the importance of music

Pray - Justin Bieber lyrics

2011-04-03T14:44:00.000+01:00

Ohh Ohh Ohh .. and I pray
I just cant sleep tonight.
Knowing that things aint right.
Its in the papers, its on the tv, its everywhere that I go.
Children are crying.
Soldiers are dying
Some people don't have a home
But I know there's sunshine behind that rain
I know there's good times behind that pain, hey
Can you tell me how I can make a change
I close my eyes and I can see a better day
I close my eyes and pray
I close my eyes and I can see a better day
I close my eyes and pray

I lose my appetite, knowing kids starve tonight.
And when I sit up, cause my dinner is still on my plate.
Ooo I got a vision, to make a difference.
And its starting today.

Cause I know there's sunshine behind that rain
I know there's good times behind that pain, hey
Haven`t tell me how I can make a change
I close my eyes and I can see a better day
lyricsalls.blogspot.com
I close my eyes and pray
I close my eyes and I can see a better day

I close my eyes and pray
For the broken-hearted.
I pray for the life not started
I pray for all the ones not breathing.
I pray for all the souls in need.
I pray. Can you give em one today.
I just cant sleep tonight
Can someone tell how to make a change ?

I close my eyes and I can see a better day
I close my eyes and pray
I close my eyes and I can see a better day
I close my eyes and I pray

I pray ..

I close my eyes and pray ..

Avril Lavigne - What the Hell lyric

2011-04-01T09:12:00.001+01:00

You say that I'm messing with your head
(yeah, yeah, yeah, yeah)
All 'cause I was making out with your friend
(yeah, yeah, yeah, yeah)
Love hurts, whether it's right or wrong
(yeah, yeah, yeah, yeah)
I can't stop 'cause I'm having too much fun
(yeah, yeah, yeah, yeah)

You're on your knees,
beggin' please
'stay with me'
But honestly,
I just need to be a little crazy

All my life I've been good but now,
I'm thinking 'What the hell'
All I want is to mess around,
and I don't really care about
If you love me, if you hate me,
you can't save me, baby, baby
All my life I've been good but now,
whoa 'What the hell'

What,
What,
What,
What the hell

So what if I go out on a million dates
(yeah, yeah, yeah, yeah)
You never call or listen to me anyway
(yeah, yeah, yeah, yeah)
I'd rather rage than sit around and wait all day
(yeah, yeah, yeah, yeah)
Don't get me wrong,
I just need some time to play (yeah)

You're on your knees,
beggin' please
'stay with me'
But honestly,
I just need to be a little crazy

All my life I've been good but now,
I'm thinking 'What the hell'
All I want is to mess around,
and I don't really care about
If you love me, if you hate me,
you can't save me, baby, baby
All my life I've been good but now,
whoa 'What the hell'

La la la la la la la la, whoa, whoa
La la la la la la la la, whoa, whoa

You say that I'm messing with your head
Boy, I like messing in your bed
Yeah, I am messing with your head
When I'm messing with you in bed

All my life I've been good but now,
I'm thinking what the hell (what the hell)
All I want is to mess around and I don't really care about (I don't care about)
All my life I've been good but now, I'm thinking what the hell
All I want is to mess around and I don't really care about. (if you love me)
If you love me (no), if you hate me (no)
You can't save me, baby, baby (if you love me)
All my life I've been good but now, whoa, what the hell

La la, La la la la la la, La la, La la la la la la la

Jazz

2010-12-17T13:54:00.002+00:00

The Definition of Jazz Music

Jazz can be very difficult to determine because it stretches from the waltz ragtime to fusion era of the 2000s. Although many efforts have been made to determine from the viewpoint of jazz beyond jazz, such as using the history of European music or African music, jazz critic Joachim Berendt argued that all these efforts are not satisfactory. One way to get around the problem of definition is to define jazz "term" wider. Berendt define jazz as a form of "art music which originated in the United States through the confrontation of blacks with European music", he argues that jazz differs from European music in the jazz that had a "special time, which is defined as 'swing'," " a spontaneity and vitality of musical production in which improvisation plays a role ", and" sonority and expression that mirrors the way the individuality of jazz musicians perform. "
Travis Jackson also proposes a broader definition of jazz that is able to cover the entire era of radically different: he claimed it was the music that includes qualities such as 'swinging', improvising, group interaction, developing an "individual voice, and become 'open' to possibility of different music Krin Gabbard claimed that "jazz is a construct" or category that, while artificial, is still useful to designate "a number of musics with enough general to be understood as part of a coherent tradition".
While jazz may be difficult to define, improvisation is clearly one key element. Early blues are generally structured around patterns of call-and-response of recurrent, common elements in the African American oral tradition. A form of folk music which rose in part from work songs and field hollers of rural Black, early blues was also highly improvisational. These features are fundamental to the nature of jazz. WhilProxy-Connection: keep-alive Cache-Control: max-age = 0 in the elements of European classical music interpretation, ornamentation and accompaniment are sometimes left to the discretion of achievement, the main goal is to play a player like that written composition.

In jazz, however, expert players will interpret a song with a very individual way, never played the exact same composition in the same way twice. Depending on the mood of the players and personal experience, interactions with fellow musicians, or even members of the audience, a jazz musician / player can change the melody, harmonies or time signature at will. European classical music composer media has said. Jazz, however, is often characterized as egalitarian product creativity, interaction and collaboration, placing equal value on the contributions of composers and actors, 'agile weight [ing] the claims of each composer and improvisation'.

In New Orleans and Dixieland jazz, performers took turns playing the melody, while others countermelodies improvisation. With the swing era, big bands come to rely more on arranged music: arrangements whether written or learned by ear and memorized - many early jazz artists can not read music. Individual soloists would improvise within these arrangements. Later, in bebop the focus shifted towards small groups and minimal arrangements; melody (known as the "head") will be stated briefly at the beginning and end parts, but the core of the performance will be a series of improvisations in the middle. Then jazz styles such as jazz capital of leaving strict notion of progress chord, which allows individual musicians to improvise even more freely in the context of a particular scale or mode. avant-garde and free jazz idioms permit, even call, leaving the chords, scales, and rhythmic meters.

There has long been debate in the jazz community over the definition and boundaries of "jazz". Although alteration or transformation of jazz by new influences has often been criticized initially as a humiliation "," Andrew Gilbert argues that jazz has the ability "to absorb and transform influences" from diverse musical styles. While some enthusiasts of certain types of jazz argued for narrower definitions which exclude many types of music also known as the "jazz", jazz musicians themselves are often reluctant to define the music they play. Duke Ellington concluded by saying, "It's all music." Some critics even stated that Ellington music was not jazz because it is set and adjust. On the friend the other hand Ellington twenty solo Earl Hines's "transformative versions" composition Ellington (on Earl Hines Plays Duke Ellington recorded in 1970) described by Ben Ratliff, New York Times critic jazz, like "as a good example of the process of jazz as something out there ".

