Classical music Joanna Foss

How to Get Affordable Violin Instruction

2010-07-06T05:35:00.000-07:00

By Eric_Conklin

Everyone wants to get good violin instruction, but the reality is not everyone has the money to pay for it! The fees can add up. Some teachers charge only 15 or 20 dollars an hour whereas some might ask as much as 50 or 100 per hour for lessons! That can really add up, and if you are just beginning and want somewhere to start that won't drain your wallet, here are some ways of getting around the entire mess altogether with affordable violin instruction.

One way you can get affordable violin instruction is by looking in your local newspaper and classified ads on Craigslist. There are a lot of people looking for someone to teach that have skill and experience, but no one to give violin instruction to and no job currently working in the field! These people often come to the internet or to newspapers looking for someone to help them grow as a teacher. You can post an ad to find some of these people, or you can just respond to one yourself and get yourself someone who might be an untapped source of knowledge and experience when it comes to violin instruction. A lot of times, there are regular folks in the neighborhood who happen to have an extraordinary talent on the violin!

Another way you can go is online video lessons. While it is not quite the same as real life violin instruction, a video lesson can often give you just as much insight into playing the violin as a lesson can. And for the price, it is very difficult to get cheaper violin lessons. For 30 dollars, you can learn from a professional full time violinist and a member of the Manhattan String Quartet. That is truly a privilege to be exposed to the best violin instruction of such an experienced violin teacher!

It really is an opportunity for people who aren't ready to fully commit to private lessons and pay money on an hourly basis to someone when they can just get Eric Lewis's Violin Master Pro and get access to tons of information and violin instruction. The course has changed the ability of a lot of students all around the world, and it doesn't matter where you stand as a student! You can be at a beginner, intermediate, or advanced level on the violin and this course will still help a lot.

Eric Conklin is a violinist and a blogger who specializes in helping new musicians find lessons that help them grow quickly and efficiently. To learn more about an amazing system that will double your results while cutting practice time in half, visit http://www.howtoplayviolinforbeginners.net/ by clicking the link below:

How to Play Violin for Beginners

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Checking the arm length

2010-07-05T04:47:00.000-07:00

If your child decides to start playing the volin, it's worth checking what size of instrument he needs. Visit any music shop and ask for advice. My son (Y5) used to play in Y4 using a full size volin, my daughter, on the other hand, needs 1/4 volin and she is in Y2. Both are average height. Smaller children will need smaller violin - try before you buy any instrument.

Best Violin Intonation Practice Techniques

2010-07-01T04:07:00.000-07:00

By Eric_Conklin

Violin intonation takes a long time to get used to and may be frustrating and difficult for a new violinist. While I don't recommend focusing solely on intonation, it is one of the main pillars of good playing ability that no violinist can afford to overlook. No matter how beautifully you play with the right hand, if the left is off pitch, nothing will sound right! So keep this in mind and follow some of these simple violin intonation practice techniques to improve your ability on the instrument.

First off, practice slow scales to improve your intonation. This means taking a normal two or three octave scale and slowing it down with a metronome until you are at 60 beats per minute. This pace will feel grueling, but that's exactly the point! You want to feel like you are analyzing every last note down to the wire and looking at each note through a microscope. Only slow practicing scales will give you an edge on your violin intonation scale work, so do this at least once per practice session.

Next, put yourself next to a recording and practice a piece or a scale you are working on. This violin intonation exercise will force you to measure up to a professional level of intonation with your own abilities and will keep you in line with the way the music is supposed to sound at all times. You may need to stop the recording in order to fine tune your violin intonation, but try to keep up and keep your notes clean as best as possible throughout the entire session.

You can also practice humming and playing. This simple exercise consists of humming the note you are playing while playing it. It forces you to mentally and physically recognize whatever it is your hands are playing and gives you the ability to handle the notes in a much more engaged manner. I recommend doing this with a metronome very slowly because it will be much more difficult to hum while playing than to just play.

If you need more exercises for improving your intonation techniques on the violin, I definitely recommend getting a good teacher in these areas who can help you figure out a solid plan for mastering improvisation. Get a teacher who is experienced in classical violin playing as this area is typically very strong when it comes to violin intonation.

Eric Conklin is a violinist and a blogger who specializes in helping new musicians find lessons that help them grow quickly and efficiently. To learn more about an amazing system that will double your results while cutting practice time in half, visit howtoplayviolinforbeginners.net by clicking the link below:

How to Play Violin for Beginners

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Embrace and Extend Suzuki - Simply Violin - The Sing, Play, Learn Songbook

2010-06-30T03:18:00.000-07:00

By Sheila Graves

Simply Violin: Sing. Play. Learn. Favorite Songs for Violin in First Position is a new book for beginning violin students. I have been teaching violin and viola for nearly 30 years and am always looking for new ways to inspire and teach my students. It can be difficult to keep today's children interested in learning violin -- especially when they are assigned unfamiliar songs and exercises. Although Suzuki has been considered the Gold Standard almost since Book One for violin first came out in 1978, I have always found the songs to be rather dull. I also think the level of difficulty rises far too quickly. In contrast, Sing. Play. Learn's songs are all intended to be played in first position, and every song can be played with or without using the fourth finger of the left hand.

After using the book for about 6 months, I have had good luck with it. I appreciate that there are 80 songs, more than contained in any other violin book that I can think of. And, yet, the children know most of the tunes and enjoy playing music that they recognize. The parents also are happy to hear recognizable tunes and are more able to help their children to learn them. Plus, the musical editing is very clear, the bowings and articulations well thought out, and there are no page turns within songs.

Another aspect of the book that I like is that it is divided logically into sections that feature fingerings such as first finger low, second finger high, etc., introduced separately. The book also has lyrics for each song. I have found that if a student is having trouble with pitch or rhythm, it can be helpful to sing the song first along with the student, so that he or she can make the connection to the notes and rhythms on the page. Because of its logical division of songs, fingerboard and note reading charts that Suzuki does not have, and arrangement in order of increasing difficulty, I do consider this to be a method book as well as a song book, and, thus, a possible competitor or at least supplement to Suzuki Book One. As an accompaniment book is also available, all of the songs can potentially be used in recitals, another strength.

I have found this to be a very well thought out book and am glad to have it in my teaching studio. However, to name just the few quibbles I do have with the book, I would like to see a page introducing beginning rhythms and possibly also some pictures showing correct bow hold, position for holding the violin, and proper positioning of the feet, as well as other instructional images, as are incorporated in the latest release of Suzuki Book One. However, because the book is unique in the market for beginning violin books, I think it is worth considering despite lacking these items.

I hope this book also comes out for viola, as there are even fewer good song books for viola than for violin.

Sheila Graves

Violin Dealer

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Violin Instructions - Tips For Finding Effective Violin Instructions Online

2010-06-29T02:34:00.000-07:00

By Darron_Lombardo

The ability to go online and find effective violin instruction from some of the top violinists in the world is one of the biggest luxuries of modern technology. It used to be that only the privileged had access to the world's finest violin masters and only children with parents who could afford music school or private lessons had the opportunity to learn to play the violin at all.

Today, all that has changed with the prominent offering of online violin instruction programs. The following tips will help guide you through this market so you select the most effective program.

Instruction Medium

The first thing you have to look at when considering a program for online violin instruction is what medium the lessons are delivered through. Obviously, reading an e Book is not going to get you very far. You need to actually be able to see your instructor's face and hear their words in order to get the most out of violin instruction. You also need to actually hear them play the music you are trying to learn.

The only way to have this type of interaction with online violin instruction is to find a program that uses online video stream and mp3 files to deliver the actual lessons. These programs may also offer some written material to help you along, but without the actual videos and mp3 files you aren't going to learn very much.

Instructor Quality

Once you find programs that offer videos and mp3 file lessons, you have to look into the background of the instructor actually delivering that violin instruction. If you just go with the cheapest program available you will be kicking yourself later on when you realize that some of the best programs are now being taught by professional violinists with years of professional working experience as a violinist.

Get the full name of the instructor offering your online violin instruction and see what type of experience they have. Try to find a way to listen to some of the music that instructor has performed, which should be quite easy to do if they have performed in professional groups or in any type of professional aspect in the music industry.

Guarantees/Claims

Once you find online violin instruction that features videos and mp3 files by a professional with proven experience, check into the guarantee and all claims being presented along with the program. If there is a way to get your money back if you aren't satisfied then you have more security in purchasing the program.

You should also look into what types of claims are being made by the program to determine if it was designed for someone of your skill level or age. For instance, some programs may not be very suitable to children while others start at an intermediate level rather than a beginner level.

