4 Ways to Improve Your Hymn Playing on the Organ

Hymn playing is the foundation of any church organist activities. In order to play the hymns correctly, you have to follow some basic techniques. In this article, I will share with you 4 simple ways which will help to improve your hymn playing on the organ.

Use good articulation. Playing with clear articulation is important because it helps people to appreciate the melody and the harmony of the hymn better. Look at the date of the hymn. If it was created before the 19th century, use articulate legato, or the ordinary touch. Make small rests between each note and feel the strong and weak beats of the measure. Articulate more before the strong beats. Do not make the notes too detached but with a cantabile or singing manner. On the other hand, if the hymn was created in the 1800s or 1900s, the normal articulation is legato. Shorten the notes by a half only when you see repeated notes and at the end of the lines. However, whether you play legato or with articulation, always try to coordinate the releases - depress and release the chords exactly together.
The beginning and the end of the stanzas is important. The end of the stanza should propel people to sing the next one. There should be no confusion about when does the new stanza starts. Make it constant with every stanza. It often sounds best, if you add two extra beats at the end in the 4/4 meter or one full measure in ¾ meter. Note that the last beat should be a rest for taking a breath before singing.
Do not double the bass with your left hand, if you use pedals. This suggestion is very important if you want to develop hand and feet independence. For those of us who start playing the organ after some time of piano playing, the left hand naturally tends to play the bass. But if you play hymns in four parts and use pedals for the bass line, play soprano and alto in the right hand and tenor in the left hand. There are other possible dispositions for playing hymns as well but this is most common one.
Think about registration. It is wise to change the registration according to the meaning of text of the specific stanza. For certain texts Organo Pleno registration with principal chorus and mixtures works well, for others experiment with reeds or flutes. Gentle, joyful, sad, or energetic texts require adequate registration as well.

If you follow these suggestions, you will be able to play any hymn you want with confidence. Congregation will be much more eager to sing together when you will play the hymns in time, with good articulation, registration etc. People will know when to start new stanzas, if you finish correctly the previous ones. In turn, they will appreciate your organ and hymn playing on a much higher degree.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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How to Develop Good Organ Practice Habits?

In order to learn any organ piece, regular practice is required. However, if you want to make some real progress in organ playing you need to develop good practice habits. Practicing sporadically or without a goal in mind will not get you very far. Every time you sit down on the organ bench, you have to practice correctly. Over time correct practice leads to correct practicing habits. In this article, I will teach you the several techniques which will help you to develop good organ practice habits.

Practice regularly. This is perhaps the most important suggestion. Many people fail to advance in organ playing because their practice is sporadic. They may practice for a few days or a week with initial excitement but later they find it hard to commit. Make your practice time constant and mark it in your calendar so that you will not forget it.
Have a specific goal in mind. If you have difficulty in committing to practice regularly, this point might help you. Setting short-term and long-term goals will allow you to have a vision of what it is you want to accomplish today, in a week, month, year or five years from now. Always think whether your current organ practice moves you closer to your goals.
Keep correct posture. Try to sit up straight on the organ bench. Remind yourself frequently to check on your posture. Do not slouch because this will be not good for your health. Practicing with incorrect posture will eventually lead to back problems. Relax your shoulders and breathe deeply. You have to force yourself to sit up straight at first. With time it will become easier because you will form a good habit.
Check your hand and feet position frequently. When you practice, ask yourself if your heels and knees are held together. Make sure you do not lift your fingers and feet from the keys. Keep them in contact with the keys at all times. If you insist on having a good hand and feet position, with time it will become habitual.
Practice in a slow tempo. They say that the fastest way to progress in organ playing is done through slow practice. Try to resist the temptation of playing at a concert tempo often, especially during the learning stage. Remember that practicing is very different from performing. There are special techniques which can help you to achieve a faster tempo, but majority of your practice should be done in a slow tempo.

Check these points when you play the organ. If you bear these suggestions in mind every time you practice organ playing, you will develop the right practice habits which in turn will lead to a solid technique. Because solid technique is the foundation of organist skills, you will have no trouble learning technically advanced organ music and your organ playing level may become quite high.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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Why You Should Be Buying Beats On The Internet Instead Of In Person

To be able to get noticed today, you have to stand out from the thousands of rappers trying to make it just like you. Being cocky as a rapper is somewhat important but the truth is that there is always someone better than you out there. If you listen to the radio you will probably find out that being the best rapper alive isn't really what gets you famous. The main thing you need is hustle and something to make you look as professional as possible. Once you understand this, you will learn how important beats are to your musical future. You can be the best emcee in recent times but you won't make it far if you don't have beats that people want to actually listen to. While lyrics are obviously important, choosing the right beat for a track is just as, or even more, important.

Finding out where to buy the beats is the number one problem that rappers face. Most rappers live in cities where there are at least 5 producers that make nice beats. Even if your local producers are great, there are thousands online that you could buy from as well. Still, the question of buying online or in person becomes a dilemma. While both can be great choices, they both have problems as well. In the end, one way of buying beats is better than the other. Let's peek at what we are getting into if we buy from either of the choices.

Buying In Person

The best thing about buying in person is the fact that you create a personal connection with the producer, in most cases. Knowing the right people in the music game is very important. Also, if you buy the beat in person, you may be able to get a nice deal on the price and maybe even get some things changed with the beat if you would like that. Creating a personal connection with a producer online is possible but the best producers are too busy selling beats daily to make connections with every rapper that contacts them.

The drawback of buying in person is that your community may be limited in production talent. While there are usually great producers in big cities, not every rapper comes from a big city. These rappers that stay local end up using less than perfect beats and suffer the consequences. Obviously, you aren't going to make it very far with less than average instrumentals.

Purchasing Online

The best thing about buying beats online is the fact that you have millions to choose from. There are thousands of producers online striving to sell their beats to anybody who is interested. That amount of competition has caused a major drop in the instrumental prices online. If you compare buying a beat in person or buying a beat online, the online beat is usually much cheaper. Also, you are not limited to your city's producers, which means you can go outside your box and become more versatile, which is always important for emcees.

The drawback is not making that personal connection. The ease of scamming on the internet scares many people away from purchasing beats online. However, if you stick to the reputable beat providers, this will never happen to you. That is the solo issue with buying beats online. If you pay attention to what company you are going to buy instrumentals from, buying online is much better.

