Music Videos The Extension To Musical Expression

Music has always been something that speaks to the soul. People listen to Music to relax, to create an atmosphere, to set a mood. Music consists of two main parts namely the melody and Lyrics. By combining these two aspects simultaneously you create a harmony that goes beyond explanation. The melody creates the correct atmosphere to bring you the true message of the Lyrics. For ages people has been satisfied with an audio experience only, but as the Music industry developed, people developed a need for an audio-visual Musical experience. Music videos was the answer to that need. There were, and still are, many Music lovers that have a negative view about Music videos. They believe that Music videos only have a marketing purpose and nothing else. There is some truth in this, but is a Music video totally useless when it comes to the message a song wants to deliver?

You have to experience the song without a picture to really understand it. To really appreciate the work of a Musical artist you have to experience a song through every mechanism available, through the artist's voice, through the specific Music instruments, through the carefully selected melodies, through the wonderfully written Lyrics. Your first experience of a song and its interpretation should be by audio only. You have to be able to capture its meaning before it is corrupted by a visual expression. A song has to be free to speak a personal message and if a song is able to do that it is only because of artistic perfection. A Music video takes away an artist's majestic power of illustration.

Music videos are not all that bad. The nice thing about Music videos is that they give you a new approach to the song, another perspective that may not have been experienced during your first interpretations of the song. It opens your mind for new possibilities with a song. A Music video is also a good medium that helps you to understand a song if you are not good at interpreting them. Not everyone is a good interpreter of Musical literature. Music videos are also a great way of bridging the language gap for fans who enjoy the Music of a foreign artist, but don't understand a word he or she is singing. After exploring a song trough audio only, it is always pleasurable for fans to see all the mechanisms of Music combined in a Music video, where you can experience the Music with your eyes, ears and soul, all at the same time.

A Music vide o should not be your first experience of a song, because that is when the theme of the song is killed. You have to focus on the Music and Lyrics to really appreciate the abilities of the artist. Not everyone looks good in a Music video, but there are many, not-so-good-looking artists that produces great Music. A Music video is only a different medium through which one can experience a song, the Music video itself cannot speak to you in a personal way, only the song can. The Music video only brings you the central theme of the song, the abstract, theoretical meaning. Therefore it is true that a Music video on its own, gives you a very limited perspective and can, at most, be an extension to Musical expression, but can't be the expression itself.

Coenraad de Beer was born on 27 February 1982 in small town called Lichtenburg in the North West (Formerly known as Transvaal) province of South Africa. He graduated High school in 2000 and started doing computer programming on his own for 2 years using the C++ programming language. In 2003 he started a career in Accounting and he is currently studying BCompt at the University of South Africa.

Coenraad is a very dedicated person in whatever he takes on in life and believes that success only comes from hard work and believing in your own abilities, the abilities God gave to you.

Coenraad is also the Webmaster of LIAFIN - Your one stop Online Shop

You can also visit his homepage at http://www.cplusplusgenius.wagoo2.com

Author:: Coenraad De Beer
Keywords:: Music,Music videos,Music artists,Lyrics,Musical
Post by History of the Computer | Computer safety tips

Piano Pedals: What to Do With those Pedals or are They a Foot Rest?

There are three pedals on the piano: the damper pedal on the right, played with the right foot; the soft pedal called the Una Corda, on the left, played with the left foot; and the sostenuto pedal in the middle, played with the left foot. In all cases, the end of the pedal should contact the ball of the foot in line with the big toe. The heel of the foot stays on the floor at all times, and the foot remains touching the pedal at all times.

The Damper Pedal raises the damper (hammers) off the strings at once, and holds them off, so that if the fingers are removed from the keys, the sounds does not stop, as the pedal is still holding the dampers of the strings.

Now let's work with the most common pedal, the damper pedal. The damper pedal is used for the purpose of playing Legato, or purposefu lly allowing 2 or more tones to ring at the same time to create harmony, and/or for a rhythmic purpose.

Playing Legato means to connect your sounds without silence between the notes. Hold the first key and keep it vibrating until the next note is played, then release the first note. This can be easily accomplished through your finger action if all the keys in your song are within close proximity of each other. If there is a huge span between the keys, then it is impossible for the fingers to play Legato, for the hand will have to be moved to a new position to reach the key.

By using the damper pedal, you can connect thes e tones and retain the sounds of Legato.

Example:

1. Play middle C, and at the same time depress the damper pedal.
2. Hold the damper pedal in the depressed position.
3. Lift your hand and move it up the piano to play a high C.
4. At the exact moment you play the high C, Lift and depress the damper pedal very fast.

How do you know you are playing the pedal correctly? All you have to do is listen. If you release the pedal too soon, you will hear silence between the two notes. If you release the pedal too late, there will be a point where both tones will be ringing.

Playing the pedal correctly takes practice, go slow and listen carefully. How do you know when to use the pedal? Change the pedal when you do not want tones ringing together. Change the pedal on every chord change. In classical music, it is customary to analyze the composition and when the composer is changing chords, change the pedal. Composers will write in phrases, which are similar to sentences, if the same chord is used, but the phrase changes, you would change the pedal when the phrase ends and a new phrase starts. As you progress in your lessons and gain knowledge about music theory, you will be able to analyze the music and this will guide you as to when to change the pedaling.

Alana LaGrange is the founder of Music and You, an online piano lesson website teaching beginning, Intermediate, music arranging and jazz. She has published piano lesson books, and is also an arranger and recording artist.

http://www.musicandyou.com

Author:: Alana LaGrange
Keywords:: piano pedaling, piano pedals, how to use the piano pedal, Legato, playing Legato
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Laurie Larsons Aquila a Hidden Gem that Needs Discovery

I recently purchased Aquila at CD Baby after reading a press release about Laurie Larsons latest CD. The 10 song compilation may be one of my best purchases in the last two years. On the whole the album features the amazing vocal styling of an artist obviously influenced by the music of the 60s. Yet there is something modern and compelling about both the sound of the music and Ms. Larsons vocals. Within each song lies a well crafted and produced performance that validates the singers pedigree and many talents.

Some of my favorite songs include My Time Will Arrive which has a bluesy, 60ish feel to it and Architect of Dreams a more spiritual song with haunting vocals that linger in your head long after the song is over. Road to Elysium is a very beautiful song with Ms. Larsons best vocals. I am parti cularly fond of the end of the song which features an a cappella vocal that is by far the best display of Mr. Larsons amazing vocal talent.

My favorite song on the CD is On This Day which not only features an amazing vocal performance but also a very tasteful guitar solo, that demonstrates the talent of the musicians that perform with Ms. Larson on Aquila.

The song Aquila is a bit pop, a bit reggae and a lot of fun. Mr. Larson combines her vocals with an augmented almost hip hop vocal accompaniment. Add to that some killer guitar playing and you have a fun sound that stands out on the CD.

Utopia features more great vocals and excellent finger style guitar playing. This highlights an important part of the production on Aquila the musicianship is truly first class, always adding to the vocal performance without over whelming it.

Child of the Wind is another favorite of mine. Ms. Larson captures the essences of a young girl, and her struggles to make the right choices. I relate to this song, because I have a young teenage daughter, and every time I hear the song it reminds me of her.