There is no longer an excuse for putting your violin lessons on hold! It doesn't matter how old you are or how limited your budget may be. If you have the desire to learn the violin and are willing to free up a bit of time for online violin instruction and some practice, you can learn from the best violin masters in the world. Check out sites like http://www.violinmasterpro.info/ to find out more about the amazing opportunity to learn the violin online in your free time!

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How to Play Violin Ricochet

2010-06-28T02:25:00.000-07:00

By Eric_Conklin

Violin ricochet is a delicate technique that requires timing, skill and attention to detail. Overall it's not something I recommend beginners learn as it can complicate your bow skills by introducing it to a player too soon and not allowing them time to adjust to the basics. However, if you are interested in learning how to properly play the violin with ricochet technique, here are a couple of basic pointers you need to keep in mind when it comes to playing violin ricochet.

To begin, you need to master your confidence of coordination between the pinky and the thumb on the right hand. You should always think of these two as a lever and fulcrum between each other and should make the violin bow move independently and unconsciously together when playing violin ricochet. To practice this sensation, try taking the bow in your hands with only the pinky and the thumb, relieving the three fingers in between. Now hold the bow parallel to the ground, then turn it upwards using only your pinky to press down until it runs vertical. Then lower it by pulling it back down with the weight of the thumb.

On to the next exercise! Basically to play violin ricochet you need confidence in your pinky and thumb position, then you need confidence bouncing off the string. Once you have those two combined, you should be able to play a ricochet stroke. So next, we are going to practice striking the string with the same motion used by the bow before, but without bouncing it. So grip the bow just as you did in the previous exercise, raise it up, then strike the string. Don't bounce! Rather, just allow the string to hit the bow and the weight of the string to dig in using only the pinky and thumb, the repeat.

Finally, to practice full ricochet technique, place all your fingers on the bow so you have a sufficient amount of weight to draw the bow with. Draw a normal upbow, then release the bow at the top and strike the string with it allowing it to bounce as you pull the bow downwards on the string. The combined striking of the bow plus downward pulling into the string will produce the desired ricochet effect and will allow the bow to bounce along the string like a rock skipping across water! Practice this until you have the violin ricochet technique down.

Eric Conklin is a violinist and a blogger who specializes in helping new musicians find lessons that help them grow quickly and efficiently. To learn more about an amazing system that will double your results while cutting practice time in half, visit http://www.howtoplayviolinforbeginners.net/ by clicking the link below:

How to Play Violin for Beginners

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Violin Basics - Instrument Care - The Strings, the Bow and Other Basics of Violin

2010-06-27T02:56:00.001-07:00

Congratulations on acquiring a violin! Maybe you're a youngster who has dreamed of playing in the youth orchestra or a grownup who wants to sound like a Dixie Chick. Taking lessons on your own, going at your own pace and choosing the music you love is fun and easier than you think. But you've got to learn violin basics-otherwise, you'll sound more like a Dixie Dingaling!

* Always use the case! Your violin is a delicate instrument. Whenever you're done with it, put it away.

* Don't put it behind a door where it's likely to get jarred or banged up.

* If you're driving somewhere, don't put it in the trunk. Place it on the back seat.

* Don't leave it in your car when you're not there. The heat that builds up in the car can melt the glue used in the violin construction or warp the wood.

* The same violin basics should teach you not to leave it in a garage or attic during cold weather, either!

* And you most certainly shouldn't store it in a damp basement.

Violins are available in so many brands and for a very wide variety of prices! It's sad but true that you get what you pay for, and if you don't spend several hundred dollars you are just getting a pretty box with strings on it. You can, however, convince most retailers to give you a deep discount from the retail prices displayed in the store. Expect to pay a minimum of $350 for a beginner's violin at the discounted price.

Violin basics start with your strings. You can choose from gut, synthetic, or steel strings. The steel-core and gut-core strings were used for years; nylon strings were not developed until the Seventies. No matter type you prefer, they all come in price ranges from $25 to over $100.

Over a century ago, just about all violin strings were made from sheep or lamb intestines. Today, thankfully for the squeamish among us, most gut-type strings are actually gut-core, with the string of gut wrapped in aluminum or silver-plated copper. They are suppler, but they also tend to go out of tune faster in warm weather. There are still musicians who use pure gut strings, but they are performers of neoclassic music striving to recreate the sounds of yesteryear.

In the late 1800s, steel strings were developed. Today's versions have a core of steel wrapped by some finer metal, usually chrome, titanium, tungsten, silver, or a plated metal. They do not render the complex sounds of the gut-core strings, but they do hold their tune better.

By the 1970s, manufacturers came up with strings made from perlon, a type of nylon. These strings supposedly sounded more like gut-core but maintained pitch as well as steel-core. Many brands of synthetic strings can be broken in faster than the other types, and they hold their tune as well as the steel strings.

What about your bow? Is horsehair really used? The answer in most cases is yes. There are synthetic-hair bows, but most bows are strung with 150 hairs, generally from Mongolian horses. As you get to know more musicians, you'll hear them talking about using black horsehair to get a better jazz sound, or white hair for symphonic use, using more or less rosin, and so forth.

The screw on the end of the bow will tighten the hair. To play, the hair should have a light bounce to it. You can loosen the screw slightly when you replace the bow in its case. Don't forget the rosin when you're ready to play; if the violin emits a squeaky or scratchy sound, put down the rosin and just play. If you notice a broken hair on your bow, use a nail clipper to clip it off as neatly as possible without affecting the other hairs. You should never touch the hair because it's really fragile, and you also don't want the natural oils on your fingertips to rub off.

As you venture beyond violin basics, look for advice and demonstrations on YouTube or from experts such as http://www.violinmasterpro.info to show you more about handling and taking care of your violin. If you are serious about violin, check out this site http://www.violinmasterpro.info/.

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Have Fun Learning the Violin

2010-06-25T06:24:00.000-07:00

By Deborah_Evans

The violin is a fretless string instrument that can be a pleasure to play as well as hear in the hands of anyone who has taken the trouble to learn how to play it well. Although a new comer to the violin may think the incessant and disciplined practise to be more a chore than a means of having fun, once a person gets the hang of playing the instrument reasonably well and proper notes as well as simple tunes start emerging, interest levels usually improve exponentially! After getting the basics right in how to take care of the bow and the violin itself as well as the proper stance of holding the instrument, it comes to the point where you are now ready to play.

For this you first need to practice playing on the open strings and not using the left hand fingers at all. The intention is to initially practice smooth half bow strokes, starting the bottom of the bow to the middle and back again. As a person become comfortable with this, he or she can then proceed to full strokes, while trying to make the transition from the up - stroke to the down - stroke as smooth as possible.

Next, practice should focus on making sure the bow touches only one string at a time and also changing from one string to another without playing both at the same time. Once the student gets comfortable with this, the next step is to play the scales starting with C on the lowest string, proceeding to D... and the remaining notes.

Are you looking for the best violin lessons for your money? Visit http://violinlessons.grovetech.com/ today!

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Top 10 violin concertos of all time

2010-06-24T14:05:00.000-07:00

By Sandy_Marcus

If you're looking for objectivity, you won't find it here. I'm a psychologist by profession and an amateur violinist. So the following list and the explanations are purely subjective, not the opinion of a professional musician or musical scholar, and will probably change by the time I finish writing this. Nevertheless, as of today, here are the top 10 violin concertos of all time (in rank order), and why I think so.

Number 1 - Ludwig van Beethoven, Concerto for Violin and Orchestra in D major, Opus 61, written in 1806.

"The Gentle Giant." A serene piece of music made of the simplest materials but of immense scope and structure. One of the greatest cultural achievements of Western civilization. Listen particularly for the 5-beat element present almost everywhere in the 1st Movement.

Number 2 - Peter Ilyich Tchaikovsky, Concerto for Violin and Orchestra in D Major, Opus 35, written in 1878.

"A true blockbuster." This is the most popular violin concerto ever written, and with good reason. Written in a burst of happy inspiration, it has been on the best-seller list of audience favorites for over 125 years, and shows no signs of disappearing.

Number 3 - Johannes Brahms, Concerto for Violin and Orchestra in D Major, Opus 77, written in 1878.

"Depth and romanticism." The ideal combination of classical form and romanticism from the unique voice of classical music's most introspective poet. He had to have been in love when he wrote this one.

Number 4 - Niccolo Paganini, Concerto for Violin and Orchestra No. 2 in B minor, Opus 7, written in 1826.

"Dramatic, theatrical, virtuosic, and seductive." Italian opera with the violin solo as a kind of super-soprano voice. You can almost see the curtains opening at the opening orchestral introduction. The ultimate combining an operatic aesthetic with spectacular instrumental virtuosity by perhaps one of the greatest virtuosos and underrated composers of all time.