If you are interested in Rap beats, look at Cheap Hip Hop Beats. They are one of the principal providers of Instrumentals online.

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How to Improvise on Piano - 4 Simple Tips for Easy Piano Improvisation

I remember the first time I heard somebody jam out on the piano. I was in a piano store and the salesperson in his late teens or early twenties, was showing me some features on this electric piano I was looking at. He turned on the instrument and just started playing. It was great stuff. When I asked him what he was playing, he told me nonchalantly, that he had made it all up. I was amazed to say the least. On my drive home, I kept thinking to myself, "Damn! I've played the piano for 15 years and I can't do that, what's wrong with me?" Thus began my journey to learn how to improvise.

Having played the piano since the age of 5, I was raised strictly as a classical musician. I remember wanting to play the Ghostbusters theme song and after securing the sheet music for it, my teacher wouldn't even let me to play it. This is the background I came from, and I'm sure many of you know exactly what I'm talking about. Learning how to improvise was a journey I had to take alone. I had to teach it to myself. Here are some tips for beginners that I learned on my own that I wish someone would've shared with me when I first started making up melodies on the piano.

1. Play around with the white keys. The keys found in the scale of C Major are free of accidentals. You should play around with these notes with just the right hand and try to come up with melodies that are pleasing to the ear. The more you do this, the better your ears will get.

2. Experiment with simple chords. Use simple I, IV, V chords in either hand, changing between them in a recognizable pattern. The I chord is our basic C Major chord, our IV chord is our basic F Major chord and our V chord is our basic G Major chord. Learn these chords and play around with them by arranging them into patterns such as: I, IV, V, IV or I, V, IV, I, V etc. Come up with your own patterns and hold each chord for four beats before changing to the next.

3. Sing your notes. If you think about it, it's pretty easy to hum a melody that's improvised. This was the first thing I did when learning to improvise. You can't really sing a wrong note because you know (more or less) exactly how to make the pitch of each note your singing. With the piano, you have to know which key makes which sound in order to construct the melody in your head. A very helpful way to train your ears is to sing the notes while you play them. See how accurate you can get. It will take some time for most people, but once you're done, you should be able to sing through your fingers.

4. Learn a blues scale. Blues scales are SUPER fun when learning how to improvise. Look online for some basic sheet music that shows how to play a blues scale. Since we're playing in the key of C, find the blues scale in this key and tinker with it. You'll realize right away how much fun improvising with this scale is.

The most important tip of all is to have fun and to have faith. Everything gets better with practice and consistency. Sometimes it'll feel like you're not getting better but trust me, every time you sit down at the piano to do this you are getting a little better each time. Have fun!

The author is a professional keyboardist, producer and composer from Los Angeles. He has written an ebook on how to improvise on piano which teaches the basics of improvising in a few short hours. He also runs a music school which offers Orange County piano lessons.

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Haydn - Cello Concerto No. 2 In D Major

Haydn's employment by the rich and famous Esterhazy family at their hunting lodge palace deep in the forests of Hungary assured that he would have a ready-made audience, and although Prince Esterhazy would have had other musicians visit on occasion, Haydn would be in relative isolation and as he wrote in his own words:

"My sovereign was satisfied with all my endeavors. I was assured of applause and, as head of an orchestra, was able to experiment, to find out what enhances and detracts from effect, in other words, to improve, add, delete, and try out. As I was shut off from the world, no one in my surroundings would vex and confuse me, and so I was destined for originality."

The sheer amount of music Haydn composed in his thirty-odd year employment by the Prince is staggering. Symphonies, operas, chamber music, and concertos rolled off Haydn's pen one right after the other. The Cello Concerto No.2 also shows that Haydn had some top-notch players in his small symphony orchestra. Anton Kraft was a cellist in the Prince's employ and Haydn wrote the 2nd concerto to highlight his talents. After the split up of the Prince's orchestra in 1790, Kraft went on to be regarded as the foremost master of the cello in Vienna, no mean feat in the city of music and musicians.

Haydn began composing the concerto in 1783, close to the time when Haydn himself had been startled to learn that while he may have felt isolated at the Esterhazy Palace, the world had caught up with his music and he was a famous man. It was also about this time that he received the commission for the 'Paris' symphonies.

The concerto is in three movements:

I. Allegro moderato - The first movement lacks the tension and contrast that Haydn's first movements can have. There is a leisure feeling to it, and the orchestra never overshadows the soloist. Haydn' puts the spotlight firmly on the cellist.

II.Adagio - The cello shows off its ability to sing when a master is playing it.

III.Rondo (Allegro) - The rondo is built out of the motif first heard in the cello, and like the first movement there is very little tension. The work ends simply, but charmingly.

The cello concerto is not one of Haydn's most difficult pieces, but the solo part is very challenging in the first and last movements as Haydn demands playing in double stops and octaves. The concerto is meant to be played by a virtuoso such as Anton Kraft, someone who can throw off the covert virtuosity of the piece and make the cello sing.

Visit Musical Musings for thoughts and impressions about musicians, composers and their music. http://muswrite.blogspot.com/

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Why Not Get Some Music Producer Software To Make Those Cool Beats?

Searching everywhere for the best music producer software on the internet can be quite the assignment. You actually need to keep in mind that they can be pricey, and hard to understand without training.

Nevertheless, I did find one that cost less than a PlayStation video game. Yet the software system maker didn't hold back anything at all because it has about the same features as the high-priced applications.

Producer's are becoming the thing of the past, and booking a studio room to create your music forget about it man this is the a new millennium. Technological innovation advancing in this century has made it attainable for any person to generate awesome beats using their computer with ease.

Regardless of your ability, or credentials you can produce your own melody if you have an internet connection. Because of the interest in making music from home the music producer software developers have made these software systems more simple to use, and low-priced.

It is possible with imaginative skills to be so creative with music producer software that you can fully control your manner of music, and simply create your own style of beats. The user interface is what makes its navigation menu's so very easy to navigate.

Generate nice music with all the bass lines that you download, beats, and music samples that you have access to all absolutely royalty free. You're able to do whatever you want with the songs you generate they are absolutely yours. Exchange them, keep them, give them away, or just do as you please.