Light of Freedom and Center of Light are also well crafted songs. As are all the songs on this CD. It is no surprise that Ms. Larson is starting to receive strong radio play across the country. Each song is well crafted and very listenable. The best quality of Aquila is that you believe what Ms. Larson is singing. The lyrics are very personal and you know they are important to the singer. Nothing contrived or forced.

Is Aquila a folk rock, classic rock, or alternative rock CD? Honestly you cannot categorize Aquila or Mr. Larsons debut CD Artist Mirage in such simple terms, as her music truly cross many boundaries. And that is what I find so appealing about her music.

Aquila is a self produced and self promoted effort, but it is professionally recorded and the songs are complete performances. Most self produced albums simply do not have the quality and production to be worthy of distribution. Laurie Larsons Aquila is an exception to that rule, and is a hidden gem that needs discovery.

Bill McRea Web master for Kansas Fans. For more information about Aquila and Laurie Larson visit Lauries website at http://www.laurielarson.com.

Author:: Bill McRea
Keywords:: laurie larson, new release, Aquila, alternative rock, classic rock, folk music, folk rock
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Learn to Play the Piano By Ear Adding Chords to Right Hand Melody

Adding Chords to the Melody

Adding chords to the right hand can be a wonderful benefit to playing the piano. It can make your playing sound full and beautiful. The problem is that some people who play by ear want to just chord with the right hand. So, when they play a song, all the listener hears is chords rather than the chords and the melody. In order for your audience to know what song you're playing you must play the melody. Playing the melody with the right hand and chording with the left hand is a simple way to play songs. But, adding chords to the right hand melody will make your songs sound richer and fuller. Before I begin, I must say that you MUST know chord inversions for the chords you will be using in a certain song. For those of you who have purchased the Piano By Ear for Beginners DVD, you will have learned (or are learning) inversions.

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The melody must stay at the top of the inversion at all times. For instance, if you are playing the simple children's song, Jesus Loves Me in the key of C, while you are in the C chord change (1st change), you play the inversions of C chord while the melody stays on top of the chord. When you switch to the F chord change (4th change), you will play the F chord inversions, keeping your melody on the top of the F chord.

Let's back up...in case you're not familiar with chord inversions. I will explain and list the inversions for the chords in the key of C (C, F, & G). To make a chord, you play 1-3-5 of the scale of the chord you are playing.

Example: C scale

CDEFGABC 12345671

So, to play C chord, you would play the notes C-E-G together to make the C chord. That's the first inversion of C chord. The next inversion would be arranged by moving the C to the top as in E-G--C. I added the extra space between the G and the C because there are actually two notes between the G and C. As you continue to move up the keyboard, for the next inversion you would move the bottom note, E, to the top to arrange the third inversion of C chord to appear like this... G--C-E. When you finally move the G to the top, you have the first inversion again (C-E-G) only now it is an octave higher than when you began. To do the F and G chord inversions, you would follow the same procedure. They are listed below:

C CHORD INVERSIONS C-E-G, E-G--C, G--C-E, C-E-G

F CHORD INVERSIONS F-A-C, A-C--F, C--F-A, F-A-C

G CHORD INVERSIONS G-B-D, B-D--G, D--G-B, G-B-D

Now that you know the inversions for each of those chords you can add the appropriate chord to the right hand's melody. To do this you will follow these simple rule. *While playing in the key of C, while in the C chord change, if the melody falls on any of the notes in the C chord (C-E-G), then you will play the appropriate inversion of C chord with the melody note on top. If the melody note does not fall on one of the notes for the C chord, then you play that note on the right h and alone. While playing in the key of F, while in the F chord change, if the melody falls on any of the notes in the F chord (F-A-C), then you will play the appropriate inversion of F chord with the melody note on top. If the melody note does not fall on one of the notes for the F chord, then you play that note on the right hand alone. While playing in the key of G, while in the G chord change, if the melody falls on any of the notes in the G chord (G-B-D), then you will play the appropriate inversion of G chord with the melody note on top. If the melody note does not fall on one of the notes for the G chord, then you play that note on the right hand alone.

Look at the melody notes in the key of C for the song Jesus Loves Me.

G E E D E G G
Jesus loves me this I know...

During the first phrase of that song, you are in the C chord change. Therefore, you will play and inversion of C chord with the melody on top with your right hand on every melody note except D (over the word me) because all the other notes are pArt of the C chord. Moving to the next phrase, you change to the F chord change.

A A C A A G G
For the Bible tells me.....so

During this phrase of that song, you are in the F chord change. Therefore, you will play an inversion of F chord (with the melody on top of your chord) with your right hand on every melody note except G (over the word me) because all the other notes are pArt of the F chord. Keep in mind that on the word so you will move back to the C chord change so the G note there will be played with an inversion of C chord with the melo dy (G) note on top.

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For a complete biography visit my website at http://www.thepianobyear.com

By the way...if you have any questions related to playing piano by ear or would like to subscribe to my weekly newsletters, visit my website at www.thepianobyear.com or feel free to email me at matthew@thepianobyear or you may post them on the discussion board at www.thepianobyear.com/bbs

Author:: Matthew Stephens
Keywords:: learn to play the piano
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Napster Vs eMusic: My Search For The Best Music Download Service

With the number of U.S. Music fans Downloading Music online increasing by double digits yearly it's become obvious that Downloading is the new way to do Music.

For sure there have been, and in fact continues to be issues with Legal-vs-ilLegal but follow this very simple guideline and you don't have to be concerned about the feds showing up at your door.

The bottom line here is just like in the real world DO NOT copy your Music and sell or give those copies away to anyone. That's where the file sharers go wrong.

It's that simple.

With that often misunderstood bit of information cleared up I'm now going to contrast and compare a couple of the better and yes, perfectly Legal online Music Download Services.

Two of the best Music Download Services I've had the opportunity to try out are eMusic and Napster.

What are the best features of each Service?

Napster: Despite it's rocky past the new Napster is a perfectly Legal Music Download sit e and their full library of digital Music, [over 2 million songs is completely free to listen to. You only pay if you decide to Download a song or two to your computer, iPod or other MP3 Player. And Napster has a variety of Subscription options to choose from which means you're sure to find a plan that's right for you. Most users will be impressed with the overall depth and breadth of the Napster catalog. Very few searches turn up no results.

eMusic: All the tunes available through eMusic are legitimately licensed from record labels and artists, so you don't have to worry about a midnight visit from the authorities here either. eMusic is now advertising that they have over 1,000,000 high quality MP3 files from 1,200 independent Music labels. The collection is mostly filled out in the rock genre, but they also have an outstanding assortment of jazz and blues, as well as a surprisingly large selection of world Music. I found the MP3 Music Downloads available through eMus ic were of the highest quality.

What are the performance highlights of each Service?

Both Napster and eMusic seem to be built for use by those with broadband connections. Neither one of them says so explicitly but it's pretty clear. Besides, Downloading files as large as even small Music files is best done with a high speed internet connection.

How easy are these Services to use?

Again both, Napster and eMusic offers a freely Downloadable application for use in conjunction with their Service. Both are just a few mouse clicks to Download and could not be simpler to install. Each user interface is of course completely different from the other but both can be easily learned upon spending a few minutes playing with it.

What about value for the money, which is better?

Napster: Offers three levels of membership and Service. At the minimal, free level, members can stream almost any track in the Napster catalog up to 5 times each. If you're intere sted in Downloading and having unlimited listening capability you'll pay $9.95 per month. With either of these levels you'll also have the option of purchasing a song outright for .99 each. If you use your Music in conjunction with an iPod or other portable device it's $14.95 per month to fill your device with unlimited Downloads.

