วันพุธที่ 21 มกราคม พ.ศ. 2552

Self-Expression Without Criticism

When I was 9 years old I played the Saxophone and thought I was pretty good at it. Unfortunately, I had a teacher who didn't think so and he went out of his way to make sure I knew how he felt.

One day, my mother bought me a new saxophone (it wasn't exactly new it was used) but to me, it was the best gift I ever received. Now, of course, I wanted my teacher's approval and so I showed him my new instrument.

He called it a piece of s---!

Then the tears started to flow and from that moment on, I lost all interest in playing the saxophone.

Now, mind you, I loved this instrument. I loved the honking sound it made and the way it looked. I thought it was the coolest thing on planet Earth. But, getting that kind of criticism at such a young age destroyed my spirit and I soon found myself growing very disinterested in playing the Sax.

Self-expression is a very personal thing. It's a thing that brings joy and happiness and can die very quickly if it is not protected and guarded from criticism. Even though I was a child and fragile, it is the child part of us that can become wounded if we allow others to walk over us - consciously or unconsciously.

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 20 มกราคม พ.ศ. 2552

Effective Band Rehearsal

If your band is in rehearsals, either preparing for gigging, or practising new songs to add to your repertoire, the chances are you will have to hire a rehearsal room. The costs of hiring a room can soon mount up if you don't organise your time effectively. You could be wasting time and money going around in circles, with a growing frustration that your band doesn't seem to be making any progress.

The answer is to set a Schedule for your rehearsals. Without a schedule it's difficult to monitor progress if in fact any is made. Disorganised rehearsals can soon turn into chaos, with everyone throwing in ideas and playing different things at the same time. The rehearsal is not the time for your guitarist to hone his right hand tapping skills, or your drummer to perfect his lightning fast paradiddles, it is valuable time for working together as a band, and should be used as such. Band members should have their own private schedules for practising instruments and learning new techniques. During a rehearsal you should all be working towards the same goal and making each other sound as good as possible. The rehearsal should never turn into a 'who can play the loudest' competition.

What should your schedule consist of?

Set goals for your rehearsal times and WRITE THEM DOWN! You should know which songs you are going to rehearse in advance. If you have planned your strategy, you will avoid getting stuck in a rut and your time will be used constructively. Songs you already know can be perfected and the little nuances worked on, stamping your own identity on cover songs and putting the finishing touches to originals.

You should make a list of 'finished' songs, 'work in progress' songs, and 'new ideas'. As each one progresses, move it up into the next category, thereby revising the schedule for your next rehearsal.

I would suggest starting with 2 or 3 songs you are happy and comfortable with, simply to give the band a positive vibe to build on, and then start work on new numbers. Set aside a certain amount of time for each song, and then move on! Don't waste time trying to perfect something that just isn't working, you can come back to it later or at the next rehearsal. Perfect the numbers that do work, and you will see positive results as your repertoire builds up considerably.

Always take regular breaks. Coming back to a number that wasn't going too well with fresh ears can often be all it needs to make a distinct improvement. If that doesn't help, there's no point in flogging a dead horse, so move it to the bottom of the list or consider dropping the song altogether and concentrating on another one.

Work on band dynamics and expression, i.e. fast, slow, loud, and quiet. Get your fills as tight and as fluent as possible. What you are working on is that elusive 'feel' that is the hallmark of a good band. Everybody should not only be playing his/her own instrument, but also actively listening to the rest of the band.

Tape your rehearsal. You don't need any fancy recording equipment - a simple tape deck and mic will be sufficient. The idea is simply for the band to be able to listen to their efforts afterwards. Listening to a song while you're not playing means you can listen more subjectively and discuss the merits. Take notes while you listen, that way you are already forming the schedule for the next rehearsal.

And finally, remember; you are in a band! As such, the sum of the parts should be greater than the individual contribution.

Tony Williams is a musician, writer, and self-confessed eBay fanatic. Take time out from the stress of band rehearsals and lighten up with MuZiCk! The irreverent rock music lexicon at: <a target="_new" href="http://www.muzick.co.uk">http://www.muzick.co.uk</a>

วันอาทิตย์ที่ 18 มกราคม พ.ศ. 2552

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.

<a target="_new" href="http://home.sprintmail.com/~ejb/Piper.htm">tampabaypiper.com</a> Bagpiper available for weddings, receptions, formal dinners, ceremonies, corporate functions, funerals, memorials, and special events of all kinds throughout the greater Tampa Bay area.