Music producer software has an assortment of sounds that can be downloaded. There are a few music producer software systems on the internet that have a superior quality sound, and are fantastic beat makers. Which are key features for anyone to make quality beats.

You say, you practically never created music prior to today. Let's not fret the applications will come with thorough training educational videos. The course is going to have you producing your own rhythms in no time. Teaching you to generate those fabulous sounds giving you suggestions as you go along.

You could possibly even put the tones you created on Dub Turbo's roster for sale. Is it possible to believe that? It's kind of insane to think you may be able to sell your beats.

In addition to this, once you produce some rhythms, and are chillin in the crib. You'll have no concept how incredible it will make you really feel when you give ear to your own work. You can't even possibly believe the tunes you will be producing.

You may be developing professional quality music with this music producer software, and at a small percentage of the cost. With the right music producer software you will save energy, time, and allowing you to be free to discover your creative talents.

T. Curtis Moore. Not everyone is looking to make beats, but if you are Dub Turbo is a very good music producer software. The tutorials that comes with the software are very informative, and educational. You could be making beats within a short time. Music Producer Software or Visit Beat Maker Software

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How to Achieve Natural Phrasing in Organ Playing

Just like the correct articulation helps to achieve clarity and precision in the performance, the right phrasing can help emphasize structurally important points in the piece. It is precisely phrasing which can give much desired natural flow and life to the organ composition. Moreover, phrasing will help the listener to understand the form of the piece. In this article, I will give you the advice on how to choose the best phrasing in organ playing.

Phrasing involves certain rhythmic fluctuation which takes place at structurally important elements of the piece. This fluctuation helps to emphasize the places which make up the form of the composition. While the usual playing and articulation help to achieve the hierarchy of the strong and weak beats in the measure, the phrasing is used to make subtle rhythmic inequalities. In other words, with the help of the phrasing the organist is able to achieve gentle ritardandos and accelerandos which are governed by certain compositional elements. Sometimes phrasing has much to do with articulation and taking a breath in a musical line.
Cadences. Cadence is a certain harmonic or melodic curve which helps to complete the musical idea. Whenever you see a cadence, you can gently slow down to make it more prominent. Gradually resume the normal speed afterwards.
Rests. Rests are important for the phrasing as well. Quite often the composer will put a rest in a place where one particular voice or part has to take a breath. This is the sign for the subtle phrasing technique.
Caesuras. Very often caesuras are placed at the end of the phrase in order to show the necessity of taking a breath. Although the organ can play without breathing, if you emphasize those musically important places and articulate them, your musical lines will become much clearer.
Long Notes. After the long note there is a tendency to take a breath in a vocal composition. The same applies in organ music as well. Make a short rest after long notes to show the contour of the melody.
Repetition of Rhythmical Figures. If you see some repeated rhythmical figures in your organ piece, feel free to make more pronounced articulation at the end of each figure. This will be a natural way to make phrasing.
Beginnings and Endings of Melodic Line. Very often it is appropriate to make gentle rhythmical inequalities at the beginning and the end of the melodic line. Start slowly, speed up a little and finish slower. This is especially useful in Romantic organ music. It is helpful to imagine analogy with driving a car here. Similarly to the shape and performance of the melodic line, the car will start to move slowly, speed up and slow down at the stop.

If you apply subtle rhythmical phrasing and make articulation at structurally important points of the piece, your performance will become very natural. However, do not over-do it, especially in the Baroque music. Although the Romantic compositions often require these rhythmical alterations, the early music must be played much more rhythmically and should emphasize meter, pulse, and alternation of strong and weak beats.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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Use a Press Release to Kick Your Music Career Into High Gear

Do you know what a press release is? Well, it's a notification sent to newspapers, magazines, radio, TV and web sites meant to get you or your band covered by the media for free. To this end, your release has to be full of information, interesting, and above all else, accurate.

When media people receive your press release, they may run the release as-is, they may re-work the release, or they may contact you for more information and write an article of their own.

First, let me tell you when NOT to send out a press release. Do not send out a release for your regular activities. In other words, if you're doing a typical show... no release. If you're doing a common personal appearance... no release. If you're appearing on a radio show that you often visit... no release.

Basically, a press release is issued to highlight a special event. If you send them out regularly, the media will simply start ignoring them and you will lose all of your free promotion. So use releases wisely.

Now, you can always hire someone to write your releases for you - there are plenty of freelancers out there who can knock off a release in no time. But you don't need to pay for something you can do for free yourself. If you're not a writer, don't worry. Press releases are short and easy to compose because they follow a basic format.

As you start preparing the release, be sure to use a simple, common font (typeface) - like Arial or Times Roman. Fancy, artsy fonts will scream "this release was made by an amateur!"

Next, you must prepare the paper (or email) for your release. You should print your name, stage name or band name in the upper left corner of the paper. Under this, you should print your mailing address and web address.

Skip two lines and centered on the page, in all capital letters and bold print write "PRESS RELEASE." You also can print "MEDIA RELEASE" instead, if you want to.

On the next space down from PRESS RELEASE, to the right, type the name of the person the media should contact for more information (probably you), and a phone number which can be used to reach you. It is important that you have a phone number on your release.

If time is crucial, you can write "For Immediate Release" on the next line down and on the left side of the page. If the information in your release is not to be used immediately, you should type a release date instead: "For Release June 2, 2010."

Now we're getting to the good stuff.

Next, you need a headline. This should be printed in bold type and centered on the page two or three lines down from the release date. This may be the most important piece of your release because it must catch the attention of busy editors and radio program directors. The headline should be simple and direct. Try not to be clever, because this will annoy the reader. A newspaper editor, for example, may only glance at your release for a second, so your headline has to convey the most important part of the release and make the reader want to read the rest of the release:

"LOCAL POP BAND TO REPRESENT INDIANA IN NATIONAL COMPETITION"

Once you've finished your headline, you can start writing the body of your press release. This part must follow basic paragraph format.

The first paragraph is the most important, and it is nearly as important as the headline. This is your chance to tell the reader why you are sending the release. This paragraph has to convey what the event is, who is involved, when and where the event will be held, and why it is important. In other words, use the "Five W's": What, Who, When, Where and Why. The first paragraph always begins with the city from which the release is being issued, in all caps, and the date of the release:

"INDIANAPOLIS, May 1, 2010 - Area pop band, Hey You, has been chosen to be the only band from Indiana in the Super Big Records Battle of the Bands on Saturday, June 10, 2010, at the State Park Amphitheater in Harper Falls, New York."