Throughout the Napster site at all levels of membership you have the ability to freely listen to :30 second samples of songs.

eMusic: Has three levels of membership as well. For $9.99 per month you get up to 40 Downloads, for $14.99 you get 65, and for $19.99 per month you get 90 Downloads. These are high quality MP3 Downloads and are on a per month basis, and do not rollover. To borrow a term from the cell phone industry.

So which is better?

The million dollar question. I have to say it really depends on how you use and listen to Music. With Napster your Music is tied to your computer unless you purchase the track or entire CD outright at .99 per song. This differs greatly form eMusic where with either Service level you actually Download MP3 files so you do have the option of burning CD's more freely.

I really like several things about each Service but mainly with Napster the sheer size of their catalog is very enticing, and with eMusic being able to Download burnable MP3's is certainly a desirable feature.

Like I said, I guess it just comes down to what's important to you in determining which Service is right and will work best for you.

I've given you a point from which to start your thinking process here. For complete information on the eMusic Download Service goto http://www.Smoothlee.com/EMusic.htm now. Alternatively, you'll find complete information on the Napster Music Download Service at http:// www.Smoothlee.com/Napster.htm

Clyde Lee Dennis, a.k.a. SmoothLee is an AVID Music fan, smooth jazz in particular, and in addition to writing CD Reviews for ILoveSmoothJazz.com can also be heard during his radio show which airs online daily at Smooth Jazz 24/7

Author:: Clyde Dennis
Keywords:: Napster,EMusic,Download,Mp3,Legal,Cd,Music,Subscription,Service,Smoothlee,smooth jazz
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Electric Guitars

Due to Artists eagerness during the 1930s to learn about guitar playing, a science of studying impedance problems, microphone techniques, amplifying, and certain speaker and tube kinds, was introduced. It was then that electric guitars were brought in onto the music scene. Alder, mahogany, walnut, maple and ash are the commonly used types of wood used for making the body of electric guitars.

The quality of the sound produced by electric guitars is affected by the kind of wood, the construction, the type of strings, the quality of the components used, and the overall condition of the environment. Electric guitars are used in a wide range of musical stylesfrom country to rock and roll, jazz, and blues.

The electric guitar contains almost the same pArts as an acoustic guitar, and is also played by plucking and strumming. In fact, they are easier to play than the acoustic guitar. Playing this instrument requires an electric amplifier to produce sound. Most electric guitars were made of not only a single layer, but of many layers of different laminated good sounding woods. For appearance, the top layer is usually a nicer wood coated with plastic.

There are three main types of electric guitars: the hollow-bodied, solid-bodied, and the semi-solid electric guitar. Hollow-bodied guitars accompany jazz music. Solid-bodied guitars are well suited for rock, while a semi-solid electric guitar mixes the qualities of both the hollow and the solid. It has a center block that forms the pickup. It also has an f hole design, representing this trait.

Electric guitars have pickups set in them so the instrument can p roduce the best sound possible. These pArts can be used separately or in combination with one another. They are bent to attain the exact volume or effect for either lead or rhythm guitar playing. Originally electric guitars were constructed with only a single pickup. Today they have two or three, creating a more flexible musical instrument. One pick-up is positioned near the bridge, the second just before the bottom of the neck, and the third, is usually added in the middle of the other two pick-ups. The guitarist then, having these supplementary pArts, acquires more alternatives for generating a range of musical experiences and becomes more versatile in tonal quality.

Electric guitars have begun a revolution in sound and technology that carries on to this day. They have become one of the most famous musical instruments of all time.

Guitars provides detailed information on Guitars, Electric Guitars, Guitar Tabs, Guitar Chords and more. Guitars is affiliated with Classical Guitar Tablatures.

Author:: Max Bellamy
Keywords:: Electric Guitars
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Will Shania Twain Tour Again

On July 10, 2004 the UP World Tour for Shania Twain ended and we have not seen our favorite female Artist ever since.. I knew when Shania Twain and her husband R.J.Mutt Lange decided to have a child it was pretty much over for the fans who love her on stage performances. I think that we got a bonus in 2003-2004 when she toured tirelessly, for over 113 concerts. I had the opportunity to see three Shania Twain performances and each was a truly awesome production. I can think of no other Artist who brings that much energy and excitement to each show. The sheer number of sell out concerts was the proof that I was not alone either.

I am now thinkin g we may never see Shania Twain perform ever again, I think she may follow the footsteps of GArth Brooks and put her family first. I certainly hope that I am wrong about that, but the fact is Shania Twain has always put her family first. If you know the history of this great woman you know she took care of her brothers and sister after her parents were killed in a car accident. She worked hard to provide for them and now that she has her own family, why would we expect her not to do the same thing again. I wish her the best no matter what she does in the future; maybe keep putting out some albums and some holiday TV performances, but the road life is hard and she may want to be there for her husband and child.

I will say this to you my fellow Shania Twain fans, we were lucky enough to see to her live. I wil l always remember my first Shania Twain concert. It was at St. Louis, Missouri and I was very close to the stage. The album Come on Over was setting records for top female Artist and one song after another was on the chArts, and the tour was filling every stadium. Before the show I got to meet Shania Twains drummer J.D. Blair and get an autograph and talk with him. I also met her fiddle player Roddy Chiong as well. What struck me was that both were Christians and signed my autographs with Biblical references. They both were so nice and I told them each how lucky they were to get to perform with Shania Twain each night. It was a magical show during whi ch I also got Shania Twain to autograph my t-shirt (which I have ever worn since either)

I was hooked on this Diva and have been a fan club member and followed her career closely. If Shania Twain chooses to never perform another show I will be among the millions of other fans who will be saddened, but always support her choice. If we get blessed to see Shania Twain tour again, you can bet I will travel to see her; it will be worth the money just to see another show. Till that day I guess we can hold out hope, but I for one feel that I have seen my last Shania Twain concert. I just want to say to her, I miss your shows and wish you the best always, but I understand why you won't tour as well. I hope your life in New Zealand is treating you and your family well. We miss you Shania.

Jeffrey Meier of Jam727 Enterprises at www.Jam727.com offers Information Articles. For additional Music Information please go to www.betterconcerts.com

Author:: Jeffrey Meier
Keywords:: Shania twain,up cd,come on over cd,shania twain tour,shania twain picture,shania twain cd,shania hot
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Beginner Guitar Lessons Learn Guitar without Ever Leaving Your Home!

So, you think youd like to learn to play guitar, but youre put off by the high cost of lessons? You dont want to put up with a teacher showing you a bunch of theory and boring songs that you dont want to learn and wont get you where you want to go? Look no further, online instruction is now available that provides comprehensive beginner guitar lessons to anyone who wants to learn to play guitar quickly and easily.

Do I need to read music? No! Most online programs use a very visual approach, using picture diagrams and videos that actively demonstrate techniques so you hear what you need to play, not read it. The advantage to this is that you learn directly how to play, without having to take the time to translate everything through a book thats full of complicated theory and diagrams. You can take beginner guitar lessons online that will show you how to play everything you want, without ever opening a book.