Commercially oriented or popular music influenced forms of jazz have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970s jazz [era fusion and many others] as a period of decline in the commercial value of music. According to Bruce Johnson, jazz music has always had tension "between commercial music and jazz as an art form" Gilbert notes that. As the idea of a canon of jazz is developing, "past performance" can become "... privileged over special creativity ..." and innovation of artists at the Village Voice. jazz critic Gary Giddins argues that as the creation and dissemination of jazz increasingly institutionalized and dominated by big entertainment companies, jazz is facing "a. .. the future of respectability and acceptance interested dangerous" David Ake. warned that the creation of "norms" in jazz and the establishment of the jazz tradition "may exclude or sideline other newer, avant-garde forms of jazz. Controversies also arise over new forms of contemporary jazz is made outside the United States and depart significantly from the American style in one view they are an important part of the current development of jazz that;. in others they are sometimes criticized as a rejection of the jazz tradition is important.

Jazz is one of the most sought-after word origins in modern American English. The word's intrinsic interest - the American Dialect Society named it The word Century Twenty - has resulted in substantial research, and its history is well documented. As explained in more detail below, jazz began as a West Coast slang term around 1912, meaning that varies but does not refer to music or sex. Jazz came to mean jazz in Chicago around 1915. Jazz played in New Orleans before that time, but not called jazz.

Jazz word makes one of the earliest appearance in San Francisco baseball writing in 1913. "Jazz was introduced to San Francisco in 1913 by William (Spike) Slattery, Call sports editor, and distributed by the leader of a band called Art Hickman, was achieved. Chicago in 1915 but not heard in New York until a year later." One of the uses known The first of the word jazz came on March 3, 1913, article in the San Francisco Bulletin baseball by ET "Scoop" Gleeson.

The Jazz Age

Prohibition in the United States (from 1920 to 1933) banned the sale of alcoholic drinks, resulting in illicit speakeasies becoming lively venues of the "Jazz Age", an era when popular music included current dance songs, novelty songs, and show tunes. Jazz started to get a reputation as being immoral and many members of the older generations saw it as threatening the old values in culture and promoting the new decadent values of the Roaring 20s. Professor Henry Van Dyck of Princeton University wrote “...it is not music at all. It’s merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion.”
Even the media began to denigrate jazz. The New York Times took stories and altered headlines to pick at Jazz. For instance, villagers used pots and pans in Siberia to scare off bears, and the newspaper stated that it was Jazz that scared the bears away. Another story claims that Jazz caused the death of a celebrated conductor. The actual cause of death was a fatal heart attack (natural cause).
From 1919 Kid Ory's Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles where in 1922 they became the first black jazz band of New Orleans origin to make recordings. However, the main centre developing the new "Hot Jazz" was Chicago, where King Oliver joined Bill Johnson. That year also saw the first recording by Bessie Smith, the most famous of the 1920s blues singers.

Bix Beiderbecke formed The Wolverines in 1924. Also in 1924 Louis Armstrong joined the Fletcher Henderson dance band as featured soloist for a year, then formed his virtuosic Hot Five band, also popularizing scat singing. Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette's orchestra and Paul Whiteman's orchestra. In 1924 Whiteman commissioned Gershwin's Rhapsody in Blue, which was premièred by Whiteman's Orchestra. Other influential large ensembles included Fletcher Henderson's band, Duke Ellington's band (which opened an influential residency at the Cotton Club in 1927) in New York, and Earl Hines's Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz.

Picture of Jazz Music

Famous jazz musicians :

     * Louis Armstrong, (1901-1971)
     * Duke Ellington, (1899-1974)
     * Charlie Parker, (1920-1955)
     * Dizzy Gillespie, (1917-1993)
     * Miles Davis, (1926-1991)
     * John Coltrane (1926-1967)
     * Chick Korea
     * Ornette Coleman, (born 1930)
     * Chris Botti
     * Dave Koz
     * Bob James
     * Lee Ritenour
     * Kenneth Bruce Gorelick / Kenny G, (born 1956)

Streams in the jazz :

     * New Orleans jazz
     * Big-band/swing
     * Bebop
     * Ragtime
     * free jazz / avant-garde jazz
     * Smooth jazz
     * Fusion jazz
     * Funk
     * Acid jazz

Musical instruments used :

     * Acoustic and electric guitar, bass guitar
     * Piano
     * Saxophone
     * horn
     * trombone
     * Violin, usually electricity
     * Drum

Jonas Brothers - L . A Baby

2010-12-11T03:41:00.001+00:00

LA, LA baby
(She's a) LA, LA baby
(You're my) LA, LA baby
(She's a) LA, LA baby

Driving down the highway where
The California air breeze in my head
(yeah yeah, yeah yeah, yeah yeah!)
Out on your vacation baby
That's my destination, see you there
(yeah yeah, yeah yeah, yeah yeah!)

Here we go, so now let's go
You gotta, go go! Bring it on

The two of us tonight we can make it last forever
We'll need to realize, it's just you and me together
Hollywood is the time the stars are shining
For you and me? tonight in this city
Where dreams are made of, where dreams are made of

Did have the movie on number one
The light is us in on my way
(yeah yeah, yeah yeah, yeah yeah!)
We can do whatever you can take a place

And tell me what to say
(yeah yeah, yeah yeah, yeah yeah!)

Here we go, so now let's go
You gotta, go go! Bring it on

The two of us tonight we can make it last forever
We'll need to realize, it's just you and me together
Hollywood is the time the stars are shining
For you and me? tonight in this city
Where dreams are made of, where dreams are made of

L.A, L.A baby
(She's a) LA, LA baby
(You're my) LA, LA baby
(She's a) LA, LA ....

The two of us tonight we can make it last forever
We'll need to realize, anekatips it's just you and me together
Hollywood is the time the stars are shining
For you and me? tonight in this city
Where dreams are made of oh yeah
Where dreams are made of oh yeah
Where dreams are made of ... come on
Where dreams are made of

Ronan Keating - If Tomorrow never comes

2010-12-11T03:36:00.003+00:00

Sometimes late at night
I lie awake and watch her sleeping
She's lost in peaceful dreams
So I turn out the lights and lay there in the dark
And the thought crosses my mind
If I never wake up in the morning
Would she ever doubt the way I feel
About her in my heart

If tomorrow never comes
Will she know how much I loved her
Did I try in every way to show her every day
That she's my only one
And if my time on earth were through
And she must face this world without me
Is the love I gave her in the past
Gonna be enough to last
If tomorrow never comes

'Cause I've lost loved ones in my life
Who never knew how much I loved them
Now I live with the regret
That my true feelings for them never were revealed
So I made a promise to myself
To say each day how much she means to me
And avoid that circumstance
Where there's no second chance to tell her how I feel

If tomorrow never comes
Will she know how much I loved her
Did I try in every way to show her every day
That she's my only one
And if my time on earth were through
And she must face this world without me
Is the love I gave her in the past
Gonna be enough to last
If tomorrow never comes

So tell that someone that you love
Just what you're thinking of
If tomorrow never comes

Richard Marx - Love Goes on Lyrics

2010-12-11T03:35:00.000+00:00

Elusive happiness
Can be like promises
That rest so gently on our pillow
We stood out on the ledge
And leaned over the edge
And nearly fell right through that window

There were those who had us done by now
Baby, we've only just begun

Chorus:
The world may crash and burn
Or suddenly just cease to turn
But love goes on
It may look out of reach
And time may rob us like a thief
But love goes on
Our love goes on