See how the first paragraph mentions all of the important information in a simple and short fashion? You don't need any fancy writing or hype here. Let the event speak for itself. Too much flash will draw attention away from the main point.

In the second paragraph, you want to give more detail on the event:

"Hey You topped 46 Indiana bands in a contest last month to win the right to represent the state in the national contest. The winner of the Battle of the Bands will receive a $150,000 record deal with Super Big Records."

It's good to use a direct quote somewhere in this paragraph. A quote gives the release a more personal feel and makes it read less robotic. Use any quote that makes the event seem interesting:

"'I'm so proud of these amazing musicians," said Roger Bloomquist, the band's manager. "They really are the best at what they do, and now the whole country will know it.'"

In the next paragraph, you can brag about yourself. Show the media why this band is worth covering:

"The band, which was formed four years ago in Beech Grove, Indiana, consists of singer Bob Jones, guitarist Sam Smith, bassist Carrie Mackey and drummer Eric Conrad. Hey You has sold more than 10,000 copies of it's CD, What Happened to Pop?, and regularly sells out performances at the Finale Lounge in downtown Indianapolis."

End the release with a call to action. Tell the reader how he/she can get in touch with you:

"For more information about the upcoming competition, or to set up an interview with the band, please contact Bob Jones at (317) 555-5555."

By the way, the release should be so direct and simple that it fits on one page. But if you need to go to a second page, be sure to type "1 of 2" at the bottom of the first page, and type "Page 2" in the upper right corner of the second page.

At the end of your press release, skip a line and type this in the center of the page: ###. This is an old newspaper proofing symbol that means, "end of story." It is often still used on releases, and you will look much more professional if you include it on yours.

So, which media people do you send it to? Well, these days, the media companies usually have web sites that list staff names and titles. But if you can't find names online, call the company's receptionist. The receptionists are a wealth of company information, and they can usually tell you who to send your release to.

Now, once you send your press release out to newspapers, magazines, and TV and radio stations, let go of it. Try not to follow up on the phone. Editors and programmers can be annoyed easily by impatient marketers. If they are interested in writing about your event, they will contact you. And if they do, call them back quickly and be as professional as you can.

Remember, the point of the press release is to market your band and to establish long-term relationships with people in the media.

You can find great information about marketing your music at http://www.howtomarketaband.net/. How To Market a Band is a site created to help musicians learn the ins and outs of publicizing their music and finding opportunities.

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What Are the Two Rules of Organ Registration?

Although organ registration is a very complex topic, it is important for every organist at least to have the basic understanding of it. This is necessary because not every organ piece has registration suggestions printed in the performing edition. In this article, I would like to give you two rules which will help you to use informed decisions when choosing organ registration.

Change registration when structurally necessary. If there are no original registration suggestions from the composer, I suggest changing the stops only in places which are important structurally. Think about the form of the piece. For example, when playing a prelude and fugue, it is often OK to change registration or at least manuals after a prelude.
However, some people change stops during the fugue itself. Although there is no right or wrong decision here, still, think about whether or not the registration change emphasizes the structurally important parts of the piece. I think that adding a stop just for the sake of sound is not as strong as changing the stop when you see the need for it (when the second subject comes in or at the start of a stretto section etc.)
Simplicity. In case of doubt, keep it simple. It is always better to play a piece with one registration throughout than to make things over complicated. In other words, if you feel that your prelude and fugue needs changes of registration because the sound of the principal chorus is too harsh on your organ, it is best not to bother with it, unless you are really confident of your decisions.

Very often we think that listeners cannot stand this sound for a long time but in reality what is more important is music itself. A fine composition will sound well using several different registration choices. On the other hand, it is hard to make a weak composition more convincing by changing registration (it takes a lot of experience). However, in some cases on certain historical organs, the registration might be perhaps as powerful tool as the music itself. This is why much of early organ music might sound boring on a modern organ.

Another example: I know many organists who register the music of Franck in a very complicated manner. They try to achieve the perfect dynamics and add stops every few phrases. This is obviously too much. For music like Franck's, we still need to clarify the structure of the piece.

These are my personal suggestions for registering an organ composition. Of course, this is just a generalization and you have to consider many variables, such as historical period, national school, type of organ music, instrument available and many other things.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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Learning to Play Guitar Chords: The Basics and Tips

In order to learn the basic guitar chords, you must have a basic knowledge of what a chord is and how it is made.

A chord is a set of notes that produces a melody. The chords are made up of different notes each played on one string, it doesn't matter if you are strumming or playing each note individually. Chords are always played with multiple notes. Some are two notes most are three or more.

In general there are only two kinds of chords - Major and Minor. The primary chords of the guitar are C, A, G, E, D. This forms what is known as the caged chords or the CAGED System. If you are new to the guitar, learning the CAGED system should be one of the first things you should do. Most artists who mastered these basic chords have confessed that it paved the way for the easy learning of other difficult chords.

Reading a Diagram

The most basic thing you will need to know when learning guitar chords is how to read a chord chart or chord diagram. Without these you are lost.

Basically, a chord diagram is a picture or illustration of how to play a specific chord. This picture will show each string of the guitar and a certain number of frets with numbers to tell you which finger to use on each fret.

Following the CAGED pattern

The guitar is composed of six strings attached to a fret board. These are what make it possible to produce chords and melodies on the guitar. If you are going to learn to play the guitar and focus in on the most basic chords, then you might as well memorize the different chords in each position right? There are five chords basic chords that follow a repeating pattern up the neck that make it into a cohesive whole. Learning these 5 chords in each position will allow you to easily manipulate more advanced chords.

Tips

1) Cut those long fingernails. They will make it difficult for you to press the strings correctly.

2) Don't let your fingers lie down while playing, this will tend to mute some strings. This is the most common mistake made by newbies.

3)Be sure that your fingertips are the ones that are in contact with the strings and not the place where fingerprints are taken. Maintain the arch. Aside from the fact that this is exhausting, this is also painful and difficult but will pay off as soon as calluses are produced.

4) Remember that you should press the notes altogether.