Many fine instructional programs are available on the n et -we 're talking about this on our site. These instructional programs will take you through your first beginner guitar lessons and have you playing songs right away. Many of these programs are designed to be fully completed in 30 days, not the years it may take to master the guitar the traditional way.

Dont think that online guitar instruction is just for the novice, though, because many of the available lessons will teach you, not only the basics, but many advanced techniques as well. These are specially designed to take anyone, from the beginner to advanced student, where they want to go.

So grab hold of this awesome opportunity and stArt playing the guitar now!

George Nellas has more tips and useful info on online guitar learning lessons that you can find on his website at: http://www.guita r-4u.com.

Author:: George Nellas
Keywords:: how to play guitar,online guitar lesson,electric guitar lessons,guitar learning,guitar instruction,
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Professional Studio Tips: Laying Down Studio Tracks Like a Pro

Today I would like to talk about a very powerful Studio tracking technique, that isnt well known, but if properly executed, will make you sound as tight as if the band was playing together.

What I am referring to is a guide track. A guide track can be thought of as the template of the song. Usually it is performed by the rhythm guitarsometimes the keyboards, and all subsequent Tracks follow this musical tour guide. The vocals should be on the guide track as well.

The easiest way to begin a guide track is simply to play and sing along using a single microphone. If you only have a few Tracks (4 to 8) always leave your guide t rack as your last track. There are a few things that should be noted about the guide track. First you should always start the guide track with a count. Even if a single instrument will begin the song in production. A count gives all musicians that are waiting for their point to begin the starting gun for the song.

The guide track can be quickly laid down. There is no need to reach for sonic perfection on this track since it will eventually be deleted. Its more important that the track keep the rhythm, tempo, and dynamics of the song on task. If you drift tempo on the guide track, all subsequent Tracks will follow suit.

The guide track gives you the unique ability to give direction to the players waiting down the line. For example if there is a pause, or a blank spot in the song, COUNT aloud unti l the music starts. All players in the queue will hit that re-start point with ease and precision. You can also give verbal directions such as play more dynamically here, the song slows down here, or there is a key change coming up. Also if the guide track is played and sung with feeling, the future players will respond to that as well.

Once the guide track is done, begin laying the foundations of the musicthat is the rhythm, bass, and drums. All other instruments, vocals, and sweetening sits on top of this foundation. When the foundation is complete, begin your overdubs. This will be solos, musical hooks, and sounds that will give the song interest.

Record your vocals last. At this point, it is a matter of personal preference if you want to take down the guide track to record your vocals. Some Singers do not want the distraction of the chatter that sometimes goes with a guide track. Other times the count will still be necessary because the vocals begin with or b efore the music.

A good guide track gives everyone who follows a well-lit pathway. It cues and gives direction, it establishes the tempo, and the attitude of the song. When you are riding atop a guide track, it is easy to hang onto the handles.

Gary g-man Wesselhoff is an Acoustic Blues Writer/performer working the Chicago Metro area. You can contact him at: gman@gmanBlues.com

Please Visit his site: http://www.gmanBlues.com

Author:: Gary Wesselhoff
Keywords:: Blues, Rock, Acoustic, Live Performances, Singer, Writer, Studio, Recording, Tracks
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Shania Twain Greatest Hits CD Review

Country and Pop Music superstar Shania Twain has released a greatest hits CD appropriately titled Shania Twain Greatest Hits.

The reclusive Twain has sold more than 40 million Albums over the years with-flirty, hook laden, beat-heavy, country-tinged pop tracks that have all the subtlety of a musical wet T-shirt contest.

She is one of the most successful recording artists in history. Her CD Come On Over is the biggest selling Album of all time by a female artist, making it the female equivalent of Michael Jackson's Thriller.

This long awaited and much anticipated Greatest Hits collection includes three new songs along with t he predictable chart topping hits she's had. Most of the songs are up tempo groovable tunes which is exactly what Shania Twain fans will enjoy and appreciate.

19 out of the 21 songs on this CD are pure gold, and they are so varied in style that there is a song for every music fan.

The CD launches with the classic ballad, Forever and For Always then goes on to showcase the very impressive list of gold records Twain has had over the years. Containing a whopping 21 songs in all.

Impressively Twain writes all of her own songs and melodies on guitar and of course does a great job singing them as well.

Some of my own Shania Twain favorites are track 1, Forever and For Always, track 2 I'm Gonna Getcha Good, track 5, Man! I Feel Like A Woman! and on, and on, and on. Heck they're all good!

Release Notes:

Shania Twain originally released Greatest Hits on November 9, 2004 on the Mercury Nashville record label.

CD track list follows:

1. Fo rever and For Always
2. I'm Gonna Getcha Good
3. UP!
4. Come On Over
5. Man! I Feel Like A Woman!
6. That Don't Impress Me Much
7. From This Moment
8. Honey, I'm Home
9. You're Still The One
10. Don't Be Stupid
11. Love Gets Me Every Time
12. No One Needs To Know
13. You Win My Love
14. I'm Outta Here
15. The Woman In Me
16. Any Man Of Mine
17. Whose Bed Have Your Boots
18. Party for Two' (with Mark McGrath)
19. Don't!
20. Party for Two (with Billy Currington)

To listen to samples of each song on Greatest Hits by Shania Twain go to: Shania Twain CD - Greatest Hits MP3 Samples

Clyde Lee Dennis, a.k.a. SmoothLee is a life long music fanatic. In addition to writing CD Reviews like this one for several music related websites he also hosts an internet radio show, and invites you to join him daily for some of the best soul soothing smooth jazz you'll ever hear at http://www.SmoothJazz247.co m

Author:: Clyde Dennis
Keywords:: shania twain,greatest hits,country music,pop music,michael jackson,wet t-shirt,Album,mp3 download
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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 wow and clapping. I didnt 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, a nd she said, That goalie never had a chance. 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 Im good and feel good. But that doesnt seem to last long as after a few seconds I need to feel good again. This wasnt really making me happier, just draining a lot of energy out of me. Its 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 youre 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 Ive 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 dont 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, Ive 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 faci litate 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: http://www.coachkavit.com

Author:: Kavit Haria
Keywords:: Music, the need to perform, Musicians, kavit haria, Innerrhythm, Coaching, Music Coaching, Music
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Guitars Buy Cheap Or Good?

Just like automobiles, where you can buy one for just about any price between $15,000 and $1 million dollars, Guitar prices are pretty wide too. So if you're looking to get your very first Guitar, what do you do? Do you go for one that is a little cheaper or do you buy one that is of better quality? There are two schools of thought on this subject. We'll present both of them with the understanding that neither is right or wrong. They are just opinion.

The first school of thought is that you want to get a Guitar that is well made and sounds good, even if it costs a little more. The question you're probably asking, is why? The school of thought that recommends this bases their argument on the following. If a new Guitar player buys a cheap Guitar with a poor sound, he is more likely to lose interest early on. The reason is because when you first learn to play the Guitar you're mostly playing scales and simple tunes that real ly aren't all that interesting. It's going to be boring enough just trying to get through this, but at least if the Guitar itself is of better quality, it will sound better, stay in tune longer and ultimately provide the new student with a more pleasurable learning experience. This will make it so that the student will have a better chance of sticking with his instrument. The extra money will have, in a sense, saved money in the long run. A good quality Guitar for a beginner will probably run about $300.