Number 5 - Jean Sibelius, Concerto for Violin and Orchestra in D Minor, Opus 47, written in 1903.

"Emotional, majestic, and exciting." This has been an audience favorite ever since it was popularized by the great Jascha Heifetz. The rugged nature of the two outer movements is in complete contrast to the exquisite beauty of the slow movement, which has a long melody played only twice.

Number 6 - Felix Mendellsohn, Concerto for Violin and Orchestra in E Minor, Opus 64, written in 1844.

"Seamless elegance and heart." The model of what a violin concerto should be. Pure song from beginning to end. It actually sounds as if it was never actually "composed," but always existed in the atmosphere somewhere, only to be plucked out of the sky by Mendellsohn and written down for others to play.

Number 7 - Bela Bartok, Concerto for Violin and Orchestra #2, written in 1939.

"Animalistic fury from the heart of the Eastern European backwoods." This concerto is simultaneously in classical sonata form, a theme and variations, and with all of the inspiration of an improvised fantasy. Its nature is deep and stark, just as the turmoil of the world the composer lived in.

Number 8 - Dmitri Shostakovich, Concerto for Violin and Orchestra, #1, Opus 99, written in the 1950's.

"The darkness of the 20th Century." Unusual in being in 4 movements, whereas most concertos are in 3. Introspective and vibrant. The 3rd Movement, "Passacaglia," is a theme and variations of almost agonizing intensity.

Number 9 - Edward Elgar, Concerto for Violin and Orchestra in B Minor, Opus 61, written in 1910.

"Victorian pomp and emotional sensitivity all rolled into one." This is one of those "old-fashioned" concertos that keeps popping up as timeless. The depth of emotion, genuine sentimentality, regal dignity, and consummate virtuosity inherent is this music is all perfectly combined and direct from the composer's heart.

Number 10 - Wolfgang Amadeus Mozart, Violin Concerto #4 in D Major, K. 218, written in 1775.

"Purity, song, and perfection." How can you have a top-10 list and not include Mozart? In fact, how can Mozart possibly have sunk to 10th place? The 3rd and 5th Concertos may be more popular, but to me this one has such sheer beauty, liveliness, and heart, that it never fails to move me.

Sander Marcus, Ph.D., is a Licensed Clinical Psychologist and Certified Professional Resume Writer in Chicago. He has over 3 decades of experience in providing career counseling, aptitude testing, job search coaching, and resume writing to tens of thousands of individuals. He is the co-author of 2 books on academic underachievement, various tests, and numerous articles. He can be contacted at marcus@iit.edu, 312-567-3358.http://www.center.iit.edu/

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MythBusters: The Violin is Just NOT COOL

2010-06-23T03:29:00.000-07:00

By Arthur_Haule

"The violin is stupid! Nobody plays the violin anymore! I don't want to play the violin! Violin is just not cool!"

The parent of every violin student has probably heard most, if not all of those lines. I've heard . . . No, I've USED every one of those lines.

I walked into the auditorium of a Fort Worth middle school and saw a man playing an instrument that looked vaguely familiar on the stage. The music was loud. The Led Zeppelin song being played had the kids bobbing their heads, clapping their hands and stomping their feet.

Mark Wood is a rock n roll violinist. He and his brothers toured the Northeast United States playing Beethoven string quartets when Mark was young. After high school Mark attended the Juilliard School of Music to study viola. He left when his teacher wouldn't teach him to "play like Jimi Hendrix."

Mark preaches a gospel of good technique, diligent practice, knowledge of basic music theory and having fun. And I don't know anyone who would accuse Mark of not being cool. His group, the Trans Siberian Orchestra, has traveled the world and regularly sells out venues seating 12,000 people.

Mark says that violin is the "final frontier." He points out that we've moved every family of instruments into the popular music spotlight except for orchestral strings. And his passion is to do for the violin what Leo Fender and his followers did for the guitar. And like Leo Fender, Mark has created his own instrument. The Viper is a radical self-supporting violin that is capable of playing anything from classic Paganini to, well, Jimi Hendrix!

And Mark is not alone.

Regina Carter is a jazz musician. Influenced by Stephan Grappelli, she was so devoted to jazz that she left the New England Conservatory (which had no jazz department) to study at Oakland University. There she learned by sitting in the brass section of the band and listening. Then she would transpose the saxophone parts she heard so she could play them on violin.

Barrage is a group of young musicians based in Canada. Their stage covers more variations of fiddle music than you can shake a stick at. And shake their bowsticks they do! And sing. And dance. And even tumble. And by the time they leave the stage the audience is clapping and stomping along with them.

More than a quarter of a century after fiddler Charlie Daniels and his band recorded The Devil Went Down to Georgia, the song can still get a crowd hooting and hollering! And the band just keeps on going strong with the master showman/fiddler at the helm. I don't know about you, but I'm not about to tell a bunch of good old Southern boys that what gets their fans so excited just ain't cool!

Rachel Barton Pine is a phenomenon! A classical violinist, she is also a fan of heavy metal music. She's even recorded an album of rock transposed for string quartet. Far from the stereotypical stuck-up classical violinist, she's overcome more obstacles in her twenty-plus years than most people do in a lifetime. Now her pet projects include cataloging classical music written by Black composers and making sure through her Rachel Elizabeth Barton Foundation that talented young violinists don't face the same economic challenges she did.

I don't know about you, but I can't find an un-cool human being in the bunch! And every one of them can give you a list of cool violinists that's as long as their bow!

The problem is not the instrument. The problem is not the pedagogy. As long as good technique is taught it doesn't really matter how we go about imparting that knowledge and skill set.

What does matter is the repertoire. (A 14-year old boy, when asked about Mark Wood's music, told me, "Of course it's cool - it's rock!) What does matter is the mindset with which we approach the instrument and instruction - attitude. What does matter is the charisma and communication skills of the person promoting the instrument.

In summary, the proposition (the myth if you will) is:

The violin is just not cool.

As television's Adam Savage and Jamie Hyneman would say, "MYTH BUSTED."

Arthur Haule studied violin in a traditional program for ten years. He participated in several orchestras and an opera company in the New York City area and founded a string quartet. He has taken part in several music festivals and even acted as a violin coach. He is currently webmaster of http://www.violinstudent.com/ Although Art learned violin in a tradtional setting, his daughter Adriana studied with a Suzuki Violin teacher. So Art has personal experience in both traditions. And you'll often hear him say, "It Doesn't Matter How You Learned, All That Counts Is That You Play!"

A fan of classical music, Art is dedicated to promoting the violin no matter what type of music is being played. If there is a melody there, Art probably listens to it.

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Children's Violin Lessons - How it Benefits Your Child

2010-06-22T02:36:00.000-07:00

By Kurt_Stuart_Hamlin

Many children are interested in music. This might start as early as three or four years old. They might not be ready to play the violin at that age, but pretty soon they will be. Here are a couple of reasons that teaching your child a musical instrument, especially a violin, can be very beneficial.

Children's violin lessons will help your child to calm down. As any parent knows, children are full of energy. They are always running, jumping, yelling, and playing. Sometimes they need to have a little bit of quiet time. You could sit them in front of the TV, or you could give them something creative to do. The violin is a great way to calm your child down, but to keep them stimulated.

The violin is cheap and durable. If you go to a music shop, you should be able to find a quality student violin for less than a hundred dollars. Also, the violin is a pretty sturdy instrument. It can be dropped, mishandled, and will still produce a quality sound. This makes it a perfect instrument for a child.

Children's violin lessons will help your child to be smarter. No, they aren't going to learn geography by playing the violin, but learning how to play an instrument helps brain cells to grow. This can make learning other subjects much easier. Learning to read and write music can also help your child to think logically, and to think critically.

The violin will also give your child a creative outlet. It is good to teach them songs and techniques on the violin, but you should also let them play and create their own music. This can be fun, and it will also give them a creative outlet for all their energy.

Kurt Hamlin is a children violin specialist and a contributor to the popular website ViolinBasicsForBeginners.Com. Check out the website for tips on how to learn violin basics for beginners and more!

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How to Learn Violin the Smart Way

2010-06-21T02:13:00.000-07:00

By Michael_A_Mallory

If you've been interested in the violin for some time, you probably feel pretty intimidated by it. I mean most of us get our experience of the violin listening to classical music. We probably think of Mozart or Beethoven. But regardless of where you are right now, I'd like to show you how to learn violin. I want to show you how to learn violin so that it is not intimidating or difficult. And why should I show you how to play the violin? Because I've been playing the violin or fiddle for a little while now and I've used some of the best teach yourself violin programs out there. So my experience I think will help.