5) Practice. Memorize each chord pattern.

6) Don't rush yourself. If you do, it'll just frustrate you if you don't get it. Choose songs that are easy to play.

7) The absolute most important thing you can do to insure that you are learning guitar chords well is to follow a proven program of instruction. Make sure that any program you follow is organized, easy and step by step.

This is what I mean by the best way to learn guitar chords.

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What Are the Steps to Master the Fugue in G Minor, BWV 578 by JS Bach on the Organ?

The Fugue in G minor, BWV 578 is one of the best known fugues by Bach. Although usually called "Little" we should not underestimate its artistic quality. Because of its length, medium tempo, clear texture, and fairly easy pedal part, this piece might be accessible to organists with modest organ playing skills. It is written early in composer's career, most likely while he was an organist in Arnstadt around 1707. In this article, I will show you how to master this wonderful composition.

The first thing you should do before practicing it is to analyze the structure and tonal plan of this fugue. Since it is a fugue, it has rather strict requirements which Baroque composers usually followed. The fugue is a piece of imitative polyphony in which the composer reveals the possibilities a theme has to offer.

Now look at the theme or subject at the beginning of the fugue. It is 5 measures long. Now try to count the other appearances of the theme in the fugue and label them on your score with a pencil. Look at each voice. Remember that the theme can be not only in the home key of G minor, but in other related keys as well. Write down the names of the keys on the score. This will be the tonal plan of this fugue.

In addition, look especially at the melodic line which appears in the soprano voice after the theme enters in the alto. This is a countersubject. Sometimes composers used different countersubjects with every appearance of the theme. This is not the case with this fugue. Interestingly, this countersubject is constant and Bach uses it with every subject (sometimes a little bit altered).

Now that you know the basic formal and tonal structure of this composition, you could start practicing it on the organ.

Subdivide the piece into smaller fragments. These could be of the same length as that of the theme or you could subdivide it according to lines. Always start and finish playing the fragment on the down beat. That way the fragments will be connected with each other.

Write in fingering and pedaling in Fragment 1. Make sure you avoid finger substitutions, placing a thumb on a sharp key (except where there is no other option) and use toes only pedaling. This type of fingering and pedaling helps to achieve the desired articulation for any piece of the Baroque period - the articulate legato or as the contemporary sources called it - the ordinary touch.

This type of articulation means that there should be small breaks between each note. However, the notes should not be too detached. It should be executed in a singing (cantabile) manner.

Because each voice is very independent, it is best to practice each voice of that fragment separately, then in two-voice combinations, later in three-voice combinations, and finally, all four voices together. Practice slowly and use pedal preparation. Repeat each combination several times until you can play it precisely and without mistakes at least three times in a row. Then take another combination and do the same thing. When you master fragment 1, take fragment 2 and start over.

When you master all separate fragments, start combining them and play in longer episodes. This type of practicing takes some willpower but in the end you will progress much faster.

Upon learning this fugue, you may find it so beautiful that it would be worthwhile even to memorize it.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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How To Find The Jobs In Music?

Many great voices heard by us like Elvis Presley, Frank Sinatra John, Roy Orbison and many others are the legends in the musical world. Their voice has given soul and charm to the music. Music is completely redefined with their outstanding contribution. Old music is the treasures of history. The voice quality of these singers is so distinct and beautiful that it directly touches the heart of the listeners.

Various opportunities are open to people in the musical world. Jobs in music have a great scope in the present scenario as well as in the future. A person can explore his talent as much as he wants. He can be a guitarist, piano player, or a singer. He can play a harmonium or sing. Plenty of musical jobs are provided in this field. In earlier times, music was considered as waste of money and time. People never considered taking it, as their profession.

Views About The Jobs In Music

However, today things have completely transformed. The music, which was not given any priority, has become a much sought after profession in the present times. People know a person according to his abilities. Singers are known by their voices. Even a bathroom singer can become popular and well-versed in singing through consistent training. Taylor Swift, Enrique, Madonna, Justin Bieber are some of the great personalities, who are known worldwide because of their music and voice.

There are various musical jobs available today. You can be a pop star or a gazal singer. All you need is to practice hard to make your dreams come true. Jobs in music are a vast field that is open for good singers.

Search For Jobs In Music

Now, the question is how to search for good musical jobs? You can search over the internet or give advertisements about your job or you can ask your friends. If you want a job in the music industry, you need to put in some efforts to find it.

Many companies are offering you great jobs. They want sincere and honest people. If you are a guitarist, then you can also search work in the international market. You are also paid a lot if you sing well. Generally, the payment is decided according to your voice quality.

A struggling singer can also work for a movie. If you have mesmerized everyone with your voice, then you can sing for a movie. If this happens, you can be very successful in your life.

The other ways of finding jobs in music are by participating in the musical contests that are usually organized by many TV channels. If you are selected and triumphed in the contest, they offer you a big cash amount and also sign you for some movies. Then you can launch your album and become popular.

Now, there are many ways available to succeed in the music industry. You can achieve your aim by putting the right amount of efforts. You can organize a show if you have the capital. Everything is possible, if a person is determined and has a great will power.

We provide the best info about jobs for musicians and jobs musician. For further details please visit the provided links.

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How To Not Annoy Your Music Fans With Your Online Music Promotion Efforts

You have to admit: when you do online music promotion, you are basically on an advertising campaign rage. It is part and parcel of getting your music out there, so you can get noticed, gain a fan base, and make a dent in the music world.

But musicians, as they scour to find innovative ways how to sell songs, could make fine mistakes that could annoy fans and eventually, lose their favor entirely. We don't want that.

So here are ways not to annoy your fans and say goodbye to them forever. Get the most out of your online music promotion efforts, find ways and means how to sell songs, and keep your fans engaged.

1. Use social media sparingly.

Facebook, Twitter, MySpace, Google+, Instagram - these are all additional tools to boost exposure for your music, engage in online music promotion But you cannot rely on it to do all the work for you. It is always better to have your very own website, a domain that is solely dedicated to anything about your brand. You have control, the master of this universe, so take advantage of it.

2. Say no to spam.

The mere typing of 'Buy our album' on your Facebook wall post is already a practice of spamming the people on your friends list. Doing this could prove to be a music promotion disaster. Whenever you entice people to give you their time and attention, give something back for goodwill. It can be a free MP3 track or merchandise.