The other school of thought is to get the beginning student a beginner's Guitar, maybe something with a price tag of $100 max. Why? Because the thought here is that the beginning student, because he will have to go through with those boring scales and simple tunes, unless he is really dedicated and has a strong love for the instrument, is more likely to give it up early. This will mean less money wasted if a cheaper Guitar is purchased in the first place.

There is something to be said for both sides of this argument and we're not going to take one side or the other. However, if a student gets past that initial period on his beginner Guitar, whether you went with cheap or not so, what's next? If you bought a cheap Guitar to start with, the student is going to want something better. If he stuck with it this long, he's entitled to it. Certainly he can't play a cheap Guitar in a band or professionally. This is where you have to more or less live within your means. Sure, he'd probably love to have a $2500 Rickenbacker signature model but maybe he'll have to settle for a Gibson Les Paul for around $700.

Best suggestion is to talk to your kid after the learning stage is over. Find out how serious he is about his Guitar playing. If he's very serious, you might just want to invest in an instrument that he'll cherish for many years to come.

Michael Russell

Your Independent guide to Guitars

Author:: Michael Russell
Keywords:: Guitar
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The 7 Habits of Highly Effective Guitar Players

1. Change the strings regularly - there is perhaps no more important aspect of playing a musical instrument than that of maintaining it properly. Guitar strings wear out with regular use and even more quickly become coated in grease and dead skin. So it is imperative that you wipe the strings after playing and also change the strings as often as needed.

But how often do strings need changing? Well, if you only play your Guitar a couple of times a month then you will probably get away with a couple of sets of strings per year. But if you play in a band a couple of times a week or more then you should renew the strings at least once a week. And forget the old wives tale about boiling strings, that is for fools and practical jokers; fit new strings every time.

2. Play what is required, not what you like Just because you have mastered that tricky right hand tapping technique does not mean that you should try to use it at every opportunity. Instead, concentrate on what feels and sounds right for the piece you are working on. It might not be as self satisfying to play five notes where you could have squeezed in fifty, but it can often be far more effective - and remember that you will always get the chance to impress your mates on another song.

3. Practice effectively Do you have a regular practice schedule? If not, then you should develop one! Your Guitar practice should include different techniques, slow playing, fast playing, rhythmic playing, etc. Don't just play what you enjoy playing during solo practice sessions, but instead remember to devote some time to the stuff you find difficult.

4. Play with the band, not over them Never turn your amp up to eleven and expect the rest of the band to join you. Not only is it a recipe for tinnitus and premature deafness, but it will quickly get you replaced by a more considerate Guitarist. An effective Guitar player will be listening to the whole band, not just him/herself, and if the Guitar sounds too loud the effective Guitar player will turn the volume down to a level that matches the rest of the band! if you think you might be guilty of this then try listening objectively to the whole band next time you play and ask yourself if it sounds well balanced.

5. Be original - Don't just copy your Guitar heroes. Of course it is natural and essential to actively learn the chops of your favourite players, but don't just copy them verbatim; instead you should try to mix and match the techniques you have learned to develop your own original licks.

6. Keep an open mind and ear Just because your favourite player uses a Marshall stack or a Mesa Boogie combo, and plays a Fender Stratocaster or a Gibson Les Paul doesn't mean that you have to do the same. All of the best pla yer's sounds are unique and exclusive, and it goes far beyond the equipment used. Think of the different sounds produced by for example Jimi Hendrix, Hank Marvin and Eric Clapton they are all Strat players but all sound different and apart from each other.

7. Enjoy yourself the fact is that successful Guitar players actually enjoy what they do; think of Eddie Van Halen leaping around the stage with a wide smile on his face. I'm willing to bet that the reason he became such a great player in the first place is because he actually loves what he is doing. So when the time comes, go out and enjoy it!

Tony Williams is a musician, writer, and self-confessed eBay fanatic. He is also the webmaster of MuZiCk! - The irreverent rock music lexicon, and Rich Pickings - your online Guitar advisory service.

Author:: Tony Williams
Keywords:: Guitar, Guitar player, Guitarist, Guitar playing, play Guitar,
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Oboe Reeds: Learning How to Experiment

As you may have heard before, being consistent in your reed making helps ensure consistent reeds. A simple but powerful statement indeed.

Reed making is a rather long and varied process, and most successful reed makers would recommend that you do the same thing every time. That way you can slowly make corrections without losing your point of reference.

But what if you want to try something new?

The spirit of adventure definitely has a place in reed making, as long as you have the time (and patience) to do some experimenting. There is so much new equipment available to oboists today that can help (or hurt) your reed making adventures.

There are new kinds of staples coming out all the time, and someone is always introducing either a new gouging machine or shaper tip to the market.

Sometimes it is possible to borrow these new toys from friends to try, and other times you may be able to try a shaper tip on loan from a double reed company.

Just remember, dont be afraid to try new things! Thats how you learn.

But here is a tip to make your experimenting as productive and efficient as possible:

Whatever you do, dont get too caught up in the frenzy and try to change more than one thing at once.

It may go without saying, but reed making with any new materials at all is just like a science experiment. Remember those days back in lab class?

You never change more than one variable at a time when testing something new. You want to be able to determine just how the new change affects all areas of the experiment.

Some things you might try:

• change the length you tie the cane on
• try gouging your cane a few millimeters thicker

Try these and many other things! As long as you keep everything else exactly the same, you will have conducted a successful experiment and you will learn something.

It is surprising and fun to see how your reeds w ill change, and sometimes (hopefully most times) it will be for the better!

Oboist and online entrepreneur Maryn Leister helps beginner and professional oboists to be more productive and have more fun on the oboe. She publishes the weekly Oboe:Space newsletter and gives away more FREE oboe reed tips than she can remember with her Reed Guru service.

Sign-up for the Oboe:Space newsletter and stArt getting your FREE oboe reed tips now at http://www.oboespace.com

Author:: Maryn Leister
Keywords:: oboe reeds
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Simple Piano Playing Tip Lets You Breathe New Life Into Your Music

What I'm about to share with you took me years to learn! And I'm still learning it. What am I talking about? I'm talking about something that will revolutionize your playing. I'm talking about being present at the Piano while you're playing!

See. I told you it was simple. Simple to say but not so simple to do.

Let me tell you how I approach this. Some time ago, I sat down at my Piano to work on some pieces for a new CD project. I'd completed the first sections on many of these pieces but the rest of the Music just wouldn't come.

I can't begin to tell you how frustrating this was (and sometimes still is) for me!

Anyway, I decided to take a walk and figure out what the problem was. I started walking and unwinding and then it hit me... the reason nothing was coming was because of my own expectations. You see, I wanted to complete the pieces I'd been working on so badly that I was creating an atmosphere of anxiety. The joy of making Music was gone. It was replaced for the need to create a product. And once this need appears - any progress is sure to be halted. Why?

Because the ego is never satisfied and wants something that is in direct opposition to artistic expression.

Now I have a different approach. I tell myself that my job is to just show up at the Piano. To be present with the Music. If new material comes, then fine. If not, that's OK too. Just as long as I show up and remain present to the process.

E dward 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 http://www.quiescenceMusic.com/Pianolessons.html for a FREE Piano lesson!