So my first order of business is to make sure that you get over the intimidation. Think of the violin as a fiddle if that helps. They are pretty much the same instrument for all intents and purposes. The word fiddle is more about a style of playing than the instrument. Think of all those really fun and upbeat Irish pub songs and you'll be eager to learn to play the fiddle. Relax and take a deep breath and realise that playing the violin is no harder than learning to play something like the guitar. Let's get to it with my 3 secrets on how to learn violin easily.
1.The first thing you need to do is find a violin or fiddle to play with. This is how to choose violin that will get you started. Find a good used instrument from the bargain finder or Craigslist or somewhere like that. Getting a violin to practice with shouldn't cost you more than $100 to $300. You don't want a high end one to start with because if you find that you just don't enjoy the violin then you'll be able to sell your second hand instrument for about what you paid for it.

2.The next thing you need to do in learning to play the violin is to find a good teacher. I would suggest that you meet with around 3 violin teachers to get a feel for someone you like. Their credentials at this point as you're just starting out are not that important. What is important is how the two of you get along. So look for a violin teacher who you like and who you think would teach you in a style you'd enjoy.

3.My last tip on how to learn violin is of course to practice. This is probably the most important aspect of becoming good at anything. In the beginning, just set a timer for 15 minutes, but do that every day and within a few months, you will be playing some fiddle music. I'd also recommend that you get a home study program to help you, especially as you get a little more comfortable with the musical instrument. Learning to play the violin at home can really expedite your learning.

There you have it friends. 3 secrets to making the most out of your violin learning. I told you how to learn violin would be easy. But you're going to have to pay a bit of money and you're going to have to put in the sweat equity. But you can do it, if you practice both the violin and your patience.

I've been playing violin for a while now and I found a great program that helped me quickly get better. Check it out at teach yourself violin and find your muse!

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The Benefits of Taking Violin Lessons Online

2010-06-18T06:25:00.000-07:00

By Paul_T_Hooper

Are you are a fan of Yellowcard? Do you love this band because you appreciate the way they have fused a classical instrument such as the violin in a rock band? You thought it was impossible but they made it possible. Or maybe you like The Corrs, that band whose music was a little more pop and mainstream. They had some excellent violin parts, which all the more transformed their music into more than just "pop". And aside from that, their violinist, the beautiful and charming Sharon Corr had no problem catching our undivided attention.

And what about Vanessa Mae? For those who haven't heard of her yet, is an internationally known British pop and classical musician who is especially recognized for her violin skills. She struck gold in her music career when she took the bold step of combining classical music with techno-rock beats. As a result, she is credited for creating a sound that people describe as "violin techno-acoustic fusion". What is also new about Vanessa Mae is that she has a Zeta Jazz model electric violin. Those violin lessons she took when she was young certainly paid off.

Now, I know that there are a lot of us who want to play the violin. It is such an elegant instrument and in the time of musicians such as Yellowcard, The Corrs, and Vanessa Mae, we are introduced to a whole new face of the violin. We are shown the numerous possibilities we can do with the instrument. But maybe some of us do not have the time to personally travel from school or the workplace to violin class. Or maybe some live in areas that do not offer classes. Well, good thing there's the Internet. It's because we now have the chance to learn violin online. Now if you're not convinced at all, here is a list of reasons why you should consider learning online:

o With this type of opportunity at our hands, distance doesn't have to be a factor. Living far away doesn't have to douse our dreams from learning how to play the instrument.

o A violin lesson taken online is not like your average music class. It is different in the sense that it employs a new technique that would guarantee the student's advancement in mastery. Meaning, you have a larger chance of being able to play like a pro in such a short time. How? These online classes use a step by step method that is made easy to apply and simple to understand.

o You will be taught to play like a master. Some violin classes offer ear training methods. This teaches its students how to develop sensitivity to playing by ear. And even if you are not born with the talent of playing by ear, you are taught to develop this skill.

o Another good thing about taking violin lessons online is that most of these classes use a compendium of methods and "tricks" that professional players use in the past and even in the present. And these "secrets" are imparted to the student taking lessons online.

o You will be taught how to play the violin in different styles. If you opt to learn online, you will be exposed to multiple music genres that you can apply the violin into. You may choose among jazzy tunes, pop, Latin music, rock, folk, country, or even hip hop. This way, you are being taught versatility and being able to adjust to any audience.

Now, if you are one of those people who wish to play the violin but had distance and travel time as the most immediate issues stopping you from fulfilling this wish, you have online violin lessons as the solution.

Anybody can learn the violin from the comfort of their home. But now you can learn from one of the world great Violin players.

Start learning today, now in fact. Download Violin Master Pro and begin your course today.

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Imagination in Indian Classical Music

2010-06-17T05:29:00.000-07:00

By Shilpa_Rao

Khayal literally means imagination, thought or fancy. Khayal is that vocal genre of all North Indian vocal styles which gives its performers the greatest opportunity and also the greatest challenge to display the depth and breadth of their musical knowledge and skills. Khayal has dominated the performing art for past 150 years. Khayal is the genre of improvisational music, and hence it is the study of artist's creative individuality and ability to render a unique khayal at each performance. Despite the presumed freedom in khayal singing, it is structured upon three main characteristics: (i) the raga (melodic mode), the taal (meter) and the cheez (composition), (ii) the types of improvisation which are acceptable for khayal such as alap, taan, boltaan, sargam and nom-tom, and (iii) the placement of these material for creation of aesthetically and technically balanced performance. Khayal is not only a distinguished, richly evolved improvisational music genre, but also a study of cultural history of India since thirteenth century onwards.

Legend, scattered commentary, and speculations suggest that khayal originated with Amir Khusrau (1251-1326). Born in North India, Amir Khusrau was a poet as well as a composer and a great musician of his time. He enjoyed importance at the courts of the Khilji rulers in Delhi. Khayal's origin may have been attributed to Khusrau because of the rapid fusion of Perso-Arabic and Indic musical systems during his lifetime. After Khusrau, the next prominent figures in the history of khayal are the sultans of Jaunpur - Muhammad Sharqui (1401-40) and Hussain Sharqui (ruled 1458-99), who were contemporaries of Babur, the first Mughal ruler in India. The precise role of the Sharqui sultans with respect to khayal is unclear; some scholars suggest a patronage role for them. Most historians are of the opinion that neither Amir Khusrau nor any of the Sharqui sultans was the innovator of khayal, but that khayal was an outcome of the gradual process of evolution that was at work during an era of Indo-Persian amalgamation.

For khayal, the first musical evidence of court support is noted at the Delhi darbar (court) of the eighteenth century Mughal emperor Muhammad Shah Rangile (ruled 1720-48), where the musicians Nyamat Khan (Sadarang) and Firoz Khan (Adarang) composed songs that have been transmitted to the present time. It is believed that Sadarang and Adarang also formalized the structure of modern day khayal. As khayal continued to evolve in the courts throughout North India, distinct performing styles emerged into different gharanas. Three major khayal gharanas carrying the names of the princely states in which they were originally fostered, are Gwalior, Rampur (Sahaswan) and Patiala. Later Agra, Kirana and Jaipur gharanas also became prominent centers of khayal singing. Today this style of classical vocal music is even adopted by some of the instrumental gharanas such as Ithawa. Throughout most of its existence khayal has always been the music of elite patrons. Only in the twentieth century has any other group attained significant involvement in khayal.

The rendition of a khayal recital is typically divided into two parts: Bara (great) khayal and Chhota (small) khayal. During bara khayal, the artist is expected to cover a range of subjects, ideally giving importance to all musical elements such as melody, rhythm and technique, with a slow and contemplative beginning to invoke the very mood of the raga. The lyrical as well as melodic content of bara khayal compositions are devotional or romantic, and they are set in vilambit laya (slow tempo). Bara khayal is followed by a madhya or drut laya (fast tempo) in chhota khayal. Here the artist carries the mood created during the earlier part of the recital to its crescendo. The acceleration is maintained during the performance with increasing complexity of taans and interplay with rhythm. The compositions written for chhota khayal have syllabic text settings appropriate for the faster tempo. The performing ensemble for khayal consists of a lead soloist, an accompanist on a melody producing instrument such as harmonium or sarangi (bowed lute), a tabla (drum) player and one or two tanpura players to provide continuous drone. A possible addition to the basic ensemble would be a supporting singer. The role of the accompanists is to complement the lead vocals by repeating ends of phrases during short breaks.