No one may recognize
What lives behind our eyes
Sometimes the good times are the hardest
And when my strength is gone
It's you that I lean on
A light at the end of all my darkness

And in the end if I know nothing else
The answer is only in your arms

Chorus:
The world may crash and burn
Or suddenly just cease to turn
But love goes on
It may look out of reach
And time may rob us like a thief
But love goes on

And in the end if I know nothing else
The answer is right here in your arms
It's always in your arms

Chorus:
The world may crash and burn
Or suddenly just cease to turn
But love goes on
It may look out of reach
And time may rob us like a thief
But love goes on

Oh love goes on

It may look out of reach
And time may rob us like a thief
But love goes on

Richard Marx - Right here waiting Lyrics

2010-12-11T03:33:00.001+00:00

Oceans apart day after day and I slowly go insane
I hear your voice on the line but it doesn't stop the pain
If I see you next to never how can we say forever

* Wherever you go whatever you do
I will be right here waiting for you
Whatever it takes or how my heart breaks
I will be right here waiting for you

I took for granted, all the times that I though would last somehow
I hear the laughter, I taste the tears but I can't get near you now
Oh, can't you see it baby you've got me goin' crazy

[Repeat *]

I wonder how we can survive this romance
But in the end if I'm with you I'll take the chance
Oh, can't you see it baby you've got me goin' crazy

[Repeat *]

Polka Music

2010-11-02T09:12:00.002+00:00

The polka is a lively Central European dance and also a genre of dance music familiar throughout Europe and the Americas. It originated in the middle of the 19th century in Bohemia, derived from the sounds of traditional farm equipment and is still a common genre in Latvian, Lithuanian, Czech, Dutch, Croatian, Slovenian, Polish, German, Hungarian, Austrian, Italian, Ukrainian, Belarusian, Russian, and Slovakian folk music. Versions are also found in the Nordic countries, the British Isles, The United States, and Latin America, especially Mexico.

In light classical music, many polkas were composed by both Johann Strauss I and his son Johann Strauss II; a couple of well-known ones were composed by Bedřich Smetana, and Jaromír Vejvoda, the author of "Škoda lásky" ("Roll Out the Barrel").The polka is a lively Central European dance and also a genre of dance music familiar throughout Europe and the Americas. It originated in the middle of the 19th century in Bohemia, derived from the sounds of traditional farm equipment and is still a common genre in Latvian, Lithuanian, Czech, Dutch, Croatian, Slovenian, Polish, German, Hungarian, Austrian, Italian, Ukrainian, Belarusian, Russian, and Slovakian folk music. Versions are also found in the Nordic countries, the British Isles, The United States, and Latin America, especially Mexico.

In light classical music, many polkas were composed by both Johann Strauss I and his son Johann Strauss II; a couple of well-known ones were composed by Bedřich Smetana, and Jaromír Vejvoda, the author of "Škoda lásky" ("Roll Out the Barrel").

Country music

2010-11-02T09:12:00.000+00:00

Country music (or country and Western) is a blend of traditional and popular musical forms traditionally found in the Southern United States and the Canadian Maritimes that evolved rapidly beginning in the 1920s. Distinctive variations of the genre have also emerged elsewhere including Australian country music. The term country music gained popularity in the 1940s when the earlier term hillbilly music came to be seen as denigrating. Country music was widely embraced in the 1970s, while country and Western has declined in use since that time, except in the United Kingdom and Ireland, where it is still commonly used. However, in the Southwestern United States a different mix of ethnic groups created the music that became the Western music of the term country and Western. The term country music is used today to describe many styles and subgenres. Country music has produced two of the top selling solo artists of all time. Elvis Presley, who was known early on as “the Hillbilly Cat” and was a regular on the radio program Louisiana Hayride, went on to become a defining figure in the emergence of rock and roll. Contemporary musician Garth Brooks, with 128 million albums sold, is the top-domestic-selling solo U.S. artist in U.S. history.While album sales of most musical genres have declined since about 2005, country music experienced one of its best years in 2006, when, during the first six months, U.S. sales of country albums increased by 17.7 percent to 36 million. Moreover, country music listening nationwide has remained steady for almost a decade, reaching 77.3 million adults every week, according to the radio-ratings agency Arbitron, Inc.

Early history

Immigrants to the Maritime Provinces and Southern Appalachian Mountains of North America brought the music and instruments of the Old World along with them for nearly 300 years. They brought some of their most important valuables with them, and to most of them this was an instrument: “Early Scottish settlers enjoyed the fiddle because it could be played to sound sad and mournful or bright and bouncy” The Irish fiddle, the German derived dulcimer, the Italian mandolin, the Spanish guitar, and the West African banjowere the most common musical instruments. The interactions among musicians from different ethnic groups produced music unique to this region of North America. Appalachian string bands of the early 20th century primarily consisted of the fiddle, guitar, and banjo. This early country music along with early recorded country music is often referred to as old-time music.
According to Bill Malone in Country Music U.S.A, country music was “introduced to the world as a southern phenomenon." In the South, folk music was a combination of cultural strains, combining musical traditions of a variety of ethnic groups in the region. For example, some instrumental pieces from Anglo-Celtic immigrants were the basis of folk songs and ballads that form what is now known as old time music, from which country music descended. It is commonly thought that British and Irish folk music influenced the development of old time music. British and Irish arrivals to the Southern U.S. included immigrants from Scotland, Wales, Ireland, and England.
Often, when many people think or hear country music, they think of it as a creation of European-Americans. However, a great deal of style and of course, the banjo, a major instrument in most early American folk songs came from African Americans. One of the reasons country music was created by African-Americans, as well as European-Americans, is because blacks and whites in rural communities in the south often worked and played together, just as recollected by DeFord Bailey in the PBS documentary, DeFord Bailey: A Legend Lost.
Throughout the 19th century, several immigrant groups from Europe, most notably from Ireland, Germany, Spain, and Italy moved to Texas. These groups interacted with Mexican and Native American, and U.S. communities that were already established in Texas. As a result of this cohabitation and extended contact, Texas has developed unique cultural traits that are rooted in the culture of all of its founding communities.

Country pop

Country pop or soft pop, with roots in both the countrypolitan sound and in soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Michael Nesmith, The Bellamy Brothers, Glen Campbell, John Denver, Olivia Newton-John, Marie Osmond, B. J. Thomas and Anne Murray having hits on the country charts. Campbell's "Rhinestone Cowboy" was one of the biggest crossover hits in country music history. In 1974, Newton-John, an Australian pop singer, won the "Best Female Country Vocal Performance" as well as the Country Music Association's most coveted award for females, "Female Vocalist of the Year". In the same year, a group of artists, troubled by this trend, formed the short-lived Association of Country Entertainers. The debate raged into 1975, and reached its apex at that year's Country Music Association Awards when reigning Entertainer of the Year Charlie Rich (who himself had a series of crossover hits) presented the award to his successor, John Denver. As he read Denver's name, Rich set fire to the envelope with a cigarette lighter. The action was taken as a protest against the increasing pop style in country music.