Author:: Edward Weiss
Keywords:: Piano,Piano lessons,Piano playing,Piano tips,new age,Music,new age Music
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Kid's Quest: Choosing the Right Time for Piano Lessons

To this day, I feel deprived that my parents didn't sign me up for Piano lessons. You see, I have two sisters who are considerably older than I am (ten and 14 years older, respectively). They both learned to play the Piano, and my parents had a Piano in the house until the time I was six years old. At that point, they sold the Piano and, alas, my potential Piano lessons went with out the door with the instrument. In retrospect, I imagine they felt as though they'd been there, done that with my sisters, and that another round of Piano practices and recitals was more than they could bear. Still, to this day, I wish I had learned to play the Piano.

Many parents embrace the idea of Piano lessons for their children, but wonder when beginner Piano lessons are appropriate. Is it when their prodigy-to-be bangs out his first tune on his toy Piano? Is it once he's show an interest in an educational toy or an educational game? Is it once he's started school?

Experts generally agree that parents should take their child's lead in deciding when beginner Piano lessons are appropriate. I f a child shows an interest in her toy Piano, that may be an early indicator. A child who sits down at her aunt's Piano and bangs out notes at every opportunity is one who may be ready for Piano lessons.

Ultimately, a child's experience of Piano lessons - just like the experience of playing with an educ ational toy or educational game - should be one that's enjoyable. He should be old enough to understand that there is a level of commitment necessary in learning to play the Piano, and to understand that beginner Piano lessons are just that - for beginners. Once he can see that his skills improve with practice, he's likely to more thoroughly enjoy his Piano lessons.

Parents can contribute to their child's feels of satisfaction about her progress by encouraging her at every opportunity. Applaud her initiative in practicing, attend her recitals, and - if you've ever had the urge - consider taking beginner Piano lessons with her. Family involvement in her Piano lessons will go far in giving her the motivation to continue playing.

If a child does lose interest in Piano lessons after a time, though, it doesn't pay for parents to force their child to continue taking Piano lessons. Instead, they should encourage him to continue to enjoy music in its infinite variety.

Chris Robertson is an author of Majon International, one of the worlds MOST popular internet marketing companies on the web. Visit this Music Website and Majon's Music directory.

Author:: Chris Robertson
Keywords:: Piano lessons, beginner Piano lessons, toy Piano, Piano, educational toy, educational game.
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Piano Lesson: Learn To Play Twinkle Twinkle Little Star Without Reading Sheet Music

In this Piano lesson you will learn to play Twinkle, Twinkle, Little Star without the use of sheet music. After this learn to play Piano tutorial you will be able to play the melody with both hands!

As you know Twinkle, Twinkle, Little Star is a popular nursery rhyme. The melody is from France and the lyrics from an English poem by Jane Taylor.

The English lyrics are as follows:

Twinkle, twinkle, little star
How I wonder what you are
Up above the world so high
Like a diamond in the sky
Twinkle, twinkle, little star
How I wonder what you are

In this Piano lesson we will use a form of tablature instead of sheet music notation.

Tablature is a type of musical notation which will tell you where to place your fingers to play a melody on your Piano. The first thing we will do is to locate the note C.

The middle C on a Piano is the first white key that is to the left of two black keys. It is called middle C because on the Piano keyboard it is right in the middle, near the keyhole.

In our Piano tab notation the keys are numbered instead. This middle C in our type of Piano tab is called 1.

This means that when you see the number 1 you are to play the middle C once. The white key to the right of C we call 2, the next 3 and so on.

Let's play some Piano tab notes:

1 2 3 4 5 6 7

Now you have played a scale with the actual notes C D E F G A B.

N ow we will start to play the melody Twinkle, Twinkle, Little Star:

Twinkle, twinkle, little star

1 1 5 5 6 6 5

Now you have played the notes C C G G A A G.

How can you use your left hand? Let's make this piece a little bit more difficult and also more rewarding to play by using your left hand for bass notes.

The notes from C to the next C is called an octave. The keys are grouped this way on the whole keyboard.

You also have these notes to the left of the middle C. We can call these notes the left octave.

If you use the notes 1-7 in the left octave to play bass notes with your left hand we can notate the melody in the following way:

1/1 1 5/3 5 6/4 6 5/3

The note to the right of the slash is the bass note. 1/1 means that as you play the first 1 with your right hand you simultaneously play number 1 in the left octave with your left hand.

I guess you have noticed that you only play bass notes together with some of the melody notes.

Let's continue this Piano lesson with the next line:

How I wonder what you are

4/2 4 3/1 3 2/5 2 1/1

What fingers should you use as you play? You can and maybe you use your index fingers on both hands to play but it will be easier to find your notes if you cultivate the habit to use all your fingers.

On your right hand you can use your thumb to play number 1 and your index finger to play number 2 and so on.

The next Piano tab looks like this:

Up above the world so high

5/3 5 4/2 4 3/1 3 2/5

If you want to use fingerings on your left hand you place your little finger above key number 1 and your thumb on number 5 and the other fingers accordingly.

On the next Piano tab the melody is identical:

Like a diamond in the sky

5/3 5 4/2 4 3/1 3 2/5

Now you only have to play the beginning of the song again:

Twinkle, twinkle, little star

1/1 1 5/3 5 6/4 6 5/3

How I wonder what you are

4/2 4 3/1 3 2/5 2 1/1

Congratulations! Now you can play Twinkle, Twinkle, Little Star as a Piano solo with two hands!

This type of Piano notation is probably best used as a help to find the notes until you know the melody by heart. I suggest that you memorize one line at a time until you know the whole song as this will enable you to play the song anywhere and anytime!

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your free sheet music and learn to play Piano resources at http://www.capotastomusic.com

Author:: Peter Edvinsson
Keywords:: Piano, Piano lesson, learn to play Piano, Piano tab, Piano tablature
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Indian Carnatic Music Theory

In our Carnatic Music system, we have two different types of Raghas. The first one is Janaka Ragha and the other one is Janya Ragha. Janaka Ragha has many names like Mother Ragha, Melakartha. In all the scale of the raghas, we have two parts. One is the ascending (aarohana) and the other part is decending (avarohana). Mother Ragha is a scale in which all the seven notes are arranged in perfect ascending and the same seven notes are arranged in the perfect decending. That is, SRGMPDNS - SNDPMGRS.

In our music system we have sixteen notes in total. With different combinations of these sixteen notes, the melakarthas are formed. In this system, there are 72 melakarthas. These 72 melakarthas are divided into two groups. The first 36 melakarthas are suddha madhyama melakarthas and the 2nd 36 melakarthas are prithi madhyama melakarthas. In the other way, 1 to 36 melakarthas are with Suddha Madhyamam and 37 to 72 melakarthas are with prithi madhyamam.

The 72 Melakartha s are devided into 12 Chakras. Each chakra has 6 melakarthas. So, in total we get 72 melakarthas. The first 6 chakras are suddha madhyama chakras and the second 6 chakras are prithi madhyama chakras.

Shadjam and Panchamam are constant notes. In Rishabham, Gandharam, Daivatham and Nishadham, there are three different types. In Madhyamam we have two different types.

With all the lowest positioned notes, the first melakartha is formed and with all the highest positioned notes, the 72nd melakartha is formed. This is the introduction of the 72 melakartha system.

Apart from the above Seventy Two Melakarthas, all the other Raghas are Janya Raghas. We have many different classifications in this section. We have to deal them separately.

Theory of carnatic music is very very ancient and this subject has been handled by many many different educationists. The subject is the same because they are fixed and the way of approach only would change. I have also written books in the same subject.