The other forms of Indian classical vocal music include dhrupad, dhamar, tappa, tarana, thumri, hori and bhajan. Of all, dhrupad is considered to be the oldest classical vocal form. It is generally accompanied by tanpura and pakhawaj. Dhrupad compositions are set in a 12 beat rhythmic cycle. Dhamar compositions are akin to dhrupad and enjoy an identical status. They are set in a 14 beat rhythmic cycle. Because of their structured style of singing, both dhrupad and dhamar do not allow as many elaborate and extempore improvisations as khayal. Tarana is a style consisting of particular syllables woven into rhythmic patterns as a song and it is usually sung in the faster tempo. The creation of this style of singing is believed to have originated to bring out the tantrakari, or the discreteness of instrumental music, in vocal music. Tappa has its origin in Punjab. Its beauty lies in quick and intricate display of permutations of notes. Thumri is believed to have originated in Uttar Pradesh. It is the lighter form of Indian classical music. Its most distinct feature is the amorous subject matter that picturesquely portrays the play of Lord Krishna with Radha. It can be viewed as an unconstrained form of khayal singing. Hori compositions are mainly sung in the style of thumri and are associated with the festival of hori (the festival of colors). The mood is joyous and playful, illustrating the divine leela of Lord Krishna. Bhajan literally means pray (bhaj) the lord (narayan). Bhajans are devotional songs based on light classical music. It is a popular form of singing today.

Shilpa Rao is a professional Indian Classical Music [http://www.articlestonurture.com/classical/music.html/2] artist. Learn basics of Indian Classical Music system at [http://www.articlestonurture.com/classical/music.html/2]

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Indian Classical Music School System

2010-06-16T04:06:00.000-07:00

By Shilpa Rao

Gharana essentially means a school of thought, or a school of music, that follows a particular style perfected over the years by rigorous practice and enhanced by coming generations that combine contemporary styles and incorporate new ideas. Gharana literally means family tradition, members of a family of musicians establishing their own unique musical discipline consistently over three or more generations. It is difficult to give an exact date when this system came into being. Ithawa gharana has evolved over seven generations of some of the finest sitar players of India. Shujaat Khan is seventh in this unbroken chain of sitar virtuosi from Ithawa gharana and is considered to be the torch bearer for the future of this school of music. With Shujaat Khan in concert today, it would be appropriate to bring forth some of the hidden facts about the history and evolution of this style of music.

Ithawa gharana in its present form owes its existence, its popularity and its distinctive style of sitar playing to Shujaat Khan's father, the legendary musician Ustad Vilayat Khan. But for him, the gayaki ang or vocal style in instrumental music, which is the hall mark of this gharana, would neither have existed nor would have flourished. To talk about Ithawa gharana of recent years is to talk about Vilayat Khan and his early period of musical training, his original thoughts about bringing gayaki in instrumental playing, his improvisations and changes made to the structure of sitar to accommodate the continuity of sound or to imitate vocals in sitar playing. It is believed that only after Vilayat Khan's tantalizing performance that won the hearts of the listeners, critics and musicians alike, at the 1943 Vikram Samaroh music conference in Bombay, instrumental music earned a wider acceptance in the main stream classical music.

Born in 1928 in Gauripur, East Bengal, Vilayat Khan entered the world of music at an early age of four and gave his first performance when he was eight. He also made his first recording at the same age. Vilayat Khan hails from an impressive family of musicians. His great grand father Ustad Sahabdat Khan gave today's surbahar, the bass version of the sitar and a very difficult instrument to master, its present tonal and structural form. At the early age of ten Vilayat Khan lost his first guru, his father Ustad Inayat Khan, a leading instrumentalist of his days. Thereafter he moved with his mother to the state of Nahan near Delhi to learn music from his maternal grand father Ustad Bande Hasan Khan, who was the court musician of the state. During 40's and 50's there still was Inayat Khan's influence in Vilayat Khan's playing. Tantrakari was still very prominent. The right hand which is considered as the main subject of instrumental playing for string instruments was still distintly dominant. Tantrakari had been taken to great heights by earlier generations but now was the time to give new direction to instrumental music. It is believed that human voice is the sublime epitome of expression and all other sounds are subordinates used only for enhancing and ornamenting the vocal music. In his quest to achieve vocal continuity in the sound of sitar, Vilayat Khan introduced the gayaki ang in instrumental music during the early 60's.

Khayal ras, a vocal music style with imaginative use of lyrics, began to emerge in instrumental music with Vilayat Khan's introspective vision and vivid imagination. The tone of sitar was now changed. The right hand remained at its place but there were significant advancements in the left hand. The pancham of kharaj was now replaced with a steel gandhar (this change helps in establishing the mood of the raag). Several other fundamental changes were also made to the structure of sitar.

There were various subjects involved in khayal ras which required ample improvisations in order to translate it in instrumental music. At first Alap, the slow but contemplative progression of a raag, was given a different approach adorned with meend, krintan and zamzama. Next were taans and bol taans, the fast tempo phrases, and thumri. The transition towards khayal ras is quite evident in Vilayat Khan's recordings from 60's onwards.

Gayaki ang is now successfully passed on to Ithawa gharana's next generation of musicians. Today there are many musicians who prefer and follow this style of music. Thanks to his creative genius for this enormous contribution to the world of music. It would be righteous to refer to Ithawa gharana as Vilayatkhani gharana.

Shilpa Rao is a professional Indian Classical Music [http://www.articlestonurture.com/classical/music.html/3] artist. Learn basics of Indian Classical Music system at [http://www.articlestonurture.com/classical/music.html/3]

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Listening to Classical Music Will Not Make Your Child More Intelligent

2010-06-15T04:22:00.000-07:00

By Scott_Constable

Will listening to classical music, make your child smarter? That question has been around for many years. Years ago when these studies began to be conducted, they were only done on adults. The results were that they only had a small effect on short term memory.

While there is no dispute that listening to classical music is very relaxing, it will not make your child smarter. Past studies have concluded that listening to classical music has increased the motor skills in children. However, other studies have also been conducting with reading, memory exercises and consistently putting puzzles together with the same result.

Independent studies have also been conducted that show that listening to this type of music has had an effect on the intelligence of children. It is not reliable and the result have been too insignificant for this theory to be fact. The test have only shown to make a difference for about 20 minutes. Talk about short term memory.

Whether your intention is directed towards unborn children, infants or toddlers making them smarter will simply not happen in this way. Does this mean that classical music is useless for children? Absolutely not! Classical music is most definitely soothing and relaxing. We can all use a little relaxation in our lives. This also applies to children. A misconception is that children do not have stress in their lives. That is simply not true. It is just a different kind of stress than us adults deal with on a daily basis.

In conclusion, I would like to state that while the debate will surely go on for years to come, I would recommend for you and your child listen to classical music. While it will not make your child smarter, it will relax the both of you. Not to mention the precision that goes into producing such a piece may arouse your child's interest in music of a classical nature for a lifetime.

I am a firm believer that no one single thing will make your child smarter. It is several different things that will accomplish this. A few examples are music, memory based activities and childrens books. I am a father of 4 children.

Childrens Books

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Classic Country Music

2010-06-14T03:57:00.000-07:00

By Ross_Bainbridge

Country music made its mark in the early twentieth century. It was initially popular amongst the people in rural areas of the west and the south. This genre of music has developed from ballads and famous folk tunes. From the days of Hillbilly music, country music is now simply referred to as country, western or country and western. Classic country music is an assortment of tunes from diverse cultures and music patterns.

Each style is different and unique in style. The use of rhythms, chord structures and musical intonations vary. Though modern country music may use contemporary beats, they are adaptations of classic versions. Classic country music has an individualistic character that was developed to suit the artist's voice modulation capacity and style. These classics are unique and offer inimitable singing styles. This includes the styles of music legends Jimmy Rodgers and Hank Williams.

Vernon Dalhart was one of the first renowned country singers to render an all time hit. Other significant country music artists were Riley Puckett, Don Richardson and Fiddling John Carson. Ernest Stoneman, Charlie Poole, the North Carolina Ramblers and The Skillet Lickers were others who made their presence felt in the field of country classic music in its early days.

Classic country music has a universal charm and is renowned for its easy to understand rhythmic tunes and meaningful lyrics. A number of classic country tunes are recitals of western legends, heroes and events. This meaningful music continues to be a popular choice of music even today. The classic country music industry is a rewarding and profitable business that continues to reap benefits for their age-old copyrights. Millions of dollars are being realized and paid out as royalties even today. Listeners are still able to feel its rustic charm and intention. The fan following for classic country music is immense and continues to grow.

Country Music provides detailed information on Country Music, Country Music Lyrics, Country Music CDs, Country Music Videoes and more. Country Music is affiliated with Classical Music Downloads.