During the mid-1970s, Dolly Parton, a highly successful mainstream country artist since the late '60s, mounted a high profile campaign to crossover to pop music, culminating in her 1977 hit "Here You Come Again", which topped the U.S. country singles chart, and also reached No. 3 on the pop singles charts. Parton's male counterpart, Kenny Rogers came from the opposite direction, aiming his music at the country charts, after a successful career in pop, rock and folk music, achieving success the same year with "Lucille", which topped the country charts and reached No. 5 on the U.S. pop singles charts. Parton and Rogers would both continue to have success on both country and pop charts simultaneously, well into the 1980s. Artists like Crystal Gayle, Ronnie Milsap and Barbara Mandrell would also find success on the pop charts with their records as well.
In 1975, author Paul Hemphill stated in the Saturday Evening Post, “Country music isn’t really country anymore; it is a hybrid of nearly every form of popular music in America.”

During the early 1980s, country artists continued to see their records perform well on the pop charts. Willie Nelson and Juice Newton each had two songs in the top 5 of the Billboard Hot 100 in the early eighties: Nelson charted "Always On My Mind" (No. 5, 1982) and "To All The Girls I've Loved Before" (No. 5, 1984), and Newton achieved success with "Queen of Hearts" (No. 2, 1981) and "Angel of the Morning" (No. 4, 1981). Four country songs topped the Billboard Hot 100 in the 1980s: "Lady" by Kenny Rogers, from the late fall of 1980; "9 to 5" by Dolly Parton, "I Love a Rainy Night" by Eddie Rabbitt (these two back-to-back at the top in early 1981); and "Islands in the Stream", a duet by Dolly Parton and Kenny Rogers in 1983, a pop-country crossover hit written by Barry, Robin, and Maurice Gibb of the Bee Gees. Newton's "Queen of Hearts" almost reached No. 1, but was kept out of the spot by the pop ballad juggernaut "Endless Love" by Diana Ross and Lionel Richie. Although there were few crossover hits in the latter half of the 1980s, one song : Roy Orbison's "You Got It", from 1989 — made the top 10 of both the Billboard Hot Country Singles" and Hot 100 charts.

Neocountry

In 1980, a style of "neocountry disco music" was popularized by the film Urban Cowboy, which also included more traditional songs such as "The Devil Went Down to Georgia" by the Charlie Daniels Band. A related subgenre is Texas country music.
Sales in record stores rocketed to $250 million in 1981; by 1984, 900 radio stations began programming country or neocountry pop full time. As with most sudden trends, however, by 1984 sales had dropped below 1979 figures.

Truck driving country

Truck driving country music is a genre of country music and is a fusion of honky tonk, country-rock and Bakersfield Sound. It has the tempo of country-rock and the emotion of honky-tonk, and its lyrics focus on a truck driver's lifestyle. Truck driving country songs often deal with trucks and love. Well-known artists who sing truck driving country include Dave Dudley, Red Sovine, Dick Curless, Red Simpson, Colonel Robert Morris, and Waylon SpeedDudley is known as the father of truck driving country.

Neotraditionalist movement

Main article: Neotraditionalist country

During the mid-1980s, a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts, in favor of more, traditional, "back-to-basics" production. Led by Randy Travis, whose 1986 debut album Storms of Life, sold four million copies and was Billboard's year-end top country album of 1987, many of the artists during the latter half of the '80s drew on traditional honky tonk, bluegrass, folk and western swing. Artists who typified this sound included Travis Tritt, Ricky Skaggs, Kathy Mattea, George Strait and The Judds.

1990

With his debut on the national country music scene in 1989, singer and songwriter Clint Black would usher in a new sound that would define much of country music for the 1990s and beyond.^{[citation needed]}
In the 1990s, country music became a worldwide phenomenon thanks to Billy Ray Cyrus and Garth Brooks. Latter enjoyed one of the most successful careers in popular music history, breaking records for both sales and concert attendance throughout the decade. The RIAA has certified his recordings at a combined (128× platinum), denoting roughly 113 million U.S. shipments.
In the mid 1990s, country western music was influenced by the popularity of line dancing. This influence was so great that Chet Atkins was quoted as saying "The music has gotten pretty bad, I think. It's all that damn line dancing." By the end of the decade, however, at least one line dance choreographer complained that good country line dance music was no longer being released.

Alternative country

Main article: Alternative country

In the 1990s, alternative country came to refer to a diverse group of musicians and singers operating outside the traditions and industry of mainstream country music. In general, they eschewed the high production values and pop outlook of the Nashville-dominated industry, to produce music with a lo-fi sound, frequently infused with a strong punk and alternative aesthetic, bending the traditional rules of country music. Lyrics were often bleak, gothic or socially aware. Other initiators include Old 97's, Lyle Lovett, Steve Earle, Uncle Tupelo, Son Volt, Ryan Adams, My Morning Jacket, Blitzen Trapper, Or, The Whale and Drive-By Truckers.

2000

Several rock and pop stars have ventured into country music. In 2000, Richard Marx made a brief cross-over with his Days In Avalon album, which features five country songs and several singers and musicians. Alison Krauss sang background vocals to Marx's single "Straight From My Heart." Also, Bon Jovi had a hit single, "Who Says You Can't Go Home", with Jennifer Nettles of Sugarland. Other rock stars who featured a country song on their albums were Don Henley and Poison.
One infrequent, but consistent theme in modern country music is that of proud, stubborn individualism. "Country Boy Can Survive" and "Copperhead Road" are two of the more serious songs along those lines; while "Some Girls Do" and "Redneck Woman" are more light-hearted variations on the theme.
In 2005, country singer Carrie Underwood rose to fame as the winner of the fourth season of American Idol and became a multi-platinum selling recording artist and multiple Grammy Award winner. Until the release of "Mama's Song" she was the first female country artist to have all of her singles peak at number one. Underwood also made history by becoming the seventh woman to win Entertainer Of The Year for the Academy of Country Music Awards, and the first woman in history to win Entertainer of the Year for the Academy of Country Music Awards twice, as well as twice consecutively. Underwood's debut album, "Some Hearts", was not only the fastest-selling debut album by any country artist in history, but was ranked by Billboard.com as the #1 Country Album of the 2000-2009 decade.
In 2008, Taylor Swift rose as a major country-pop artist, with her single "Love Story" becoming the first country song to reach No. 1 one on the Nielsen BDS CHR/Top 40 chart. Another of her singles, "You Belong with Me", also reached No. 1, making Swift the only country artist to have two No. 1 singles atop the chart. Both "Love Story" and "You Belong with Me" became the best-selling country song of all time, with "Love Story" in the first position with a domestic total of 4.4 million digital copies sold, and "You Belong with Me" in the second with 3.4 million sales, respectively. In 2010, Swift's sophomore album "Fearless" was awarded the Grammy Award for Album of the Year, becoming the first album in history to win the American Music Award (AMA), Academy of Country Music Award (ACM), Country Music Association Award (CMA), and the Grammy Award for Album of the Year in the same year.
In the same year, Hootie & the Blowfish vocalist Darius Rucker released his second solo album and country music debut, Learn to Live. The first three singles from that album all debuted at No. 1, making Rucker the first solo artist to debut with three No. 1 hits in over a decade. He is also the first African American with a No. 1 country hit since Charley Pride in 1983.
In 2009, George Strait was named Artist of the Decade by the Academy of Country Music.