Author:: Raghu Sundaram
Keywords:: article submission, Articles, Writers, Writing, Publishing, Ezine, Email marketing, Email newsletter, Email
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Vigil "China Soul" Music Review

One of the many great things about this wired and interconnected world we stumble around in is having access to art and music from other countries. Once upon a time say, in any decade before the nineties, your average American music fan would have been hard-pressed to find almost anything that wasn't a. being played on the radio and b. made in one the big two music countries (U.S. & U.K.).

Sure there were a few specialty shops and a handful of mail-order houses but unless one was in the know you were pretty much out of luck. The recordings that one could find were presented to the public as either audio anthropology or kitschy exotica. This isn't to cast dispersions. On the contrary, an album series like Smithsonian's Folkways Recordings helped preserve sound treasures from Bali to the Mississippi Delta that informed and inspired generations.

These types of records are however, doomed to be confined to the realm of folklore. They are often representations of a particular tradition from a particular tribe or ethnic group. Consequently they convey a sense of anonymity in regards to the artist and artistry.

Don't get me wrong, this isn't necessarily a bad thing. The everyday and embedded music of the world is one of the things that give life meaning. People singing work songs, drumming to accompany marriages and funerals, fiddle playing from the pub, all of it, all of it is vital. Our age however is another matter. We mix and match styles and sounds the way another era's musicians switched chords and tempos. You've got hybrids like the punk/gypsy/ska/folk of Gogol Bordello and the psychedelic/freak-out/drone/troubadourisms of Acid Mother's Temple.

It turns out that location actually isn't everything. One way or another music finds its' way to the right listener. In this case the right music found the right listener in Pedro Vigil . Vigil's new CD China Soul (Siesta Records) is a charmer. From the first note you are transplanted to a clean and refreshing audio heaven that while referencing various musical styles from around the globe, manages to sound original and unique. Vigil is primarily the work of Pedro Vigil from Spain and is realized through a huge amount of collaborations with various drummers, organ players, string ensem bles, horn sections and pianists. The music is probably best described as a breezy blend of exotic jazz and space-age pop. At times you hear strains of Esquivel or Les Baxter.

The title track, China Soul has an antiquey march rhythm which is overrun by dreamy washes of stings and cut through by a reverb soaked surf guitar. It's like you've snuck into a private cocktail party for Chairman Mao's inner circle.

Someone hands you a martini, you take a sip and realizing it's been spiked, sit back into a velvet armchair to watch a 3-D version of Endless Summer play on the ceiling. Other tracks find inspiration from the rhythms and tones of Bossa Nova. Los Gatos High School chugs and glides with the punchy grace of Jobim or Burt Bacharach. You listen to it the way you sip a cool drink at the beach under a palapa. All of this artistry comes across as so effortless and smooth that you are left stunned and smiling.

Another highlight is the track Akira Kurasawa. Not only is it named for one of the truly great filmmakers of all time, its orchestration, jewelry box tinklings and Star Trek-like Theremin whirl and spin a magical sound. China Soul is a pleasure from start to finish. It pays homage to the vintage and retro without sounding dated. The skill of the players and the quality of the compositions make this product of our wired up, multi-culti world a gem. It's a blessing for us to live in an era with access not only to the traditions, but the artistry of music from other countries.

Blog San Diego is an online resource for live music reviews, cd reviews, music news & features.

Author:: Kiva Boyd
Keywords:: Vigil,china soul,music review
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Arpeggios and New Age Piano Playing

Chopin used them extensively. So did Beethoven and Mozart. Arpeggios are beautiful and are perfect for the New Age Piano style too!

You can hear them in George Winston's Music. David Lanz uses them in many of his compositions, and of course, I use them as well. Why? Because the Piano is well suited for this technique!

The left-hand is used mostly to create this cascading flow of notes. For example, in the lesson Wood Thrush we use over 2 octaves of the keyboard. This creates a very nice background over which we can improvise (or compose) our melodies.

Because the New Age Piano style focuses a lot on improvisation, the arpeggio is an excellent vehicle to use. We pick a Key to play in, choose a few chords from that Key, then create an arpeggio with them.

What gives many student s problems with this technique is the crossing over part where the left hand does its main work. But once this technique is mastered, the rest is easy.

Then, you simply practice playing the arpeggio until you can improvise a melody in your right hand. You go slowly and smoothly at first; not rushing but taking your time. The rewards are great because the sound that is created by using Arpeggios is full, rich, and very appealing to the ear!

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 http://www.quiescenceMusic.com/Pianolessons.html for a FREE Piano lesson!

Author:: Edward Weiss
Keywords:: Piano lessons,Music,Piano,Arpeggios
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Musical Instruments for your Children

Music is the essence of life and I think that no one is untouched with this beautiful gift given to mankind. Even children also love to play music and enjoy it when they get a chance to do so. For this, you require various expensive musical instruments but what if you make your own music instruments at your home with little efforts? It is a fun and inexpensive idea to make Gongs, xylophones, hummers and triangles for children to play.

1. To make a Gong you need an old pie tin or a lid of a large metal popcorn tin, a metal table knife or spoon for a mallet, a hammer and nail, a string. You have to pound two nail holes on the edge of the pie tin or on the side of the popcorn lid two or three inches apArt. Thread the string through the holes and tie a knot. The string should be about 1 to 2 feet long enou gh so that you can easily hold it without touching the pan or tin. Hit the pan with the spoon or knife and you have a loud sound. To soften the sound, you need to wrap the knife or spoon with a piece of cloth and then use a child socks to cover the knife or spoon.

2. To make a Xylophone you require glass pop bottles of same size and then shape work best for a homemade xylophone and for this purpose, water glasses shall also work. Fill the glasses with different amount of water whereby one bottle should be almost filled to the top and the other one with very little water. The other bottles should vary somewhere in between the two. You can use as many or less bottles as you like. A knife or spoon would wok well as a mallet. Hit the side of the bottle or glass gently as each one shall make a different sound. You can even experiment with different levels of water to decide which note pitch you would like most. If you have a piano or other musical instrument that shall ma ke various pitches then you can tune your bottles or glasses to the instrument.

3. Making a hummer is also very easy where you need to have an empty cardboard toilet paper or paper towel tube, a rubber band and a wax paper. Cut a round piece of wax paper that is larger than the ends of the tube. Cover one end with the wax paper and hold in place with the rubber band and make sounds into the opposite end of the tube.

4. You can also make a triangle with the help of a horseshoe or 4 to 8 inches of metal pipe, string and a knife or spoon. Loop the string at the curve of the horse shoe or thread it through the pipe. Tie a knot at the top and hit the horse shoe or pipe with the knife as soon as it dangles from the sting. Make sure that the string is strong enough to hold the pipe.

Olivia Andrews, writing for Music Future is a freelance journalist and has written many reviews on subjects such as finance, education, health, Entertainment, music, gifts, crafts, travel, apparels and mobile phones.

Author:: Olivia Andrews
Keywords:: future of pop music, future of the music industry, future music release, future of the music busines
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Guitar Lessons Understanding "Major" Guitar Chords For Jazz Blues Rock & Country Guitarists

Understanding Guitar Chord Harmonies, Embellishments & Substitutions PArt 1

Welcome to the fascinating world of guitar chords! While this report is not meant to replace any of the fine harmony/theory books available that elaborate in greater detail, I think you will find it contains information that you can quickly and easily use to enhance and expand your own guitar playing - regardless of what style of music you play. So let's get right into it!