How to Be in the Moment when Playing Piano

Your best music will always come when you are in the moment and just playing the piano. Why is this? Because you have forgotten about trying to make music. Instead, you are now "making" music. A subtle but crucial difference that can be detected by most careful listeners.

The key to being in the moment when playing piano comes when the technical aspects are mastered and the player can just play. Think of sports as an example. Michael Jordan didn't have to think about how to drive the basketball to the hoop. He had done it thousands of times. Now he could allow his intuition to guide him in making the best shot.

If Andre Agassi had to think about how to hit the tennis ball, he never would be able to get it to where he wanted it.

The good thing about New Age piano playing is that technique is easily learned. For example, in your free lesson "Reflections in Water," you have 4 open position chords to play. Once the technical aspects of playing these chords is down, you are free to allow your feeling to guide you in making music. Now you are "in the moment" and can let the music tell you where it wants to go - not the other way around.

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!

วันเสาร์ที่ 17 มกราคม พ.ศ. 2552

Flaming Guitars! Minarik Fuels The Excitement of a New Generation of Musicians

From the Telecaster to the Flying V to the Iceman to the Warlock, some guitar designs are forever branded on our consciousness, and now there's a new one: the Minarik Inferno X-treme. The body shape erupts in furious fingers of flame. If ever there was a guitar design destined to ignite the imagination of young players, especially boys and girls who want to rawk, this is it.

Not that the Inferno X-treme lacks subtlety. With scientifically placed tone chambers, this instrument can sing sweetly if that's what you desire. Or, it can live up to its appearance and enable you to carve sonic craters in the parking lot.

Although this guitar has a look that will inspire thousands of preteen statements along the lines of "Mom, that's the one I want," I suspect that tons of established players will find it useful in the studio or on the road because of its delicate balance, sleek feel, and stunning versatility. (And besides, the cunningly crafted guitar is also available in a more traditional body shape.)

"So, what's the story on Minarik Guitars?" I can hear you ask. As the designer of the B.C. Rich Goddess Warlock and several other noteworthy models, Marc Minarik already has a legacy in the business. Now heading up his own company, Minarik has the goal of fusing quality workmanship with visually exciting design concepts.

Actually, his plan is much more complex than "make it attractive and build it right." Marc Minarik is as eager to talk about the playability of his guitars as about their construction and appearance. And if you inquire about the light weight and the chambered body, he is just as pleased to demonstrate the superior nature of his firm's products.

The flame-shaped body isn't just flashy; the size and curve of the flames have been carefully calculated to positively affect the tone and balance of the instrument. The flame design is eye-candy, but it's the application of the physics of sound that makes the Minarik Inferno X-treme really hot.

With a wonderful combination of form and function, the Minarik guitar line may have some interesting side effects, like bringing vitality to retail sales, launching a new generation of guitar players, and saving music from passive pop.

Not bad for a guy with a dream about a flaming guitar.

Minarik Contact:
www.minarikguitars.com
818-383-1254
minarikguitars@aol.com

# # #

Scott G (The G-Man) proudly plays a Minarik Inferno. He creates radio commercials and composes music for songs and spots at G-Man Music & Radical Radio. A member of the National Association of Record Industry Professionals (<a target="_new" href="http://www.narip.com">http://www.narip.com</a>) and The Recording Academy (<a target="_new" href="http://www.grammy.com">http://www.grammy.com</a>), he also writes about music for the Immedia Wire Service. He is on the Web at iTunes, <a target="_new" href="http://www.delvianrecords.com">http://www.delvianrecords.com</a>, <a target="_new" href="http://www.myspace.com/thegman">http://www.myspace.com/thegman</a>, and <a target="_new" href="http://www.gmanmusic.com">http://www.gmanmusic.com</a>

The British Invasion

The Kasabian concert at the Kool Haus seemed like a concert somewhere in England (even though I haven't been there). This band out of Leicester pumped out amazing electronic, rock beats with an amazing light show. I've heard them on the radio with their hit &quot;Club Foot&quot; and have noticed them gaining more and more interest of us fellow Canadians.

After mingling in the crowd during the opening bands and at intermission I met Jeremy, straight from London, England who arrived to Toronto the night before for business. Finding out about the concert the day of, he was shocked that Kasabian was playing a venue like the Kool Haus. &quot;Kasabian is one of the top bands in the UK. They're brilliant!&quot; he said over and over.