Country music outside the United States

Canada

Outside of the US, Canada has the largest country music fan and artist base. Mainstream country music is culturally ingrained in Nova Scotia, New Brunswick, Prince Edward Island, Alberta, Saskatchewan, and Manitoba: areas with large numbers of rural residents. Canadian country music originated in Atlantic Canada in the form of Celtic folk music popular amongst Irish and Scottish immigrants to Canada's Maritime Provinces (Nova Scotia, New Brunswick, and Prince Edward Island). It's no surprise that Canadian country's roots are in this region which draws many parallels to the US south and Appalachia. All three regions are of heavy British Isles stock and rural. The development of country music in the Maritimes mirrored the development of country music in the US south and Appalachia.
Don Messer's Jubilee was a Halifax, Nova Scotia based country/folk variety television show that was broadcast nationally from 1957 to 1969. It out drew the Ed Sullivan Show from the United States and became the #1 rated television show in Canada throughout much of the 1960s. Don Messer's Jubilee followed a consistent format throughout its years, beginning with a tune named "Goin' to the Barndance Tonight", followed by fiddle tunes by Messer, songs from some of his "Islanders" including singers Marg Osburne and Charlie Chamberlain, the featured guest performance, and a closing hymn. It ended with "Till We Meet Again".
The guest performance slot gave national exposure to numerous Canadian folk musicians, including Stompin' Tom Connors and Catherine McKinnon. Some Maritime country performers went on to further fame beyond Canada. Hank Snow, Wilf Carter (also known as Montana Slim), and Anne Murray are the three most notable.
The cancellation of the show by the public broadcaster in 1969 caused a nationwide protest, including the raising of questions in the Canadian parliament.
Despite country's roots in the Maritimes, many traditional country artists are present in Eastern and Western Canada. They make common use of fiddle and pedal steel guitar styles. Some notable Canadian country artists include: Shania Twain, Blue Rodeo, Marg Osburne, Hank Snow, Johnny Mooring, Don Messer, Doc Walker, Emerson Drive, Paul Brandt, The Wilkinsons, Wilf Carter, Michelle Wright, Corb Lund and the Hurtin' Albertans, Stompin' Tom Connors, Terri Clark, Crystal Shawanda, Shane Yellowbird, The Road Hammers, and Anne Murray.

Australia

Australian country music has a long tradition. Influenced by American country music it has developed a distinct style, shaped by Celtic folk ballads and Australian bush balladeers like Henry Lawson and Banjo Paterson. Country instruments, including the guitar, banjo, fiddle and harmonica create the distinctive sound of country music in Australia and accompany songs with strong storyline and memorable chorus.
Folk songs sung in Australia between the 1780s and 1920s based around such themes as the struggle against government tyranny, or the lives of bushrangers, swagmen, drovers, stockmen and shearers continue to influence the genre. This strain of Australian country, with lyrics focusing on Australian subjects, is generally known as "bush music" or "bush band music". Waltzing Matilda, often regarded as Australia's unofficial National anthem, is a quintessential Australian country song, influenced more by Celtic folk ballads than by American Country and Western music. The lyrics were composed by the poet Banjo Paterson in 1895. Other popular songs from this tradition include The Wild Colonial Boy, Click Go The Shears, The Queensland Drover and The Dying Stockman. Later themes which endure to the present include the experiences of war, of droughts and flooding rains, of Aboriginality and of the railways and trucking routes which link Australia's vast distances. Pioneers of a more Americanised popular country music in Australia included Tex Morton (known as The Father of Australian Country Music) in the 1930s and other early stars like Buddy Williams, Shirley Thoms and Smoky Dawson. In 1952, Dawson began a radio show, and went on to national stardom as a singing cowboy of radio, tv and film.
Slim Dusty (1927–2003) was known as the King of Australian Country Music, and helped to popularise the Australian bush ballad. His successful career spanned almost six decades and his 1957 hit "A Pub With No Beer" was the biggest-selling record by an Australian to that time, and with over seven million record sales in Australia he is the most successful artist in Australian musical history Dusty recorded and released his one-hundredth album in the year 2000 and was given the honour of singing Waltzing Matilda in the closing ceremony of the Sydney 2000 Olympic Games. Dusty's wife Joy McKean penned several of his most popular songs. Chad Morgan, who began recording in the 1950s has represented a vaudeville style of comic Australian country; Frank Ifield achieved considerable success in the early 1960s, especially in the UK Singles Charts and Reg Lindsay was one of the first Australians to perform at Nashville's Grand Ole Opry in 1974. Eric Bogle's 1972 folk lament to the Gallipoli campaign "And The Band Played Waltzing Matilda" recalled the celtic origins of Australian folk-country. Singer-songwriter Paul Kelly whose music style straddles folk, rock, and country is often described as the poet laureate of Australian music. By the 1990s, Country music had attained cross-over success in the pop charts with artists like James Blundell and James Reyne singing "Way Out West", and country star Kasey Chambers winning the ARIA for Best Female Artist in 2003. The cross-over influence of Australian country is also evident in the music of successful contemporary bands The Waifs and The John Butler Trio. Nick Cave has been heavily influenced by the country artist Johnny Cash. In 2000, Cash, covered Cave's "The Mercy Seat" on the album American III: Solitary Man, seemingly repaying Cave for the compliment he paid by covering Cash's "The Singer" (originally "The Folk Singer") on his Kicking Against the Pricks album. Subsequently, Cave cut a duet with Cash on a version of Hank Williams' "I'm So Lonesome I Could Cry" for Cash's American IV: The Man Comes Around album (2002).
Popular contemporary performers of Australian country music include: John Williamson (who wrote the iconic "True Blue"), Lee Kernaghan (whose hits include "Boys From the Bush" and "the Outback Club"), Gina Jeffreys and Sara Storer. In the USA, Olivia Newton John, Sherrié Austin and Keith Urban have attained great success.
Country music has also been a particularly popular form of musical expression among Indigenous Australians. Troy Cassar-Daley is among Australia's successful contemporary indigenous performers Aboriginal artists and Kev Carmody and Archie Roach employ a combination of folk-rock and country music to sing about Aboriginal rights issues.
The Tamworth Country Music Festival began in 1973 and now attracts up to a 100,000 visitors annually. Held in Tamworth, New South Wales (Country music capital of Australia), it celebrates the culture and heritage of Australian country music. During the festival the CMAA holds the Country Music Awards of Australia ceremony awarding the Golden Guitar trophies.
Other significant country music festivals include the Whittlesea Country Music Festival (near Melbourne) and Boyup Brook Country Music Festival (Western Australia) in February; the Bamera Country Music Festival in June (South Australia), the National Country Muster held in Gympie during August, Mildura Country Music Festival for "independent" performers during October and the Canberra Country Music Festival held in the national capital during November. Some festivals are quite unique in their location: Grabine State Park in New South Wales promotes Australian country through the Grabine Music Muster Festival; Marilyns Country Music Festival is a unique event held in South Australia's Smoky Bay in September and is the only music festival in the world using an oyster barge as a stage.
Country HQ showcases new talent on the rise in the country music scene downunder. CMC (the Country Music Channel), a 24 hour music channel dedicated to non-stop country music, can be viewed on pay tv and features once a year the Golden Guitar Awards, CMAs and CCMAs alongside international shows such as The Wilkinsons, The Road Hammers, and Country Music Across America.

