Private Guitar Lesson: Learn To Play Mary Had A Little Lamb

In this Guitar lesson I will instruct you on how to play Mary Had A Little Lamb on your Guitar. I will use ordinary english words so you don't need to know sheet Music notation!

Mary Had A Little Lamb can be played on the first two strings on your Guitar. There are four notes to learn and we will take this opportunity to learn a little about the Guitar at the same time.

Guitar lesson: Part 1

We will begin with the first line of lyrics:

Mary Had A Little Lamb

The first note you will use is called E and is found on the first string on your Guitar. This string is called E and is the thinnest string on your Guitar. You can pluck this note with your right hand thumb.

The next note is D on the second string. To play the note D you need to press down the second string with one of your left hand fingers on the third fret. I suggest that you use your ring finger.

Why should you use your ring finger?

Left hand fingering on your Guitar means that instead of using just one finger on your left hand to play all notes on the Guitar you will use the first finger for the notes on your first fret, the middle finger for the notes on the second fret and the third finger for the notes on the third fret.

This might feel a little bit awkward at first because most people feel that the ring finger is weaker that the rest of the fingers.

If you are persistent you will e xperience that using these fingers will make it easier to find your way around on the fretboard without looking all the time.

Let's go back to our Guitar lesson!

The next Guitar note is C. Press down your first finger on the first fret of the second string to find this note. Play D again.

Now the melody goes back to E played three times. The whole sequence of notes will be:

E D C D E E E

You will probably hear that the last E will be a little bit longer than the rest of the notes.

Guitar lesson: Part 2

Here is the next line of lyrics:

Little lamb, little lamb

The first three notes are D on the third fret of the second string. Make the last one of these notes a little longer.

After these notes comes E on the first string. When you pluck a string without pressing down a fret you are playing on an open string. So we can say, play E on the open E-string.

Finish this line of lyrics by playing the note G twice. Press down you left hand ring finger on the third fret of the first string.

This sequence of notes will be:

D D D E G G

Play the third and the sixth note a little longer than the rest of the notes.

Guitar lesson: Part 3

Let's proceed with the lyrics:

Mary had a little lamb

The words are identical with the first line. So is also the melody. In other words, the sequence of notes are:

E D C D E E E

Guitar lesson: Finale

The last line of lyrics looks like this:

Its fleece was white as snow

The melody starts with E on the first open string followed by D played twice on the second string, third fret. Next E again, and D and the song ends with C on the second string, first fret.

The whole sequence of notes looks like this:

E D D E D C

In this Guitar lesson we have learned four notes on the Guitar. C, D, E and G. I recommend that you learn this melody by heart, one line at a time.

This means that you can play Mary Had A Little Lamb in C-major on your Guitar!

Peter Edvinsson is a Musician, composer and Music teacher. Visit his site Capotasto Music and download your free sheet Music and Guitar tablature at http://www.capotastoMusic.com

Author:: Peter Edvinsson
Keywords:: Music, Guitar, learn to play Guitar, Guitar lesson, how to play Guitar
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Ramones Forever

Immortality is so much better when you can stay around long enough to realize it ...

In that respect, the Ramones endured to at least have a hint it was being bestowed upon them.

Once again, you've got a chance to see why. If you were among the many who missed them in their heyday, you can now relish their legend --- in sound and sight --- with a cleverly-packaged collection entitled 'Weird Tales of the Ramones.' If you have any favorable inclinations toward rock music or pop culture, this is an essential item for your edification and enjoyment. Not only does the set contain 85 Ramones songs and 18 videos, it features an impressive array of works from top pop comic artists, such as 'Simpsons' creator Matt Groening and 'Mad' magazine's Sergio Aragones (there's even a 3D comic, glasses included).

The band probably had an inkling of their icon status in the late 1970s when Rolling Stone magazine named them as one of the seven most important groups in Rock-&- Roll history. However, even then, the relative squalor of their daily existence was threatening to put them in the ironic company of Mozart and van Gogh, two titans of their art whose earthly rewards fell far short of their legacies.