&quot;Brilliant&quot; and &quot;fantastic&quot; were the popular words of the evening as I numerously heard not only Jeremy say, but also many others after almost every track ended.

Tom Meighan, the lead singer and the three other band mates all had the British shag and a killer sound to go with them. There is nothing better than hearing a band in concert and being exposed to the songs that you don't hear on the radio especially when you know that they are massive somewhere else in the world.

For those of you who are wondering the same as I was about 'what the heck does Kasabian mean?' they named themselves after Linda Kasabian, who was Charles Manson's getaway driver. That is about how American these boys get, everything else other than their name seemed strictly Brit.

I think that we will be hearing more of Kasabian in the future and who knows maybe their huge fame in England it may make it here to Canada, just like it has for many UK bands.

Farris Green
<a href="mailto:farris@sugarcainentertainment.com">farris@sugarcainentertainment.com</a>

The Need To Perform

I can't believe how much of the year has gone by, but all the same, it's unbelievable how much I've grown through the year and most of it, from demolishing my need to perform.

I grew up playing a lot of hockey, being captain of both my schools when I was in Nigeria and London. The highlight of my career came when I was 10 on a wonderful warm day when we were playing an outdoor hockey game. Apparently I did some really cool skill with the stick and the ball. Everyone was like &quot;wow&quot; and clapping. I didn't really understand what I did, but nevertheless it was great and I learnt something. The entire sports department were talking about it for weeks. By the way, at that point, I went on to just shoot and watch the ball roll into the goal.

That is and will remain to be an unforgettable moment for me as everyone was congratulating me for the goal and my skillful moment. However, my attention was taken in another direction. In the stands, I saw my mum. I ran up to her, and she said, &quot;That goalie never had a chance.&quot; Hearing those words, and sensing that appreciation was a real awesome feeling, and from that grew my need to be appreciated.

Needs generally come from our experiences from childhood and perhaps they are something we really wanted, and never got. All our parents certainly did the best they could and for that we are really grateful. About 95% of the human population is driven by needs, but the extent to which your particular need drives you may be the deciding factor in how successful you are.

If we relate this to the music world, from a young age, you may have never really got the opportunities you may have liked to perform and so from that grew your need to perform. When our needs are unchecked, they act as engines, driving us to behave in ways that we believe will lead to the experience of having our needs fulfilled.

When a need exists, it is either conscious or unconscious. As humans, we are the only species in this universe that are conscious that we are conscious. We are the only species that are aware that we are aware. And as humans, we are constantly striving to meet our needs. This consumes a lot of our energy. What we need to do is really understand where our needs come from and eliminating these dynamics will transform your entire life.

My need of appreciation only made me strive to be appreciated so that I can be told that I'm good and feel good. But that doesn't seem to last long as after a few seconds I need to feel good again. This wasn't really making me happier, just draining a lot of energy out of me. It's important to understand the energy we create when we have a need present in our lives. Think about when somebody gives you a call only when they need you. How does that make you feel?

When you are coming from a place of need, this is the kind energy you are giving off and thus this is the type of energy you attract back to you. Sometimes when you think that your need has gone and you're very clear about what you want to attract into your life but you still feel stuck, it is probable that if you dig deep, there is still a need that has a grip on you. Without addressing the need, we will continue to create the same problem (in different forms) until we eliminate the need.

Common needs that I've seen are the need to be liked, the need to be heard, the need to sing, the need for security, the need to have money, etc. What are your needs? What is it that you want to do, and if you don't you get upset? What do you strive to do, but although you get the result, it takes a lot of energy out of you? These are your needs. It is good to know them. Most people go through life like this, really having a need and not able to live their true, free selves. You know better. Needs are easy to see and feel, yet we are usually blind to their influence on us. If you look closer, you can find that hold. A good way to identify a particular need is to consider these questions..

1. What are the patterns of problems in your life?

2. Where do you feel most stuck?

3. What causes you to get upset most?

4. Ask someone to say what they see at work within you.

By recognising and eliminating the need of appreciation, I've been able to create my life on purpose and in harmony with my desires instead of feeding a childhood wound.

Kavit Haria is the musicians coach, working with musicians to facilitate and further their personal and professional development so that they can achieve their desired results. Kavit runs InnerRhythm, a coaching practice for musicians in London, UK and runs a free fortnightly newsletter action-packed with tools, tips and strategies to make you a successful musician. Subscribe here: <a target="_new" href="http://www.coachkavit.com">http://www.coachkavit.com</a>