Other international country music

Tom Roland, from the Country Music Association International, explains Country Music’s global popularity: “In this respect, at least, Country Music listeners around the globe have something in common with those in the United States. In Germany, for instance, Rohrbach identifies three general groups that gravitate to the genre: people intrigued with the American cowboy icon, middle-aged fans who seek an alternative to harder rock music and younger listeners drawn to the pop-influenced sound that underscores many current Country hits.”
One of the first Americans to perform country music abroad was George Hamilton IV. He was the first country musician to perform in the Soviet Union; he also toured in Australia and the Middle East. He was deemed the "International Ambassador of Country Music" for his contributions to the globalization of country music. Johnny Cash, Emmylou Harris, Keith Urban, and Dwight Yoakam have also made numerous international tours.
The Country Music Association undertakes various initiatives to promote country music internationally.
In the United Kingdom, a country-derived genre known as skiffle peaked in the 1950s thanks to the efforts of Lonnie Donegan; though the genre as a whole was very short-lived, most of the bands involved with the British Invasion began their careers as skiffle musicians.
In South America, on the last weekend of September, the yearly "San Pedro Country Music Festival" takes places in the town of San Pedro, Argentina. The festival features bands from different places of Argentina, as well as international artist from Brazil, Uruguay, Chile, Peru and the United States.
In Ireland TG4 began an quest for Ireland's next country star called Glór Tíre, translated as Country Voice, it is now in its 6th season and is one of TG4 most watched TV shows. A recent success in the Irish arena has been Crystal Swing.
Rhodesia during the 1970s had an active country and western music scene. Many songs combined country ballads with patriotic or military inspired lyrics. For example, Clem Tholet's Rhodesians Never Die rose to the top of the Rhodesian pop charts.

Thanks all to read my blog

MUSIC ORCHESTRA

2010-11-02T05:01:00.004+00:00

An orchestra is a sizable instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. The term orchestra derives from the Greek ορχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus. The orchestra grew by accretion throughout the eighteenth and nineteenth centuries, but changed very little in composition during the course of the twentieth century.

A smaller-sized orchestra for this time period (of about fifty players or fewer) is called a chamber orchestra. A full-size orchestra (about 100 players) may sometimes be called a "symphony orchestra" or "philharmonic orchestra"; these modifiers do not necessarily indicate any strict difference in either the instrumental constitution or role of the orchestra, but can be useful to distinguish different ensembles based in the same city (for instance, the London Symphony Orchestra and the London Philharmonic Orchestra). A symphony orchestra will usually have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. A leading chamber orchestra might employ as many as fifty musicians; some are much smaller than that.

The typical symphony orchestra consists of four proportionate groups of similar musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time, often agreed to have been standardized by the classical period and Beethoven's influence on the classical model.

Expanded instrumentation

Apart from the core orchestral complement, various other instruments are called for occasionally. These include the classical guitar, heckelphone, flugelhorn, cornet, harpsichord, and organ. Saxophones, for example, appear in a limited range of 19th and 20th century scores. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Prokofiev's Romeo and Juliet Suites 1 and 2, Vaughan Williams Symphony No.6 and Symphony No.9 and William Walton's Belshazzar's Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben. The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Richard Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major.[1] Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The 20th century orchestra was far more flexible than its predecessors. In composers such as Beethoven's and Felix Mendelssohn's time, the orchestra was composed of a fairly standard core of instruments which was very rarely modified. As time progressed, and as the Romantic saw changes in accepted modification with composers such as Berlioz, followed by Johannes Brahms and eventually Gustav Mahler, the 20th century saw that orchestration could practically be hand-picked by the composer.

With this history in mind, the orchestra can be seen to have a general evolution as outlined below. The first is a classical orchestra (i.e. Beethoven/late Haydn), the second an early/mid- romantic (i.e. Brahms/Dvořák/Schumann), late romantic/early 20th century (i.e. Wagner/Mahler/Richard Strauss), modern (i.e. Ravel/Bartok/Debussy/Stravinsky to the present day, although as explained above this was far more flexible than the list implies and often forces would surpass the romantic/transition orchestra).

History of the orchestra

Early history

The modern orchestra has its historical roots in Ancient Egypt. The first orchestras were made up of small groups of musicians that gathered for festivals, holidays or funerals. During the time of the Roman Empire, the government suppressed the musicians and informal ensembles were banned[why?], but they reappeared after the collapse of the Empire. It was not until the 11th century that families of instruments started to appear with differences in tones and octaves. True modern orchestras started in the late 16th century when composers started writing music for instrumental groups. In the 15th and 16th centuries in Italy the households of nobles had musicians to provide music for dancing and the court, however with the emergence of the theatre, particularly opera, in the early 17th century, music was increasingly written for groups of players in combination, which is the origin of orchestral playing. Opera originated in Italy, and Germany eagerly followed. Dresden, Munich and Hamburg successively built opera houses. At the end of the 17th century opera flourished in England under Henry Purcell, and in France under Lully, who with the collaboration of Molière also greatly raised the status of the entertainments known as ballets, interspersed with instrumental and vocal music.

In the 17th century and early 18th century, instrumental groups were taken from all of the available talent. A composer such as Johann Sebastian Bach had control over almost all of the musical resources of a town, whereas Handel would hire the best musicians available. This placed a premium on being able to rewrite music for whichever singers or musicians were best suited for a performance—Handel produced different versions of the Messiah oratorio almost every year.

As nobility began to build retreats away from towns, they began to hire musicians to form permanent ensembles. Composers such as the young Joseph Haydn would then have a fixed body of instrumentalists to work with. At the same time, travelling virtuoso performers such as the young Wolfgang Amadeus Mozart would write concerti that showed off their skills, and they would travel from town to town, arranging concerts along the way. The aristocratic orchestras worked together over long periods, making it possible for ensemble playing to improve with practice.

Mannheim School

This change, from civic music making where the composer had some degree of time or control, to smaller court music making and one-off performance, placed a premium on music that was easy to learn, often with little or no rehearsal. The results were changes in musical style and emphasis on new techniques. Mannheim had one of the most famous orchestras of that time, where notated dynamics and phrasing, previously quite rare, became standard (see Mannheim school). It also attended a change in musical style from the complex counterpoint of the baroque period, to an emphasis on clear melody, homophonic textures, short phrases, and frequent cadences: a style that would later be defined as classical.

Throughout the late 18th century composers would continue to have to assemble musicians for a performance, often called an "Academy", which would, naturally, feature their own compositions. In 1781, however, the Leipzig Gewandhaus Orchestra was organized from the merchants concert society, and it began a trend towards the formation of civic orchestras that would accelerate into the 19th century. In 1815, Boston's Handel and Haydn Society was founded, in 1842 the New York Philharmonic and the Vienna Philharmonic were formed, and in 1858, the Hallé Orchestra was formed in Manchester. There had long been standing bodies of musicians around operas, but not for concert music: this situation changed in the early 19th century as part of the increasing emphasis in the composition of symphonies and other purely instrumental forms. This was encouraged by composer critics such as E. T. A. Hoffmann who declared that instrumental music was the "purest form" of music. The creation of standing orchestras also resulted in a professional framework where musicians could rehearse and perform the same works repeatedly, leading to the concept of a repertoire in instrumental music.