Actually, all the Ramones ever wanted was a hit. They were New York misfits who grew up humming to the Top-40 charts, so perhaps that yearning was understandable. It was yet another irony of their careers, as their ultimate impact on rock music was that of being iconoclasts. They ultimately didn't need the Top-40 to make their presence felt.

A recent movie scene hit this nail right on the head. When Jack Black's faux-teacher character in the wonderful 'School of Rock' diagrammed the influences of virtually every esteemed band of this era on a blackboard for his elementary-school students, the name at the center of that chalked universe was, rightfully, etched in all capital letters: RAMONES. Another indicator of their impact is the l ineup of artists who covered their tunes on a 'tribute' album compiled by the late Johnny Ramone and Rob Zombie (if your musical tastes are merely mainstream, he contributed 'Dragula' to the 'Matrix' soundtrack). The album was produced to generate proceeds for lymphoma research, which claimed the life of Joey Ramone. Those who paid homage with their performances were a veritable Who's Who of today's rock industry:

- Pearl Jam's Eddie Vedder (who was a close friend of Johnny Ramone),

- U2

- Metallica

- Marilyn Manson

- Tom Waits

- The Pretenders

- Red Hot Chili Peppers

- Offspring

- Garbage

Even glam-rockers Kiss made an appearance, perhaps as a subtle acknowledgement that their own style-over-substance circus act has been well and truly outlasted by the stripped-down sound of the Ramones. Kiss' contribution to the cause, though, may have been to first establish that a group didn't really need a Top-40 hit --- their only noodling of note that made the hit list was a ballad, 'Beth' --- to become financially independent. Merchandising was their meal ticket and years later, that was the route that finally served the Ramones so well. Their first roadie, Arturo Veja, designed a distinct logo and hawked it is fashioned along the lines of ton clothing and posters at their concerts. The logo imitates seal of the USA's Defense Department, which in a sense, embodied the essence of the group:

- They were proudly American,

- Their sound was aggressive, and

- Their compact compositions seemed to defend the roots of Rock-&-Roll.

To this day, items adorned with the Ramones logo can be found everywhere in the world. A further show of the band's ever-growing effect on current consciousness is seen in sports, as hockey arenas all over North America have turned the seminal 'Blitzkrieg Bop' ('Hey, ho, let's go!') into an anthem that raised the song's mainsteam familiarity to such an extent that it now provides the 'zeitgeist' attitude portrayed in Pepsi-Cola commercials and elsewhere.

In a way, the Ramones finally have their hit. With the third passing of the original four band members --- bassist DeeDee Ramone --- only drummer-cum-producer Tommy Ramone has survived to completely bask in the belated glory.

Besides the release of the boxed anthology, the other reason to wax poetic about the Ramones right now is the announcement that the Sex Pistols have finally been accepted into the Rock-&-Roll Hall of Fame. To many, they were the clarions of punk rock, but both the Pistols and The Clash owe their origins to the Ramones, who were inducted in 2002, when all but lead-singer Joey were still alive.

The Pistols and Clash were in attendance for the first Ramones concert to rock the UK. Both met the group, who encouraged them to forsake perfection and embrace energy and get their sounds recorded as they were. Even the term 'punk rock' was cr eated in New York by underground diarist Legs McNeil to describe the Ramones (and Iggy Pop's Stooges) as well as the genre that was emerging from the dark shadows of disco, appealing to the disaffected and disenchanted who clung to the late-60s ideal that music still mattered.

One pleasant surprise on the boxed set is the inclusion of a song the Ramones only released in the UK, 'I Don't Want to Live This Life Anymore.' It's DeeDee's melodic projection of the last moments in the drug-engulfed murder-suicide of Sex Pistol bassist Sid Vicious and girlfriend Nancy Spungen. This concise, haunting opus, composed late in the group's career, served to further illuminate the torch being passed, from the influence the Beatles' early songs had on the Ramones --- the band took their name from an alias Paul McCartney commonly used when registering at hotels --- to their own influence on the British scene that grew from their presence.