3. Update your website.

Nothing says 'My career is over' than a music artist or band's website without any signs of life. There's a definite purpose for the creation a musician's official website. When there's activity, you're still pursuing your careers. When there's not, what, you gave up/broke up or something? It should be the go-to site for everything that your music fan needs. However, if all it has are Jurassic information from the year 2000, might as well shut it down. Always keep your website up to date, from gigs, appearances, photos, and/or musings of the day. It may seem like a lot of work, but that's the point of online music promotion.

4. Have a mailing list.

Just because you have an official website, are signed up to the most popular social networking sites on the Internet, and have teamed up with a reputable digital music distribution agency, you still have to maintain a mailing list. Not everyone is signed up to a social networking site - but all have emails, even multiples of them! Sending emails to fans is still the most personal way to connect with them.

5. Be nice.

Your fans can either make or break your career. They love you, love them back and more.

Still in the dark on how to sell songs? For top-notch music distribution that could also help you get a headstart in music promotion, choose a digital music distribution partner that has a reach of over 750 retailers and mobile partners across 100 countries.

For more information about Music Promotion and How To Sell Songs, please visit: http://www.jmddistribution.com/

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6 Reasons Why Your Songs Suck

You can usually tell after listening to an artist for a few minutes if their music sucks. There are a few probable causes for bad music. These are some of the reasons I say, "This sucks".

1 - Lack of talent
This is the most common in my experience. Everybody with a voice does not need to rap or sing. We know you sang in the church choir and you've been writing raps since you were 3, but it's just not for you.

2 - Bad production
This one is a killer for those that are actually talented. Whack beats as we call them are very powerful in their own right. Your older brother has decided he wants to make beats so you let him handle the bulk of your production. BAD IDEA. Experience is a large part of what makes a producer a producer. Choosing a producer is almost like choosing a mate. Your skill sets should match and if you can, find a producer who has more skills and talent than you do.

3 - You're not original
You can only get so far with copycat songs and style. I see many artists that just attempt to duplicate what they hear on the radio and it may get you a little crowd support, but in the long run will put you at a disadvantage. If you want to make it in music you must have a sound that YOUR fans can't get anywhere else. If you're making Drake songs, can you compete with Drake?...Probably not.

4 - Your favorite rapper is Soulja Boy
They say you are what you eat. Similarly, you are what you listen to. My friend uses the acronym "GIGO" or garbage in garbage out. You have to listen to the best artists in your chosen genre in order to yield similar results. If Soulja Boy is your favorite artist then you have issues before you step to the mic.

5 - Poor recording quality
We've all heard the "mixtape" that sounds like it was recorded underwater or in a trash can. I know you don't have any money but if this is the life you've chosen you must invest in yourself. There are many affordable recording solutions for budget recording. You must realize you are competing with MILLIONS of other artists some of which can afford top-notch equipment. Give yourself a chance or don't put music out.

6 - No honest feedback
"My boys rock wit it hard"... You absolutely must find an honest opinion about your music. In order to be successful, more than just "your mans and them" will have to buy your music. (Refer to #1). Expose yourself to the opinions of total strangers and force them to keep it real with you. Listen to the people.

Jared Brown aka ''JB'' is a producer/songwriter from Detroit, MI. Raised on the sounds of the old school, he has always had a love for music. Jared began playing the saxophone in the 6th grade and never looked back.

As a producer, I want to transcend not only genre, but music itself. I want to be remembered for my contributions to society, culture, fashion and human welfare. Music is my vehicle to create impact in many avenues.

Find More At: http://waaybettermusic.com/
Follow Me on Twitter: @jbisthetruth

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Treating Your Practice Like the Real Thing!

I recently had the pleasure of rehearsing with a rock band that is doing a lot of the right things but one of the things that really struck me was that there set up for their rehearsals. It was nothing like the stage.

It is important the rising bands/artist understand the importance of making your rehearsals just like the real thing. The most destructive thing that happens to a band/artist is that they do not know what to do with their stage space. I have seen bands that get on a large stage and are lost. When I talk about treating it like the "REAL" thing I am talking about positions on stage for each and every song.

Here is a list of things you need to be working on:

1. Positions for every song. For each song where is each member of the band? Is the Lead singer pressuring the audience because the song is calling for it. Is the bassist in the spot light at a certain part of the song?

2. Don't just throw a song list together because it confuses your audience and there has to be structure to your show. Huge band will rent 3 arenas to rehearse each part of the show. One arena for the show, one arena for the lighting and sound and one arena for load in & load out. These bands will practice this for a month. Prince practices for 6 weeks 10 to 12 hours a day, 6 days week. Believe when you go see Prince it shows.

3. Your interaction with the audience: Rehearse what you say between songs and how you start your show. DO NOT WING IT! I am so tired of going to see bands who "Wing it ". These bands have shows that suck! plain and simple. If I am paying good money at the door, I expect a show not a jam. If you are not rehearsing what your then shut up! Another thing is language. Not every one agrees with profanity if you are going to use it make sure your audience is in line with you. If you are not sure about it then don't because you will lose fans.

4. Dress: This is important. I have seen more bands that look like they are bums off the street. What these bands are thinking I have no idea. I do not want to pay money to see a band that is un-rehearsed, poorly dressed, and looking like a bunch of bozos unless I am at the circus! Respect your audience do not insult them by not preparing for the show and dressing for the show.

They are so many things that are easy and simple to improve your show that there should be no excuse for taking the stage like hobos and sounding like a jam session. Their is not a successful band out there that does not know these simple and easy rules. You are have to realize that there are thousand of bands on the road playing 7 days a week, 365 days a year. That is who you are competing with. You have convince the talent buyer that you are worth the money.You need to plan ahead and that mean EVERYTHING! I have to plan down to the littlest thing in order to put on a show that people will not forget. I am not saying that nothing will go wrong even though you have planned to the little thing, because for sure it will but being rehearsed will allow you to handle the what ever goes wrong with ease.

So remember, Practice, practice, practice and then when you are done practicing go and rehearse your show. Remember, practicing is not rehearsing!