Performance standards

In the 1830s, conductor François Antoine Habeneck, began rehearsing a selected group of musicians in order to perform the symphonies of Beethoven, which had not been heard of in their entirety in Paris. He developed techniques of rehearsing the strings separately, notating specifics of performance, and other techniques of cuing entrances that were spread across Europe. His rival and friend Hector Berlioz would adopt many of these innovations in his touring of Europe.

Instrumental craftsmanship

The invention of the piston and rotary valve by Heinrich Stölzel and Friedrich Blühmel, both Silesians, in 1815, was the first in a series of innovations, including the development of modern keywork for the flute by Theobald Boehm and the innovations of Adolphe Sax in the woodwinds. These advances would lead Hector Berlioz to write a landmark book on instrumentation, which was the first systematic treatise on the use of instrumental sound as an expressive element of music.

The effect of the invention of valves for the brass was felt almost immediately: instrument-makers throughout Europe strove together to foster the use of these newly refined instruments and continuing their perfection; and the orchestra was before long enriched by a new family of valved instruments, variously known as tubas, or euphoniums and bombardons, having a chromatic scale and a full sonorous tone of great beauty and immense volume, forming a magnificent bass. This also made possible a more uniform playing of notes or intonation, which would lead to a more and more "smooth" orchestral sound that would peak in the 1950s with Eugene Ormandy and the Philadelphia Orchestra and the conducting of Herbert von Karajan with the Berlin Philharmonic.

During this transition period, which gradually eased the performance of more demanding "natural" brass writing, many composers (notably Wagner and Berlioz) still notated brass parts for the older "natural" instruments. This practice made it possible for players still using natural horns, for instance, to perform from the same parts as those now playing valved instruments. However, over time, use of the valved instruments became standard, indeed universal, until the revival of older instruments in the contemporary movement towards authentic performance (sometimes known as "historically informed performance").

At the time of the invention of the valved brass, the pit orchestra of most operetta composers seems to have been modest. An example is Sullivan's use of two flutes, one oboe, two clarinets, one bassoon, two horns, two cornets (a piston), two trombones, drums and strings.

During this time of invention, winds and brass were expanded, and had an increasingly easy time playing in tune with each other: particularly the ability for composers to score for large masses of wind and brass that previously had been impractical. Works such as the Requiem of Hector Berlioz would have been impossible to perform just a few decades earlier, with its demanding writing for twenty woodwinds, as well as four gigantic brass ensembles each including around four trumpets, four trombones, and two tubas.

Other meanings of orchestra

In Ancient Greece, the orchestra was the space between the auditorium and the proscenium (or stage), in which were stationed the chorus and the instrumentalists. The word orchestra literally means "a dancing place".

In some theaters, the orchestra is the area of seats directly in front of the stage (called primafila or platea); the term more properly applies to the place in a theatre, or concert hall reserved for the musicians.

The 21st century marks the first time the orchestra is not limited to humans. On May 13, 2010 the Karmetic Machine Orchestra performed in Los Angeles. In the LA show, it had 10 performers, 3 bots, 43 actuators, and 65 speakers. The robots use sensor data to interpret gestures made by human performers in the orchestra. The robots can be programmed to perform music as well as receive commands from the modified instruments played by their fellow musicians.

Multiple conductors

The techniques of polystylism and polytempo music have recently led a few composers to write music where multiple orchestras perform simultaneously. These trends have brought about the phenomenon of polyconductor music, wherein separate sub-conductors conduct each group of musicians. Usually, one principal conductor conducts the sub-conductors, thereby shaping the overall performance. Some pieces are enormously complex in this regard, such as Evgeni Kostitsyn's Third Symphony, which calls for nine conductors.

Charles Ives often used two conductors, one for example to simulate a marching band coming through his piece. Realizations for Symphonic Band includes one example from Ives.

One of the famous example in the late century orchestral music is Karlheinz Stockhausen's Gruppen, for three orchestras placed around the public. This way, the sound masses could be spacialized, as in an electroacoustic work. Gruppen was premiered in Cologne, in 1958, conducted by Stockhausen, Bruno Maderna and Pierre Boulez. Recently, it was performed by Simon Rattle, John Carewe and Daniel Harding.

Iyiyi - Cody Simpson

2010-11-02T04:48:00.000+00:00

(Cody Simpson)
Cody Simpson, y-yeah

(Flo Rida)
Sh-shawty who dat, who dat, you think always missing you
I-I-I cannot get enough of kissing you
I don't cry-y-y, ok I she'd a tear, or two
On the gri-i-ind, yeah, but girl ain't no forgetting you, cuz

(Cody Simpson)
Every minute, every second, every hour of the day
Iyiyi
Every hour of the day
Iyiyi
Everytime that I'm away
Iyiyi
Missing you, missing you

Every moment that is stolen, it can never be replaced
Iyiyi
Even if it's for a day
Iyiyi
I'm a text you up to say
Iyiyi
Missing you, missing you

Oh baby whenever I'm gone, I'm wishing I was back home
I can feel your heart when we're apart
Girl I'm on my way, trust every word I say
I can't wait to see your face
And when I said goodbye, I saw the tears in your eyes as you started to cry
I took your hand, and promised I'll be right back
Girl I'm coming right back to see you smile

So girl, what I gotta do to make you see
I mean what I say to you
I'll send you a picture, let you know I miss ya
Girl send me a kiss, I can't wait to see ya

Every minute, every second, every hour of the day
Iyiyi
Every hour of the day
Iyiyi
Everytime that I'm away
Iyiyi
Missing you, missing you

Every moment that is stolen, it can never be replaced
Iyiyi
Even if it's for a day
Iyiyi
I'm a text you up to say
Iyiyi
Missing you, missing you

Remember when we first met, I had to tell you that
I couldn't live without your love
Baby I must confess, we were the perfect match
You we're a gift sent from above
When you're thinking about me, text 1-4-3
That means I love you girl
I'll be your everything, and all you need
Oh baby, let your heart take the lead

Ooh, so girl, what I gotta do to make you see
I mean what I say to you
I'll send you a picture, let you know I miss ya
Girl send me a kiss, I can't wait to see ya

Every minute, every second, every hour of the day
Iyiyi
Every hour of the day
Iyiyi
Everytime that I'm away
Iyiyi
Missing you, missing you

Every moment that is stolen, it can never be replaced
Iyiyi
Even if it's for a day
Iyiyi
I'm a text you up to say
Iyiyi
Missing you, missing you

(Flo verse:)
Lil mama, ain't nobody else, I need you girl
I-I-I got intentions just to please you girl
And I try-y-y, lady that's what you deserve
Superfly-y-y be more precious than a pearl
I can't li-i-ie, pictures in my living room
When I ri-i-ide, dashboard, digital
To the sky-y-y, so thankful that you're in my world
Do or di-i-ie, baby, I ain't kidding you