The Pistols substituted anger for the Ram ones' wit, but they still had the artistic 'edge' that all great rock acts possess. They, and so many groups after them --- including Nirvana and Green Day --- took their cue from the Ramones that the music was more than just a catchy tune. Much more. The Ramones returned the music to its adulators by making it accessible again. They hit the raw sensations that powered Rock-&-Roll in the first place.

And that may have been the Ramones' greatest 'hit' of all.

J Square Humboldt is the featured columnist at the Longer Life website, which is dedicated to providing information, strategies, analysis and commentary designed to improve the quality of living. His page can be found at http://longerlifegroup.com/Cyberiter.html and his observations are published three times per week.

Author:: J Square Humboldt
Keywords:: Ramones, Rock & Roll Hall of Fame, music dvd, gift ideas, punk rock, Cyberiter
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Show Off Your Piano Skills

Showing off your piano skills is not a tough job, but is not that easy either. Most people learn piano playing by playing just the written music- playing the exact notation. This leaves little room for creativity, and, therefore, little room to show off, right?

To show off your amateur skills, instead of following the harmony note by note, follow the chord symbols written above the harmonies, bridging the gaps with whatever you desire. Playing by the chord leaves room for experimentation, the freedom to create, to invent. In other words, to show off your amateur skills. This, however, does not mean that playing by written music is less important. It is a valuable skill indeed.

The first of the chord symbols, the root, tells which note is the root of the chord. Exempli gratia, in a C7 chord, C is the root. Piece of cake, this.

Quality, second part in chord symbolization, denotes whether a chord is major, minor, diminished or augmented. In Emaj7, the maj te lls that E is major. Similarly, maj can be replaced with aug, min, dim.

The extension in the symbol, written after quality, reveals if the chord varies from a triad, such as an 11th or 6th or 7th or 13th. A C6 would mean that chord C includes the 6th note above C, which is A. if such notation is not shown; it is to be assumed that the chord is a triad.

Alteration, the last part in chord symbolization, is usually expressed. It gives the musician specific instructions for playing the chord and is written in parenthesis after the extension or the quality, if no extension exists. (No seventh) would tell the pianist to leave the seventh tone alone. Sus for suspension, would require playing the fourth note instead of the usual third. Minus sign indicates lowering (flattening) of a chord tone, a plus would imply a raise (sharpening) a tone. Example, D+7 would mean to raise the 7th of the chord.

Once you see through these intricacies, you will be reading only a ha ndful of notes per measure, but you will be playing a lot of notes arpeggios, chords, riffs, fills, etc. you can then add a personal touch to the music, and play your song how you want to play it, not like everybody else is. A great way to show off your amateur skills!

Shubhanyu Jain is the co-founder of Inmistia and the Editor of Inmistia Oneness. His site provides valuable information and tips on health-related issues. This site touches various topics related to personal health, suggests tips for various health disorders. Visitors will revel in the sheer abundance of information available on the site on everything related to their health. Visit Inmistia Oneness for more information.

Author:: Shubhanyu Jain
Keywords:: piano lessons, show off piano skills, flaunt piano skills, Inmistia, Oneness, shubhanyu jain
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10 Music Download Legal Points

Everybody's doing it: downloading Music and sharing files. People who share Music files on the Internet argue that downloading is legal; today they can be sued by the record industry. Can one be sued without a great intrusion into personal lives of an individual?

1. Enjoy Music downloads from safe and legal sources. Get the facts and not the scare tactics, about online Music services.

2. The prosecution has to able to prove, with adequate evidence, that the IP address used for Music downloads can be linked to the person accused of illegal content sharing. There is a growing concern for privacy. Legal experts worry about the intrusiveness of Internet monitoring in order to prove a court case.

3. These IP address--numbers--given to user by the ISPs are dynamic and change rapidly. The starting point is to establish that there is enough bona fide evidence to prosecute.

4. It is difficult to a pin an IP address on any one person. The IP numbers that so me ISPs assign to their users can change from one session to the next. The Music industry must be able to link file-sharers to specific IP addresses at the times those addresses were used for file sharing.