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The Business of Classical Music Concerts - How to Keep Babies and Toddlers Quiet and Interested

2010-06-07T02:43:00.000-07:00

By Dr Joy Madden

Parents who love music want to expose their children to the joy of these beautiful sounds as soon as possible. Introducing children to music as early as possible is great for their overall personal growth and personal development. However, there is often a stigma associated with taking a young child to a classical music concert. Also, it is often quite a business to get a young child to sit still for long periods of time, and this in turn can cause a fair amount of stress to both the parent and to the audience.

I was at a music concert that had been organised specifically for parents and their young children, i.e., for toddlers and babies. Sitting at the edge of the aisle at the back of the auditorium I had a really clear view of what parents and children were doing throughout the concert.

Toddlers actually need sounds to be at a stimulus level of approximately 75 dbHL (Hearing Level) at their ear in order to attract their attention from whatever they are doing. In the absence of the usual loudspeakers, from about half-way back the music was not loud enough to gain the toddlers' attention and this half of the room appeared to be in its own little world. Toddlers were making up their own games and were not part of the action at the front.

The organisers had placed several boxes of toys at the front of the audience to help to keep the young children relatively quiet during the music concert. However, this meant that only the first few rows of the audience had access to the toys from the box. At one point a little girl ran from the front to the back of the room with a toy trumpet which caused absolute mayhem as all the other toddlers tried to leap off their parents' laps (and many succeeded) in order to chase the toddler for her trumpet.

It would have been more interesting (and certainly quieter) to give each parent a coloured handkerchief or scarf as they entered the auditorium so that their child could play with this 'silently' to their heart's desire. Scarves are also good from a health and safety point of view as children are renowned for having accidents with even the safest toy. Also, the babies present who were not developmentally mature enough to see small toys would have enjoyed watching the movement of a colourful scarf being waved in front of their eyes.

When the musicians were playing the more soothing pieces of music, the parents rocked their children and there was an air of real peace in the auditorium. When the music switched to a more upbeat rhythm that one could almost march to, the parents began to move their head and limbs in time to the music and the children followed suit. It was this music that elicited the most smiles and body-activity in the audience.

Children of all ages habituate to new sounds in approximately three to four minutes. We take this through to adulthood - this is believed to be one of the reasons why most pop songs are generally three minutes long! Regarding the young children attending the concert, it was interesting to watch how the pieces of music that over-ran this time period produced more disruptive and ratty behaviour from the toddlers and babies.

It is a wonderful idea to introduce not just classical but all types of music to children from birth, and also whilst still in the womb. From a parent's point of view, one of the best things about concerts organised specifically for young children is that they do not have to worry about trying to keep their youngsters quiet. Concerts for toddlers and babies are a great idea and should more accessible to wider audiences.

Dr JOY Madden has worked across the diverse fields of Medicine, Engineering, Commerce, Acoustics, Music, Sales & Marketing. One of her specialties is helping people from all walks of life (and various disabilities) to set up a Home-based Business to earn whatever THEY want.

For more information on JOY's activities visit her ECADEMY site:

http://www.ecademy.com/account.php?id=287199

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India's Great Masters by Raghu Rai

2010-06-06T02:54:00.000-07:00

By Prasoon Kumar

With the greats of Indian classical music, even the most complicated of thoughts are uttered in a simple and down to earth manner. The classical music masters were looking for the divine and the great photojournalist was looking to picture their soul through his lens for his book India's Great Masters by Raghu Rai (ISBN-13: 9788172239466). That pretty much explains the process through which this book got its present shape. The great classical musicians tell us about the concept of the true note, a stage that can be reached only by the most dedicated.

Seeking The True Note

The photojournalist Raghu Rai who has himself has been awarded by French award Officier des Arts et des Lettres and Padma Shri, was humility personified when he was trying to capture the classical greats in their various spiritual moods. In 1998, when Raghu Rai went to California to meet the Sarod player Ali Akbar Khan, he asked Ustad to perform where a soundproof room was being constructed. Ustad replied by saying he will perform when he attains true notes.

Music Is For Upliftment

Inspired by such events, Raghu Rai went on to continue his mission to photograph the musical greats from all over India and the illustrious names included, Bismillah Khan, M.S. Subbulakshmi, Ravi Shankar and Bhimsen Joshi (all Bharat Ratnas). The precious photographs have now been published into a book called, "India's Great Masters: A Photographic Journey into the Heart of Classical Music". The famous Sitar player Vilayat Khan once said the classical music was not meant for entertainment, rather it was for upliftment. The portraits of Raghu Rai depict these famous classical music exponents into meditation and the stage of ecstatic release.

Raghu Rai Himself Wanted To Be A Musician

His father had nothing but contempt for the musicians. The dreams of the author died a quick death, only to be revived later as a desire to chronicle the classical greats as they invoked the divinity through their music. The passion was always there, and the first salary of Raghu Rai was spent on a record player. The profile of every maestro chronicled by the author is written by Ashok Vajpayee. The 13 masters covered by Raghu Rai's pictures are: Ravi Shankar, Zakir Hussain, Vilayat Khan, Ali Akbar Khan, Kumar Gandharva, M.S. Subbulakshmi, Mallikarjun Mansur, S. Balchander, Alla Rakha, Bismillah Khan, Kishori Amonkar, Hariprasad Chaurasia and Bhimsen Joshi.

Fly On The Wall Style

The way Raghu Rai took his pictures also speaks volumes about his personality and his non intrusive style. The pictures were only taken after the Ustaads were immersed in the music for hours. The painful and euphoric climax comes only then, says the author.

The author Prasoon Kumar works for http://www.uread.com/ which is the leading online bookstore that offers all the current and all time great titles at never before prices. Watch the greats of Indian classical music immersed in invoking the divinity through http://www.uread.com/book/indi-s-great-masters-ashok/9788172239466.

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Motif - The Hook of Classical Music

2010-06-03T03:26:00.000-07:00

By John T Halbert

In pop music, most songs are comprised of a series of verses, a bridge, a chorus and often times you'll hear a solo or two floating around in there. Most often, especially with pop music, we're also introduced to what's called a hook. This is infamously popular with songs that make it into the top 40, and it's that infectious part of the tune that sticks in our brains and makes us hum the song all day long, hence the term hook.

A formal definition of a hook would be: a rhythmic of melodic event that repeatedly draws the listener in. Hooks are all important if you want to get your audience to listen to your songs more than once. Hooks are enjoyable, they're fun, they're catchy & in most cases they're what makes a musician famous. Someone who knows how to write a good hook can launch his or her career as a musician with little or no effort.

It's interesting to note that hooks aren't the child of pop music. In fact, hooks existed long before there was any thought of pop. The term hook may be an invention of pop culture, but the hook itself is not. Hooks are a modern incarnation of what was known as a motif in classical music.

Back in the day, when Mozart still roamed the earth, classical musicians thought a lot about how their songs were composed. They had formal structures that were used to help them create the pieces that they did. Classical songs have a theme, which is the main idea of the piece. It's kind of like the musical signature. Classical songs will open with the theme, a statement of what the composer is doing in the song.

Motifs, the hooks of classical music, were shorter interludes within the composition. Technically, a motif is defined as a short figure of rhythmic or melodic design that recurs throughout the composition. So you can see how a classical composer would create a theme and then use motifs to draw in his audience. The motif was the hook that made the space in between the theme more interesting and drew you back to the song.

It's interesting to see that the world of music is all connected. While we think of pop music as something that's in and of itself altogether unique, it's really not. There's a common thread here that can be traced back for centuries. So the next time you find yourself humming that annoying hook that you can't get out of your head, think about how that's something that's been around for centuries, torturing poor individuals who just want to be left at peace.

John T Halbert is a writer who publishes on subjects of self help and human ability. His studies include the human body and mind and the innate abilities that lie within. He recently helped publish a series of websites about the Schwinn 460 Elliptical and the Schwinn 431 Elliptical.

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Banjoist and Exchange House

2010-06-02T02:55:00.000-07:00

The Tutor
DAVID PRICE A.L.C.M., a lifelong jazz musician, successful band leader and banjo player of universal distinction, has many television and radio appearances to his credit. His extensive knowledge, humour and audience rapport have given his appearances and courses widespread appeal.

The Venue

Exchange House, Blackmore, built in 1954, was originally a telephone exchange, later converted to a residence. Recently, the property has been extended to incorporate a beautiful purpose-built concert room with stage, lighting, great acoustics, warm atmosphere and seating for up to forty persons. We intend to run interesting, mainly music courses and promote the occasional concert - perhaps a jazz guitarist or harpist, cellist or whatever YOU the members would like.