I don't wanna be your distant man
Tellin me I don't do enough for plans
I really can't afford to let it hit the fan
Girl, every minute I wanna hold your hand
Ain't no limit to the words I'm saying
I don't wanna rock with a brand new band
Just you, lil mama, that's grand
I've been all over the land, and

Every minute, every second, every hour of the day
Iyiyi
Every hour of the day
Iyiyi
Everytime that I'm away
Iyiyi
Missing you, missing you

Every moment that is stolen, it can never be replaced
Iyiyi
Even if it's for a day
Iyiyi
I'm a text you up to say
Iyiyi
Missing you, missing you

Oh, yeah
I'm missing you

Sterling Knight - What you mean to me (Lyric with chord)

2010-11-02T04:42:00.000+00:00

Intro: G D Cadd9 G C

G D Cadd9 D C
I can't blame you for thinking that
You never really knew me at all
G D Cadd9 G C
I tried to deny you but nothing
Ever made me feel so wrong
D G D Cadd9 G D C
I thought I was protecting you from everything that
I go through but I know that we got lost along the way

Chorus:
G D Cadd9 D C
Here I am with
All my heart I hope you
Understand I know I let
G D Cadd9 G C
You down but I'm never
Gonna make that mistake again
G D Cadd9 G D C
You brought me
Closer to who I really am
Come take my hand
I want the world to see
What you mean to me
What you mean to me

G D Cadd9 G C

G D Cadd9 G C
Just know that I'm sorry I never
Wanted to make you feel so small
Our story is just beginning we'll let
The truth brake down these walls, oh yeah
D G D G Cadd9 C
And every time I think of you I think of how
You pushed me through and showed me
How much better I could be

Chorus:
G D Cadd9 G
Here I am with all my heart
I hope you understand
G D Cadd9 G C
I Know let you down but I'm never
Gonna make that mistake again
D Cadd9 D C
You brought me closer to who
I really am come take my hand
I want the world to see
G D Cadd9
What you mean to me yeah

Bridge:
C G D Cadd9 G D
You make me feel like I'm myself
Instead of being someone else
I wanna live that every day
C G D Cadd9 C
When you say what no one else
Will say you know exactly
How to get to me you
Know It's what I need
G D Cadd9 G C
It's what I need yeah

Chorus:
G Cadd9 G C
Here I am with
All my heart I hope you
Understand (I hope you Understand)
G Cadd9 G Cadd9 C
I know I let
You down but I'm never
Gonna make that mistake again
G D Cadd9 G Cadd9 C
You brought me
Closer to who I really am
So come take my hand
I want the world to see
What you mean to me
What you mean to me

Outro:G D Cadd9 G C

Cody simpson - Summertime lyrics

2010-10-14T14:58:00.000+01:00

Top Back, Hands Up, Radio On
With my girlfriend, just us, they playing our song and yeah
Ain't nothing like a summertime ride
Ain't nothing like the summertime

I can't help but stare at her
Even when the other girls are passing by
She got my full attention
And I can't keep her of my mind
One look at you, that's when I knew
That nothing else matters

As the wind blows through her hair
She got me praying that summer never ends
Cuz summer loves just not enough for me
So lets make it last forever

Top Back, Hands Up, Radio On
With my girlfriend, just us, they playing our song and yeah
Ain't nothing like a summertime ride
Ain't nothing like the summertime
It's alright, all night, nothing feels wrong
Just hanging out, having fun, the party goes on and yeah
Ain't nothing like a summertime ride
Ain't nothing like the summertime

There's a place I know about
And I think you and me should go
It can be our secret baby no one even has to know
And your eyes can't hide what you feel inside
Don't think the stars have ever shined so bright

I can't feel my heart beating stronger
Wish that we could stay a little longer
Cuz summer loves just not enough for me
So lets make it last forever

Top Back, Hands Up, Radio On
With my girlfriend, just us, they playing our song and yeah
Ain't nothing like a summertime ride
Ain't nothing like the summertime
It's alright, all night, nothing feels wrong
Just hanging out, having fun, the party goes on and yeah
Ain't nothing like a summertime ride
Ain't nothing like the summertime

Cody Simpson - One Lyrics

2010-10-14T14:48:00.000+01:00

I'm so much more than Cody Simpson
I gotta a lot in me, gotta get it out
What have I gotta do to make you listen
So much more than just a sound (It's much more than just a sound)

Oh Oh Yeah,
This is exactly what I've been dreaming of
Oh Oh Yeah,
Can you believe in me, Seeing what I can see

All I need is One, One, One
All we need is One, One, One
All I need is One, One, One
All we need is One, One, One

It's my dream, my home, my life, my soul
My dance, my song, my love, lives on

I'm beginning to imagine (beginning to believe)
What am I really trying to say?
I want to change the world we live in
And make tomorrow a better day

I wanna feel the whole wide world just dancing to one rhythm
I wanna feel the whole wide world just singing to one song

All I need is One, One, One
All we need is One, One, One
All I need is One, One, One
All we need is One, One, One

It's my dream, my home, my life, my soul
My dance, my song, my love, lives on

If I could fit the world in my pocket
Take a hidden dream and unlock
We'd all be flyin' in one rocket
It's my dream and no one can stop it

All I need is One, One, One
All we need is One, One, One
All I need is One, One, One
All we need is One, One, One

It's my dream, my home, my life, my soul
My dance, my song, my love, lives on

(Can you hear it?) (Can you hear it?)

2010-10-14T13:38:00.000+01:00

the importance of music
I mean music it is very important for life and if there is no music in the world, then the world will be vulnerable. And on this blog I will write all about my favorite music. Like the lyrics, song, album and others.
Music is important because it helps you express yourself in ways that you can’t with normal talking.
Music is important in my life because I always have something to sing along to and relate to. It is important to the world as a whole because it brings us together. Music is the highlight of my day! After a rough day, I like to listen to music to lift my spirits. I think music is important because music is a way that people can express themselves and if people couldn’t express themselves there would be a lot more violence in the world. Music, without it there would be silence, less joy, and darker times. Music puts the life and excitement into the world. Music is a part of my everyday life, from the radio in the morning to chorus and band class at school. Without music, I wouldn’t be who I am today. Music is important to people’s lives because it makes things better when things aren’t going right in the world. And Music is important in my life because I listen to it everyday. It helps me relax.

Life without music is like fasting for a teen – boring, painful, and dull. Every morning I wake up to music filling my dreams until I realize that the wonderful melody is coming from my alarm telling me to get going. That’s not only where this wonderful gift fits into my day. Several minutes later, I take a shower with the radio cranked, but unfortunately my voice doesn’t flow to the song as well. In the car ride to school, again music and again I sing (too bad for my neighbors!). To make school worth living, there’s band – a time to let the mind wander, a time to relax and put my music skills to test. Thankfully I play better than I sing! Besides my music life, think about yours. Your cell phone goes off and what do you hear – music. A parade with the melodious sounds, but then it’s taken away and the parade comes to a rest. Without the joy of music, there’s no point in life, unless life to you is no sound at all.