Emo LeBlanc is a Country Music Artist who has performed all over the USA and Canada. Emo LeBlanc has been in business for 10+ years. Emo LeBlanc is based out of Nashville and lives elsewhere. Emo LeBlanc has performed all over the USA, Canada, Spain, and France.
(731) 327-4EMO (4366)
http://www.emoleblanc.com/
emo@emoleblanc.com

Emo LeBlanc is a proud member of the following:

FNO, CMA, ACM, SOCAN, AMIA, and CCMA with Excellent Standings in All!

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Exciting Offers and Jobs for Musicians

Music has the power to touch our souls and make us happy. Great musicians like John Lennon, The Beatles, Elvis Presley, Jim Morrison, Jon Bon Jovi, Whitney Houston, and thousands of other musicians have been mesmerizing our hearts from many decades now. Their music has the divine powers of inspiring thousands of budding singers and musicians, who choose music as their preferable career choice.

Various Options for Musicians

If you are a singer or an artist and want to earn some extra money in your free time, then you could find jobs for musicians. Now a day's many full time or part-time jobs are available in this field. Various companies ask you to work for a couple of hours every day.

Becoming a musician is not an easy job by any means, as it requires years of dedication and practice. There is no end to learning and creativity in this field. Primarily, you will need to take up music classes from reliable sources to understand the basics of performing. Be it learning instruments or vocals, you can develop your skills with the help of proper training.

Beyond a certain learning stage, you will touch the levels of creativity and innovation, and that can be attained only by perseverance and dedication. You cannot learn this part from your tutors, because it is what separates good musicians from average ones. Once you've polished your talent, you could start looking for a job as a musician.

There are many jobs for musicians that one can do. All you'll need to do is look for them either over the internet or consult an agent who could help you find the right kind of job. There are several placement agencies that you could seek help from.

Besides, you could also attend music auditions. Companies that are in need of talented musicians conduct such events. Some of the auditions are closed ones, where only a few people are invited to attend it, whereas others are open to all. Most of the casting directors and judges, advertise for such event over the internet, newspapers, hoardings, pamphlets, and others.

How To Search For Jobs For Musicians?

It might sound a difficult task to find a job as a musician in a good company. However, with the more number of companies looking for talents, it has become a cake walk for people to attend interviews and get employed. However, before you start applying for jobs for musicians, it is suggested that you prepare well for the interview.

You could record your music and work on an impressive portfolio. In order to do so, you could take help of professionals and get your work done in a very systematic manner. There are many agencies who offer their services to train people for the music auditions and ensure that they successfully clear it.

Going prepared for a job as a musician could make sure that you crack the interview in your very first attempt. There are a few chances that you may fail to meet company's requirements and in this case, you could ask for their feedback and work on overcoming your weaknesses. Any positive or negative feedback should be taken in a constructive manner to be a success in the near future.

We provide the best info about music jobs and jobs in music. For further details please visit the provided links.

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How to Find Jobs in the Music Industry

Many people have often wanted to know how to find jobs in the music industry. There is no simple answer, and unlike with most career paths, there are no set rules or standard path to follow. Many people have found themselves in the industry by simply being in the right place at the right time. Something as simple as knowing someone in the industry has opened doors. Others have had to work odd jobs for years before they managed to get a foot into the door. Having said that, it is important for anyone aspiring to join the music industry to persevere and not get discouraged in spite of the great odds. Just because it is not easy done not mean it is impossible, and anyone who believes they can make it, will do so in the end.

The first thing the aspirant needs to do is to decide the kind of job he would like to do. The music industry is broad and there are many jobs for music. Landing a job in the music industry begins by realizing that there are different paths that can be taken to get to the dream job. There are steps one can take to increase his/her odds of getting the job and learning about the music industry is essential. When most people think about the music industry, they think of musicians. While they may be the most important part, musicians do not make up the entire music industry. There are thousands of people who work behind the scenes to ensure that the industry is successful. It is important to know what all the 'behind the scenes' jobs are.

Music has become widespread, and it can be found in virtually every sector. Many companies in various industries use music as an integral part of their marketing and advertising. There is music everywhere you turn, and the term 'music label' is now more common than every before. While a few years ago there were few labels that handled almost all the music that was produced, today the record labels can be found on virtually every street. While some are more established than others, joining one can be an important learning experience.

Another way to make contacts and learn more about the music industry is by being an intern. This is a great way to meet and learn from those already established in the industry. The internship positions have become very competitive today and there are some that are better than others. The thing to remember is that once you get the internship, you should try as much as possible to stand out and impress everyone. This way, if an opening comes up, you will be the first person they consider. You can also make useful contacts that will help you down the line.

We provide the best info about jobs in the music industry and jobs for music. For further details please visit the provided links.

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Patsy Cline: A Singers' Singer and the Gift of Giving

Patsy Cline is without a doubt one of the most successful and respected female vocalists of the 20th century. Evidence of that is in her groundbreaking awards such as in 1973 becoming the first female solo artist to be inducted into the Country Music Hall of Fame.

Also in 2002, artists and members of country music voted her as Number One on CMT's The 40 Greatest Women of Country Music. She was also ranked 46th in the "100 Greatest Singers of All Time" by Rolling Stone magazine.

Patsy Cline was born on September 8, 1932 in Gore Virginia. Sadly at 30 years of age and at the height of her career she was killed in a plane crash in 1963.

Her first marriage was to a contractor named Gerald Cline in 1953 but it only lasted four years.

Her first performance on radio was in the Jimmy McCoy show. Her increasing appearances on local radio stations and events resulted in her attracting a large following.

In her early 20s Bill Peer, her manager at that time, got her signed to Four Star Records. By coincidence while at Four Star she met legendary producer Owen Bradley who worked for Decca Records. In 1960 Patsy signed on with Decca directly under the supervision of Owen. He had a reputation for working with and developing the careers of female country singers such as Brenda Lee, Loretta Lynn and many more.

Owen felt that Patsy had a lot of potential and with the proper guidance would achieve higher successes. He felt that her voice would lend itself better to singing pop music although she did not seem that interested in it at the time.

In the mid 50s several important events happened to move her career along. In January of 1956 she made her network television debut on the Grand Ole Opry show. In the late fall of that year she auditioned for a television show broadcast in New York and she appeared on the show Arthur Godfrey's Talent Scouts.

