs. You are now on your way to the next level of piano education. Be sure to memorize the information above and you will be ready to begin to learn to read music notation on the piano or keyboard.

Jan Durrant, Publisher and Music Teacher
<a target="_new" href="http://www.MakingMusicNow.com">http://www.MakingMusicNow.com</a>
<a href="mailto:muz@MakingMusicNow.com">muz@MakingMusicNow.com</a>

How to Create a Multi-artistic Piece - Part II

In the last article, the creation of a theme, its development, and the use of a libretto were discussed. As one may recall, the theme is the kernel of a production, which dictates the nature of the piece. And in relation to the theme, is the thematic structure that serves as a guide as to how the production will manifest. Ultimately this information is transferred to a libretto. In contrast to the previous article, the strengths and weaknesses of the arts will be addressed. Before one can choose the various media for their multi-artistic production, one must understand the arts in part and as a whole. There are three general categories that the arts can be classified, which include the auditory, visual, and linguistic. Although some art forms can be placed in two or more categories, such as poetry, fundamentally it is made of words, but can be executed vocally.

The labels applied to the categories are general. But each category consists of several genres. The auditory arts consists of music, vocals, speech for the sake of speech, samples, loops, and all other similar art forms. Just as diverse as the auditory arts, the visual arts consists of videos, paintings, movies, movement, dance, the commercial arts, and all similar art forms. Not as diverse as the auditory and visual arts, the linguistic arts consists of poetry, prose, and literature. From these descriptions, the question of how do these arts connects remains. And the answer is simple. If one were to arrange the arts into a linear spectrum, one will see that the arts go from the abstract to the tangible. Or the linear connection between the arts can be seen as going from the general to the specific. On the two extremes of this linear spectrum are the auditory and linguistic arts. Between them are the visual arts.

The auditory arts are by their very nature abstract. For example, music can only express emotion. Music is not capable of producing a tangible object. A composer can only express an abstract idea through music. Because of the abstract qualities of music, a listener can only feel music. To prove this notion that music is abstract one would only need to ask listeners what the music was expressing. As a result one will get varied answers. In addition to music only expressing emotion, it is the only current media that can impact the body as a whole. Moreover, a listener can turn their backs, close their eyes, and, in some rare cases, cover their ears towards the musical source, and still experience music. Due to these aspects of the auditory arts, they stand on the one extreme of the art spectrum.

Contrary to the auditory arts are the linguistic arts. Unlike the auditory and visual arts, the linguistic arts are capable of expressing a very specific and tangible ideas. For example, if one were to see an image of a man standing atop a hill, many would interpret this in a literal sense. Contrary to this example, if one were to hear or read the following: "Atop a hill an Afghanistan man stands looking over a valley," many would have a more definitive idea than the previous example. As one can see from the previous examples, the latter most likely invokes a definitive feeling as compared to the visual description. This is the beauty of the linguistic arts. They can invoke specific ideas that reflect the current times. And quite possibly, linguistic arts can invoke a deeper emotional response than the other arts.

In between the auditory and linguistic arts are the visual arts. Philosophically, the visual arts can express abstract and tangible ideas. Hence, because of this notion, the visual arts stand between the auditory and linguistic arts. Ultimately, visual arts balance the auditory and linguistic arts. As a demonstration of the visual arts capability of producing tangible ideas, one could look at many paintings from the 19th century and earlier. The subject material in these paintings could be touched and experienced by many. For one to see the abstract nature of the visual arts one does not need to look too far. The 20th century has produced many paintings and other visual medium that express abstract ideas. For one to experience a Jackson Pollack painting, one would have to of been in the process of creating the painting or one would have to physically touch the painting. As one can see from these two descriptions, the visual arts can express tangible and abstract ideas.

In the end, the multi-artistic theory that has been discussed represents the underpinnings to the various arts. With this artistic concept and the understanding of a theme and its development, as discussed in the previous article, one can produce a multi-artistic piece without failure. Creating such a piece is simple. It is a matter of choosing a theme, developing the theme, and finally choosing the art forms to express the production. So what are you waiting for? Start creating your production now. Grab a pen. Get a piece paper. And begin. That is where it all begins.