How To Book

Send your cheque in advance to the address below, payable to D. Price or ask for a booking form,

Ask for further details:

Tel. 01277 824 616 or

07885 423 393

http://www.jazzbanduk.com/

Manga's Take on Classical Music

2010-06-01T04:06:00.000-07:00

By Roxanne Vizcayno

Classical music is making a nice comeback. Some of its rising popularity may be due to the themes used on Japanese mangas and anime. Now, I don't mean the classical music used on its soundtracks, but particularly music that is used or being played by the main and supporting characters.

Children of all ages nowadays no longer appreciate classical music. They prefer more rap, rock and other types of genre that befits their age, so to speak. But due to the rising popularity of movies, games and graphic novels, classical is being used to reach a broad audience.

Here are some anime/mangas/graphic novels that used classical themes on its plot. If you love classical music, I recommend these for you. The characters from these mangas refer many classical compositions that you might be familiar with.

• Nodame Cantabile

This manga is about a girl named Megumi Noda or Nodame, whi is a piano student in Momogaoka College of Music. She is a very talented pianist who wants to be a preschool teacher. Although she knows how to play the piano, she prefers playing it by ear rather than reading the music store. She falls in love with Shinichi Chiaki, the top student who came from a musical family. He was stuck in Japan due to his phobia for planes, instead of studying in another country to further improve his talent.

• La Corda D'oro (The Rope of Gold or The Golden String)

Kahoko Hino is an ordinary student who stumbles upon a mischievous fairy. The fairy granted her a magical violin that plays whatever tune she hears. Her "hidden" talent was soon discovered by the school, and she was forced to enter a competition with the other school's top musically gifted students. Her competitors each have their own preferred musical instrument, and Kahoko is not sure whether she should continue or not because she feels she is an imposter that doesn't deserve to enter the competition.

• Venus Capriccio

This manga focuses more on the developing romantic relationship between the two protagonists: Takami Habara and Sasaki Akira. They both loved to play the piano but Sasaki Akira is more gifted than her. This manga refers to some famous classical tunes played on the piano.

• Hallelujah

Hallelujah is a story about the fateful encounter of two musically gifted people: a violin prodigy and a street violin player. A battle started soon after their encounter, bringing the audience to a new perspective of the world of classical music. This manga is recommended by many because of its depiction of the players and the atmosphere in the author's illustration. The way the character holds his violin is exactly the same how a man holds his violin in real life. The author was supported in his research by an impressive team: an assistant concertmaster of the Tokyo Symphony Orchestra, the organizers behind the Muza Kawasaki Symphony Hall, and members of the Tokyo Symphony Orchestra themselves.

If these mangas perked up your interest in classical music, try reading some of them and take note of the pieces being used in the story. Some of them may have been new to your ears, and you might discover something you would like very much.

Roxanne is trying to write good articles for nearly 3 years and has a problem finishing her short stories due to her becoming attached to her beloved characters. Her obsession to Bleach manga and shoujo manga knows no bounds. In fact she wants to learn how to read Japanese so she can go to Japan and buy all the shoujo mangas available. So come and visit her latest websites Wbber and Blogztr that are full of helpful information.

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Ten of the Most Popular Classical Pieces of All Time

2010-05-28T04:22:00.000-07:00

By Duane Shinn

For anyone studying popular classical music, it can be a daunting task to know where to begin. There are so many great pieces that a beginner can get overwhelmed. Here are 10 of the most popular classical pieces with a brief background of each. There are many others, of course, but these 10 are certainly among the most popular classical pieces of all time.

Clair de Lune is a piece by Claude Debussy, a French composer. It is the third and most popular movement of the larger Suite bergamasque. It is played pianissimo and is largely in D-flat major, with a shift to E major toward the end. Clair de Lune has been taught to students of popular classical piano for years and is prominently featured in movies and television shows.

Beethoven's Piano Sonata No. 14, popularly called the Moonlight Sonata, was completed in 1801. Beethoven had begun to suffer from hearing loss prior to this and used a special rod attached to the piano's soundboard in order to feel the vibrations and enhance his sense of the music. It was given the name Moonlight Sonata by a music critic who compared it to the moonlight shining on a lake.

Canon in D is the most well known piece by Johann Pachelbel. Originally written for three violins and basso continuo, it has since been given many different arrangements. Basso continuo refers to a group of instruments, one of which must be able to play chords. Other instruments must be able to play in the bass register, such as a cello. Canon in D is often played at weddings.

The Hallelujah Chorus is part of George Frideric Handel's Messiah. The text is from a libretto by Charles Jennens, who adapted parts of the Old and New Testaments for his composition. The Hallelujah Chorus is taken from the book of Revelation, and it is customary for audiences to stand during this movement of the Messiah.

George Gershwin's Rhapsody in Blue is a piece that combines the elements of popular classical music with the popular jazz music of the era. It was commissioned as a classical element in an all-jazz concert to be presented by band leader Paul Whiteman. Known as Al Capone's favorite song, Rhapsody in Blue has been featured in numerous films and advertisements.

The Piano Sonata in B minor is one of Franz Listz's most popular classical solo piano works. It is a piece in the Romantic style and consists of small movements woven into a larger whole. Thematic elements are presented in each movement, although the different setting of the movements make the elements sound differently each time. In one section the melody may seem violent, yet later in the piece it becomes something beautiful in a different context.

Symphony No. 5 by Gustav Mahler contains many of the common elements of Mahler's work, such as the funeral march. Commentators have noted that when hearing Mahler's Fifth "you forget that time has passed." Scored for a large orchestra, the Fifth is considered to be Mahler's most conventional symphony up to that point in his career. He was regarded as a highly unconventional composer until the Fifth was published.

Johann Sebastian Bach composed The Well-Tempered Clavier to instruct students in solo piano playing. He collected 24 pieces and published them in 1722 as The Well-Tempered Clavier. In 1744 he published a similar collection with the title Twenty-Four Preludes and Fugues. Combined, these two books comprise The Well-Tempered Clavier.

The Four Seasons by Antonio Vivaldi consists of four violin concertos. A Baroque piece from 1723, The Four Seasons is also considered a series of tone poems, as Vivaldi provided instructions with each movement. Phrases such as "the drunkards have fallen asleep" and "the barking dog" give conductors instructions about the feel of each concerto in this popular classical piece.

Duane Shinn is the author of the popular online newsletter on piano chords, available free at Exciting Piano Chords & Chord Progressions!

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Does Music Help You Study?

2010-05-27T02:25:00.000-07:00

By Payo_W_Perry

Music can be of assistance when you study however it needs to be a relaxing music as you don't want to create distractions for the brain. Your favourite rock band where you sing along to all the lyrics for example is not a good choice. With this type of music you'll find that in order to study properly your brain will have to tune out the music and not engage in it.

Classical music is probably the most popular choice in this field of endeavour however it still must be slow and relaxing classical music. We want to create an atmosphere of calm moods and serenity in the room, somewhere you can feel completely at ease and concentrate on absorbing the information.

You can also use music to break up your study time. It's great for example to study for 40 minutes with music then 30 minutes without, each time you make a shift it will seem like a fresh study period and can actually help you study more effectively for longer.

If pushed to choose most experts will agree that studying in silence is absolutely the best but if you wish to break up study time with some relaxing music it's fine. The best technique for study is generally to do it little and often throughout the day. The mind benefits from short periods of intensive study followed by breaks. During the breaks it's thought that the mind processes what's been learnt. When you return to study again for the second time it has a compound effect.

If you haven't yet tried relaxing music as a study aid then give it a go and see if it works for you.

The author has been contributing articles and reviewing online products for a number of years. Be sure to visit his website for his latest reviews and specials deals on Taylormade golf bags and Taylormade ladies golf

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New York's Opera Society Chapter 2

2010-05-25T02:09:00.000-07:00

By Gianni Truvianni

On that day for some reason unknown even to me I got a hankering to go to the Polish restaurant on 77th street and 8th avenue, the one my mother had once recommended to me as being both good and fast.

Finding the place was not hard as l had passed it by many times on my way to "The Met" and when I did, I saw that it was a well lit modern styled diner where I took a stool at the bar as is my habit of doing when eating in this sort of establishment by myself.

Once seated, I picked up a copy of the menu which was lying on the counter in front of me and started glancing through the choices when suddenly from my sitting position, l looked up to see a tall waitress with long black hair standing directly above me, staring more at my black tuxedo then at me.