5. Since their are personal freedoms involved, the courts want to make sure that the individual is revealed to the public.

6. These copyright allegation lawsuits are a minefield, because they involve the personal information of the defendant.

7. In Canada, under its privacy laws, people are protected through court confidentiality orders. In the United States, the Recording Industry Association of America (RIAA) must get a order to reveal the downloader's identity.

8. It is difficult to give a definitive decision on the interpretation copyright law itself.

9. The legal tactics of the U.S. recording industry, which have been suing individuals for sharing Music on-line. The entire Music industry has changed dramatically. Since file sharing bega n, there has been an increase in the popularity of DVDs and video games that have put recording sales revenue in a slump.

10. The Recording Industry Association of America (RIAA) desires the industry be compensated for losses due to copying, but what decision would make it a flat-out victory. Can the recording industry prove that its bottom line was really affected by file-sharing. In the U.S. the RIAA can sue for statutory damages of $750 per song on a file-sharer's hard drive. But look dramatic price cuts by big box retailers. Once selling Music files for charging 99 cents a song was the norm, now look at Yahoo who now offers $60 a year for all you can eat program. How can the RIAA or CRIA claim such high damages?

Downloading Music has been around only a few years and is still evolving. A good road map is needed for what we have to do in the future in the area of copyright on the Internet. It doesn't mean copyright law does not protect content. For sure, whatever rulings are arrived at, will have long-term effects for us all.

Vincente Applegate
Dedicated to offering news, articles, and instruction on online Music downloads. You have a definite choice of Music sources online. Visit http://www.anyMusicdownload.com for more information.

Author:: Vicente Applegate
Keywords:: Music, Music download, Music downloads, file sharing, Mp3, media player
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Learn Lots Of Left Hand Chords Quickly (For Organ Players)

All keyboard players can use this method of learning chords if you are prepared to play your own bass notes to match the chord.

Keyboards with the Auto-Chord feature cannot use this method because the keyboards computer selects the bass note for the chord you are playing. For example if you play an F6 chord on a keyboard using Auto-Chord the keyboards computer will insert an F bass note or riff based on F6 chord. However, F6 chord is also a Dm7 chord as long as there is a D bass note played. Organ players have the choice to play there own bass notes which means when you have learnt to play F6 you have also learnt to play Dm7. One chord position with the left hand but two chords learnt just make sure to use the correct bass note, F pedal for F6 and D pedal for Dm7.

There are many examples of these chords. I wont list them all but the examples I do list you can work out a lot more for yourself.

Using the above example F6 is also Dm7. There are two ways to l ook at this. To find the minor chord from the sixth chord we need to know the sixth in the F6 chord. The sixth in F6 is D so we can make Dm7.

Lets check the notes in both chords. First F6:

F, A, C, D. F = Root A= Third C = Fifth and D = Sixth plus an F bass note reinforce or emphasise the Root.

Next Dm7:

F, A, C, D. F =Minor Third A =Fifth C =Seventh and D = Root plus a D Bass (more important this time) to emphasise the Root.

If you dont like the theory then try counting notes from the name of the chord. For example, if we count three semitones to the left from F, you get D or if you count three semitones to the right from D, you get F. So F6 = three semitones left to get Dm7. Dm7 = three semitones right to get F6.

So using one of the above methods C6 is also Am7 dont forget the correct bass notes or pedal notes make the chord what it is.

Using the above method by learning all twelve sixth chords you will also be learning all tw elve minor seventh chords or vice versa.

Visit http://www.mikesmusicroom.co.uk

About the Author
Michael David Shaw (Mike to his friends) runs the website Mikes Music Room the place for organ and keyboard tuition and music news. You can email Mike at mike@mikesmusicroom.co.uk

Author:: Mike Shaw
Keywords:: piano lessons, organ lessons, sheet music, keyboard lessons, music ebooks
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How To String A Classical Guitar

When changing the strings on a classical guitar it is best to change one string at a time. It is not good for the neck of the guitar to have a sudden release of tension and then to have it applied forcefully later. This can lead to distortion of the neck and permanent damage.