Andrew Hanna is the CEO & Production Manager of At Hand Productions, Inc. At Hand Productions (<a target="_new" href="http://www.AtHandProductions.com">http://www.AtHandProductions.com</a>) is a leading Philadelphia concert and theatrical production company. Andrew Hanna has 20 years of composition experience and 16 years of saxophone performance experience. His compositions range from duets to large theatrical productions such as My Journal, Requiem for the Now, and Prophecies of War.

วันเสาร์ที่ 24 มกราคม พ.ศ. 2552

Five Secrets to Playing in the New Age Style

1. Learn how to Improvise

Learning how to improvise is the key to playing in this style. Period. You must learn to experiment and take musical risks - within certain frameworks of course. You're not going to bang on the keys and expect to make music. This is not the kind of risk I'm talking about. Students thrive best when given a certain set of rules or guidelines to move around with.

For example, in the lesson "Reflections in Water" you are given a few chords and a specific scale to make music with. In other words, I give you a set of limits from which you play the game of improvisation. This will free you up from the thousand and one choices you could possibly have. In fact, if you didn't have a set of limitations, you probably would end up banging on the keyboard because while it is important to be free and spontaneous, it is equally important to understand how the game is played.

2. Develop the proper attitude

This one ties for first place. In my opinion, what stops most students from learning all they can from this style is the attitude that they either aren't good enough, or are not ready to learn how to improvise and play piano. Please don't think that. No one person will ever know all there is to know about any one subject let alone piano playing. You will always be growing but you must start somewhere and you must start from SIMPLE means.

Here's a quote that sums it up best: "In the beginners mind there are many possibilities, but in the experts mind there are few." This means that you have an advantage over so called experienced piano players. Your attitude should always be one of receptivity. That is, never force anything to happen because when you force you are already setting yourself up for failure and disappointment.

3. Forget what you were taught

Perhaps you were taught that you must learn your scales first and that you must learn how to read music before you can do anything else. I'm here to tell you that I can't read music, yet somehow, I've been able to put out two CD's of original music! In fact, if anything, reading music will slow you down creatively! If you want to create your very own music, you must forget what you were taught about music in general and focus on learning how to improvise first and compose second. Both of which can be taught!

I think I read every book at the library on composition and improvisation and what helped me out the most was a very slim volume on chord changes using 8-bar patterns. By playing the chords in a set framework (8-bars) I was able to see how to use repetition and contrast to create with. And of course, I listened to the people I loved and learned a lot from just listening. So forget about what you were taught and start thinking about what you want to accomplish and you can do it!

4. Learn chords

You've heard it before. Learn chords and you can make music. Just learn the 144 chords and voila - you can do it all. Don't believe it! You need to learn chords, but you don't need to learn one hundred chords right away. No. You need to learn probably about 3 chords or less to begin improvising in the "new age" style. And if you think that you need to learn more than this at the beginning you are wrong.

Of course you can learn as many chords as you want but what's the point if you never use them? It's like learning a new vocabulary word each day for the sake of massaging your ego. Nice, but unnecessary.

5. Learn how to use Chords

Let's assume you've learned a few chords. Now what? What are you going to do with your new chords? You are going to use them to create music with and the best way to do that is to choose a key or mode to play in. This automatically limits your choices.

For example, let's say I sit down and start improvising and I start using a C Major 7 chord. I like what I hear but a problem arises - where do I go from here. Now this won't be a problem if you say to yourself. "OK. I started on C Major 7. Let's just stay in the Key of C Major and see what happens." Now, you are ready to go forward because you do not have a thousand and one confusing choices ahead of you. Do you see how this can free you up? You've limited yourself to using just 6 chords from the C Major scale.

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!

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, &quot;white tie&quot; 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&quot; 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 &quot;popcorn tops&quot; 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 &quot;diamond&quot; 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 &quot;toorie&quot; 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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