Her stare gave me an uneasy feeling as I shyly looked at this young lady who greeted me by saying "good evening sir, may I take your order?". I noticed she had a worried expression on her face as if it were her first day on the job so I replied "good evening" as I tried to make her relax by reading the name on her nameplate which was Małgorzata but judging from the way she giggled as I tried to pronounce it, I must have made a real mess of it. She looked at me with a smirk on her face and said "please call me Gosia". It was at that moment that I noticed what a lovely face she had, hers was an old fashioned kind of beauty, reminiscent of the "The Age of Innocence".

I then said in a light tone of voice, trying to speak slowly and clearly, as I looked her in the eye "I take it that given your name and accent that you are a foreigner. where are you from?" Her face lit up as she said 'this is Polish restaurant, where you think I am from? To which I replied "I don't know, let me take a guess Poland". she then half laughingly replied "Yes, now may I take your order". I then put the menu down on the counter, while still holding it in my hands and uttered" why don't you recommend something from Poland the land of Wałęsa, the Pope, Copernicus, Kazimierz (The Great) and Chopin and the Mazurka. She almost burst out laughing by the time I got through my list, perhaps because she expected me to share that common knowledge or lack of it which was held by most Americans concerning the rest of the world, but she did manage to keep her composure just long enough to recommend bigos, causing me to ask with a beam on my face "what is it?". "Cooked cabbage" was her response and upon looking at her face and seeing how strongly she was recommending this dish I just could not tell her that I really did not like cabbage all that much but I thought to myself, might as well take it, after all how bad can it be. "Sure why not" was what I said which I don't think she really understood so I rephrased it into "I will take the bingos" she laughed and put her hand in front of her mouth probably to cover her teeth as she said "it is called bigos not bingos" to which I replied "O.K., I will take the bigos and a soup, can you suggest one?". She then said in bad English, as she was jotting down my order in her pad, "I very like red barsh, I hope you it will like you too". I managed to understand her despite her erroneous use of English grammar. I half laughingly (more at her English then at her) replied "yes I will take it". She then said in a slightly more serious tone of voice as though she were trying to remind herself that she was at work "maybe something to drink, maybe you try our Polish beer" "sure give me one" I replied. Now in an even more serious tone as if she were concluding a business deal (with the face to match the added gravity her voice had gained) she said "you order one bigos plate and red barsh soup and one E.B. Polish beer" to which I replied "yes, that is correct", she then with a sigh of relief almost like someone who had just passed an important examination, turned to go to the kitchen giving me a chance to catch a glimpse of the back of her well tanned legs which I could tell were stocking covered.

I then started thinking as I saw her disappear into the kitchen, that I used to be very good at playing Chopin's Mazurkas but it had been a long time since I had actually played one, after all I was studying and working toward becoming an opera tenor, and the piano was no longer an instrument that I was required to practice.

5 minutes must have gone by, when Gosia came back and asked me "where from you know so much about Poland? Is your family Polish?. "No, not at all my family is German American, my name is Bill Albert, though my last name is not really German" was my reply and attempt to be as friendly toward her as she was trying to be toward me.

She then enthusiastically asked "before you say the name Chopin, you know Chopin's music? Have you heard it?", which led to my telling her of the intimacy of my relationship with not only classical music but opera. She seemed to be impressed by both my part-time job as singer in the chorus of the Metropolitan Opera and by my being a student in his last year of studies at the New York School of Music.

Her following comment "now, I see why you wear suit, you go to opera to sing" caused certain laughter in me as I probably would have thought the same thing had I been her, however I did inform her that as much as I would have wanted to be performing that evening, I was only going to be very devotedly watching "Gotterdammerung" live for the 5th time.

She then startled me by telling me with a voice that reflected the tremendous pride she must have been feeling, that she had been studying the piano since she was 6 and that she had been a student at the "The Warsaw School of Music" named after Chopin and that she was looking to do her postgraduate studies in New York. I asked her if she had any particular school in mind, to which she replied "Julliard School of Music".

I then remarked that though Poland had had great composers such as Chopin as well as great virtuoso piano players the likes of Arthur Rubenstein and Ignacio Paderewski, they did not have any of their own operas. When she heard this, she could not help but laugh. Her laughter was such that it was heard all throughout the restaurant, causing a head or two to look up in order to see what all the commotion was about. She even caught the attention of the owner, who came over to her and said something in Polish in a tone that implied that she was given her an order not to make such a raucous, to which she replied something in Polish (which l also did not understand) to the owner, who was a plump middle aged woman with a round sun burnt face, clear blue eyes, a large nose and small lips. When this lady finished hearing what Gosia had said she turned to me and said in a mock tone of voice "what you study music and you not know our great Polish operas like "Halka" and "Haunted Manner" by Moniuszko". At that moment I really did not know what to say so I simply said in an almost apologetic tone of voice that I did not know that there was such a thing as Polish opera however I would be very much interested in hearing it. This lady then introduced herself to me as both Pani Beata and the owner of the place. After her introduction she said something to Gosia who turned to me and said "excuse me" and went to the kitchen. While she was gone Pani Beata said in quite tone of voice almost as though she did not want Gosia to hear "next week will be Polish opera "Halka" in Carnegie Hall, why you no take Gosia, I think she like you and you like she, maybe you teach she good English and she teach you Polish language" ,Just before I had a chance to say anything Gosia came back carrying a big tray with my order.

Gosia placed my soup and Bigos on the counter which was accompanied by a large serving of mashed potatoes and a cucumber salad and a can of beer which she poured into a large beer mug. Pani Beata suddenly turned to Gosia and said "why you no go with this gentleman to opera to Halka". Gosia's face turned red upon hearing this, maybe because she was being put in an uncomfortable position of having to accept or reject an invitation by someone who had not even made one. She said something to Pani Beata in Polish, to which Pani Beata replied in English as if she were trying to tell Gosia that there was no need to speak Polish because there was no reason why l should not understand what they were saying "I saw this opera before, he did not see it, he say he want to see it. Maybe you go together and he teach you English (and then suddenly looking at me) and you learn Polish language". Without realizing it at that moment we had been set up on a date to go to the opera, which we both in a shy way agreed to go on, as if the decision had been made for us by this well meaning but intrusive lady called Pani (this word meaning Mrs. in Polish) Beata, who most people seemed to take a liking to.

I told Gosia that I would get the tickets through my credit card so we exchanged phone numbers, agreeing to call each other the following day. After that the place started filling up and I got to eating my meal. Gosia no longer had time to chat with me because all her tables were now occupied with fresh new customers. I did not enjoy the food as much as I did watching Gosia's long legs as she ran to the kitchen and back. She moved so sensually that it was difficult to remember that I had a meal in front of me which I had to finish in 20 minutes in order to have enough time to make it to the opera on time. Gosia must have known I was staring at not only her legs but at the band that held up her stockings (I later found out that they are called pończochy in Polish) visible due to the slit on her mini skirt, because she flashed a smile at me every chance she got.

When it came time to pay the tab, Gosia said that I would not be charged for the desert (which had been a slice of what they called Polish apple pie which tasted no different then American apple pie). She said she wanted to do this because I was going to invite her to see "Halka".

I don't remember weather or not l thanked her for the apple pie but l do recall leaving her a tip which exceeded the standard 16 % which is left by most restaurant goers in America, she thanked me as l quickly said goodbye to her and Pani Beata (whom strangely enough everybody called Pani even her customers and employees, some of whom were not even Polish).

I left the diner after having said my goodbyes and all I could think of was the sight of Gosia and how her incredible womanly body had captured my interest in the way no other woman had, this is not to say that I had not been in love before (not that l was in love now) or that I had not been with other women before. This time however it was different or at least it seemed to be. In a way every relationship I had had before had been different and special in its own way but this was the first time l had felt so much raw sexual desire to any one woman, perhaps this was due to the way she looked which was not pretty or even beautiful but naturally sexy in every way from the way she walked to the clothes she wore, to her corpulent body or perhaps it was the way she acted, so playful almost childlike in the way she had smiled at me when she looked at me when she was rushing in and out of the kitchen and the way she had grinned at me when she caught me starring at her legs.

Another factor which added to these strong sexual impulses was that our conversation had been a bit limited, giving her poor English and my complete ignorance of the Polish language. I even got to thinking that apart from sexual magnetism (assuming she felt the same about me) the only thing we had in common was our ambition to get to the top of the heap in classical music.

My name is Gianni Truvianni, I am an author who writes with the simple aim of sharing his ideas, thoughts and so much more of what I am with those who are interested in perhaps reading something new. As for the details regarding my life I would say that there is nothing that lifts them above the ordinary. I was born in New York City in 1967 on May 21st and am presently living in Warsaw, Poland because my wife happens to be from this particular country that was also the birthplace for my only daughter. My daughter being the star of “Little Opera Singer” which was my first ever completed story.

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