As well as this, never tune the string more than a tone above its normal pitch. You can tune it a little sharp (for example, one semitone above normal concert pitch) as this can make the guitar a little brighter to play. Tune it any higher and you risk breakage.

Never put steel strings on a classical guitar. It is not constructed to take this exertion and it is easily damaged (the neck can break away from the body).

To string the guitar:

- Unwind the old string until the tension is completely released and the string is quite floppy
- Unthread the string from the Capstan in the Headstock
- Next untie if from the bridge and discard it

Youre now ready to string the guitar:

- StArt by slipping the string through the corresponding hole in the bridge from the sound hole end
- Leave approximately 1 inches of the string sticking out past the back of the bridge
- Pull the extra string length towards the sound hole and loop it around the string where it originally entered the bridge
- Loop the string under and over itself on top of the bridge twice. This forms a figure 8.
- Pull the string tightly away from the sound hole and attach it to the tuning peg as shown below
- Loop the string at the peg head and then twist it around itself before tightening the peg
- Continue to restring the other strings one by one using the above method

After all the strings are restrung, stArt to tune the strings by stArting with the first E treble string. Use the tuning fork to get the A note on the 5th fret. You can tune the other strings from this.

There is another way of securing the string to the bridge. This is called the Letter D method. This is usually used only for the 4th, 5th and 6th strings and is done as follows:

- StArt as you would with the figure 8 by passing the string through the bridge at the sound hole and leaving 1 inches sticking out
- Bring the extra string length back and loop around itself then under and over itself ONCE at the very back of the bridge forming the letter D

Supposedly, the figure 8 is better since it has more holding power.

Some things to take note of while restringing and tuning:

- Nylon strings, especially trebles, are very stretchy. On the first day they will seem to be never in tune but will stabilize the next day
- Dont stretch the strings when restringing since this make them develop thin areas. Uneven strings do not play in tune
- Most intonation problems are due to uneven strings
- Experiment to find the string that sounds best

Remember to take your time when first restringing a guitar. Take care that you learn the correct method. There will be less slippage and breakage or tuning problems if you learn in this way.

When you first put on new strings play all the semitones, fret by fret, along the string length and then retune the guitar. This will allow the strings to stretch more quickly and settle dow n and stay in tune.

There are a lot of classical guitar strings on the market. It pays to experiment until you find the one that is right for you

Restringing a guitar can be a bit daunting at first. Approach the task slowly and take time to learn the correct methods.

Gen Mason is a guitar player from Florida. Discover free how to improve your guitar skills at Jamorama

Author:: Gen Mason
Keywords:: how to string a classical guitar
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Learn Piano Chord over Chord/Octave Technique

When playing the Piano by ear, the exciting part is that the pianist can play the song different each time through, therefore breaking up the monotany, which in returns makes the music more appealing. One way to do this is using the Chord over Chord/Octave Technique. This technique is done by playing a certain chord (such as G major) on the right hand and a different chord (such as Em) on the left hand. Another variation is to play the root octave on the left hand as opposed to playing the chord. In this instance, the pianist could play either E octave or Em chord at the same time he/she plays the G chord on the right hand.

The chord change would be written as G/Em if the chords were used on each hand or G/E if the right hand is playing a chord (G) and the left hand is playing an octave (E). Sinc e the right hand is usually playing a higher pitch, it's chord is listed first to indicate it is over the left hand, in pitch that is. The chord change G/E would be called G over E.

This creates a fuller sound. Normally, the change would be Em in the song, but using the previously explained technique one would obtain a much more fuller sound. Playing Em is acceptable, but playing G/E the next time you come to the same chord change creates a fuller and different sound.

The chord change G/E and G/Em is actually a split of the chord Em7.

To determine where this chord might be placed in a song, feel free to email me at matthew@thePianobyear.com

To view a complete biography for Matthew Stephens visit http://www.thePianobyear.com!

Author:: Matthew Stephens
Keywords:: Learn, Piano,
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