A two octave C major scale would contain the following notes going from low to high:

C1 - D2 - E3 - F4 - G5 - A6 - B7 - C8 - D9 - E10 - F11 - G12 - A13 - B14 - C15. Notice that there is a number following each of the notes. These are the scale degrees that will be used to explain the spelling of the various chords.

A C major chord would consis t of the 1st, 3rd and 5th degrees of the major scale or C, E and G. Instead of just playing a C major chord you could embellish the song by using any of the following chords which will sound richer and fuller:

*C major6th - which contains the 1st, 3rd, 5th and 6th degrees or C, E, G and A

*C major7th - which contains the 1st, 3rd, 5th and 7th degrees or C, E, G and B

*C major6/9 - which contains the 1st, 3rd, 5th, 6th and 9th degrees or C, E, G, A and D

*C major9th - which contains the 1st, 3rd, 5th, 7th and 9th degrees or C, E, G, B and D

*C major13th - which contains the 1st, 3rd, 5th, 7th, 9th and 13th degrees or C, E, G, B, D and A

Hopefully, this report has helped clarify some of the confusion and mystery surrounding major chords and harmony in general. I hope you'll stArt having some real fun experimenting with all the new possibilities that you've just learned in this report!

Never B#, Never Bb, Just B Natural,

Steven Herron

Peabody Conservatory trained guitarist Steven Herron is the owner of Chord Melody Guitar Music which specializes in fingerstyle and pickstyle guitar sheet music, tab books with CDs, instruction videos and DVDs for all styles of guitar - including jazz, classical, flamenco, rock, blues, country and acoustic. He also teaches a Free monthly internet guitar lesson complete with audio sound clips that you can easily sign up for at the Chord Melody Guitar Music website - http://www.chordmelody.com

Author:: Steven Herron
Keywords:: guitar lessons, guitar music, guitar sheet music, guitar videos, guitar dvds, guitar instruction,
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Music and Politics: What's the Connection?

Good evening! Are you watching the election returns? I am and I can't help thinking about all the Music that has accompanied election campaigns and political campaigns of all kinds in the last few centuries. The first song that comes to mind for me is Happy Days Are Here Again. This well-known song became the theme song for President Franklin Delano Roosevelt's 1932 inauguration - and was synonymous (with its upbeat tempo and cheerful lyrics) with the promised emergence from the Depression and Roosevelt's New Deal. There have been hundreds of other songs before and after this one, but on this important election night, I can't help but consider how important Music is in setting the tone and the mood of a particular candidate, a particular race, or even a particular political party. A friend in another state is running for Secretary of Education. Imagine how much better her campaign is for using School Days behind television ads rather than I Can't Get No Satisfaction.

What is it that creates the strong feelings? The lyrics, obviously but also the tempo and the rhythms; a strong march-like rhythm with strong lyrics gets most people involved and makes the words more memorable. Think of The Battle Hymn of the Republic. That song has been sung for generations and will last for many, many more.

Music enhances and reinforces every human experience. Notice and be selective about what you include in your sonic environment. Music can heal and it can also wound. Give yourself the healthiest and most beautiful, uplifting Music you can get.

Dr. Alice H. Cash is a clinical Musicologist and a media expert on the healing power of Music and the effects on Music on all aspects of society. She is also a nationally known speaker and presenter. For more information on Dr. Cash and her work, visit http://www.HealingMusicEnterprises.com

Author:: Dr. Alice Cash
Keywords:: Music, Elections, Politics, Political Songs, Political Music
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Record Pools Are You Swimming Yet?

The winter months have hit us and unless you live in Southern California, most people arent swimming in open-air pools any longer.

Until recent times, Indie Artists and the labels they set up for themselves had a hard time getting their Music heard by anyone outside their own backyard pool of fans. With guerilla Marketing finally becoming common Practice and online Music stores becoming a main stay for the Music aficionado, record pools are now open for business to the general indie population.

What is a record pool? Basically, a record pool is a membership of DJs that act as an interMediary between DJs and the Music makers. The power behind a record pool is that it can reach a mass, global market in lightening speed.

As of 2005, there are over 7000 DJ's and industry Professionals who are part of this digital revolution. In order for a DJ to belong to a record pool, they must pay a monthly association fee to obtain the latest and most current Music.

Frequently this Music is available to them before it becomes available to mainstream radio, and because of that, record pools quite often have more of an initial impact than the popular mainstream outlets.

The power radio Programmers have over radio, clubs and street Music is now handed over to the DJs who participate in the record pools, allowing them to have control over what they break.

So how can you get an invitation to swim in their pool? No invitations necessary, but you must have a good Professional Product that is available in digital format (although I did find one that accepted vinyl).

Some of the record pools now require that you have your own label, meaning that you dont submit as your band name. That is easily done by setting up your own label (to o much information to go into here, but you can find the information inside my book The Indie Guide to Music, Marketing and Money).

Once you have the business side taken care of, start searching the internet using the keywords, record pool, and then contact them to be certain that your style of Music is part of their repertoire.

Dont randomly send out your online or hard copy Press kit to every record pool you find, just as you wouldnt send your Music to every stati on you discover. E.g., a country record pool isnt interested in acid rock and a classical record pool wont be interested in spinning a blue grass tune. Then begin to submit your CDs using the contact information you acquired. Do you homework and beware of companies that dont post charts or may be Music collectors.

Here are a few record pools I found on the web:

http://www.americanrecordpool.com (they rePresent an assortment of Music, including R&B, Hip-Hop and Dance.)

http://www.keystonespinners.com (they rePresent Hip Hop, Latin, World and Jazz)

http://www.vipchicago.com (they rePresent Dance, Hip Hop, and Latin)

Recently I had a chance to talk to one of the managers of V.I.P Chicago, DJ H.Vargas, about what they do and here is what he had to say, One has to understand the reason why record pools truly exist, and it should not be just to pass out Product to their members.

Some records pools are in the Process of becoming more involved in the overall Promotion of the new artist. Creating Product awareness with merchandising, sponsoring special events at local nightclubs and record stores, and naturally keeping their ears to the ground on whats selling and what are the current trends within their market.

With their pool of DJs the office managers are able to have overnight results, and more importantly, feedback. Feedback that is essential to the companys that service the pools as an option that some C.E.O.s consider essential, and for that we thank them.

These factors, along with an undying love for Music, allow the office director and their DJ members the opportunity to be involved in something which many of us consider a blessing from above. No fanfare, no glory, just great Product and the excitement of the dance floor.

The time for indie Artists is upon us, but you better take advantage of record pools now, before someone puts a no swimming without a lifeguard sign out.

Copyright 2006 Jaci Rae

Jaci Rae is the #1 Best Selling author of Winning Points with the Woman in Your Life One Touchdown at a Time ISBN 0974622907 and The Indie Guide To Music, Marketing and Money ISBN 978-0-9746229-4-1 as well as the host of the Jaci Rae show. To hear Jacis popular show, with some of the top behind the scenes as well as famous bands go to: http://www.jacirae.com click on the weekly show link.

Author:: Jaci Rae
Keywords:: record pools, Marketing, Media, Pr, public relations, Music industry, record labels, Artists, Music
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