The producers of the show insisted that she sing a song that she had recorded titled "Walkin' After Midnight". Originally she was not keen on the song but Godfrey's staff eventually won out. They also insisted that she not wear the cowgirl outfits that she had traditionally worn and instead wear cocktail style dresses.

Viewers of Godfrey's show were so enthralled with Patsy that radio stations got many requests to play her records.

As fate would have it "Walkin' After Midnight" reached #2 on the Country chart and #12 on the pop chart making Patsy one of the first country singers to have a crossover pop hit. The mid 50s were also memorable in that she met Charley Dick her husband. In 1958 they had a daughter named Julie and the marriage lasted for the rest of her life.

The early 60s were memorable for more hits such as her first one for Decca Records, "I Fall To Pieces". She then recorded the song "Crazy" written by Willie Nelson. She also had hits with "She's Got You" and "Sweet Dreams."

And in 1961 she gave birth to a son named Randy.

Patsy's voice was one of the best commercial voices to ever hit the recording studios. Even though she couldn't read music and was basically self-taught she sang with perfect pitch. When she recorded a song she pretty much 'owned' it. This referred to the fact that when someone heard it, because it was so unique with her tone and phrasing that it would always be associated with her no matter how many other people recorded it.

Patsy was highly respected for her singing voice but even more so as a kind-hearted, good person who would help anyone in need. Honky Tonk pianist Del Wood said she would give anyone the skirt of her backside if they needed it. Loretta Lynn and Dottie West said that Cline always gave of herself to friends such as buying groceries and furniture for them when they were having difficulty making ends meet and even taking them on the road with her as wardrobe assistants. On occasion she would even pay a singer's rent for a time, enabling them to stay in Nashville and continue to pursue their dreams.

Another story of her goodness is when she was involved in a horrific car crash accident where she was thrown into the windshield nearly killing her. Upon arriving at the scene Dottie West picked pieces of glass from Patsy's hair and went with her in the ambulance. When the ambulance arrived at the hospital Patsy insisted that the driver of the other vehicle be treated first.

And so, not only was she a singers' singer but a kind woman who did so much for others.

She truly deserves legendary status for her singing the Patsy Cline sound that was so evident in her recordings.

I'm Paul Romaine and the host of http://singersandmusicianstalentsearchradio.com/. Our philosophy is to have a venue where singers and musicians can showcase their work. Rather than just having one winner from all of the applicants, there will be many applicants that get to have their work submitted and recognized permanently on our site.

Also feel free to visit me at my other Music site http://paulromaine.com/ where romantic music and ballads along with soft spoken romance is shown. There are podcasts and commentaries that are shown here and in iTunes.

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A Brief History of Blues Guitar

The history Blues guitar music is deeply intertwined in story of the Afro Americans, the only immigrants who came to America unwillingly. Blues music is a tapestry of Afro American lives, from the days of slavery to modern times. This genre of music has a large following and is thriving today.

Blues has a cyclical form of music, which repeats the progression of chords and has interaction between the singer and others. This theme was common to African and African American music styles. Blues has the twelve-bar blues chord progression at its heart. Other variations such as 8, 9 and 16 bar chords also exist, but the twelve-bar chord is the most popular. Distinctive blue notes, for giving expression and feeling to the music was played flat or gradually bent, from the minor third to the major third, in relation to the pitch of the major scale. This lent soul and depth to the music.

The history of Blues music evolved from the country side in the early 1900's, with the African American population. The very word Blues originates from the term 'Blue Devils', meaning sadness or reflecting the human spirit at the lowest ebb. The music was a reflection of their joys, sadness, problems of everyday life, giving thanks to the Lord etc. Its motivating force was the heartache, deprivation and depression of everyday life, finding expression in haunting Blues music. The early instruments used were the Banjo and Diddley Bow, the instruments of the deep South and gradually evolved to the blues guitar style. Some of the early Blues musicians of note were Robert Johnson, Charley Patton and Son House etc. As African Americans migrated in larger numbers to cities, Blues music started having an urban character though its rural roots were not abandoned.

In the 50's, Blues played a significant influence on popular music. Many of the well know Blues numbers such as "Hoochie Coochie Man", "I Just Want to Make Love to You" were penned in this era. Some of the well known music labels promoting the Blues genre during this time include Vee-Jay Records, J.O.B. Records and Sun Records. The fifties saw different variations of Blues music such as West Side, electric blues etc. Electric blues got a leg up in England, due to the much acclaimed tour of Muddy Waters.

During the 60's and 70's, music inspired by Blues had become a part of mainstream popular music, however the popular tide had ebbed and blues artistes started performing in Europe with success. The 1971 album, the magical "Endless Boogie" by B.B. King earned him the nick name "King of the Blues". With blues jam session performers such as Taj Mahal earned a Grammy nomination for Best Original Score Written for a Motion Picture and the BAFTA a nomination.

After being on the wane for many years, Blues music has had a revival in America in the 80's, especially in the Deep South. A new sub genre known as "Soul Blues" or "Southern Soul" has become popular. Bobby Rush, Bettye LaVette, Marvin Sease are some of the well known performers. Experimentation in Blues music continues and the music has kept evolving. In 2003, Martin Scorsese, the famous film director, made a concerted effort to popularize Blues music to a wider audience.

Blues music, born from the depths of desperation and deprivation, with the Blues guitar in the forefront, has come to stay and has a large fan following all over the world.

With a passion for guitar that has spanned two decades "Paulie Foley" shares his love for all things guitar through his website mastering guitar a site full of fantastic articles and great reviews of guitar tuition software reviews.

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Guitar Triads - The Basic Theory Behind Triads

To understand triads we have to look at the major scale. The C major scale is made up of notes C, D, E, F, G, A and B. If we take the first note, third note and fifth note of this scale, we get a major triad. Flattening the third note by a semitone gives us a minor triad. The C major triad has the notes C, E and G. The C minor triad has the notes C, Eb and G.

There are five different types of triads. They are: major, minor, diminished, augmented and suspended 4.
Major (1, 3, 5) (C E G)Minor (1, flat 3, 5) (C Eb G)Diminished (1, flat 3, flat 5) (C Eb Gb)Augmented (1, 3, sharp 5) (C E G#)Suspended 4 (1 4 5) (C F G)

The first note of the scale is called the root. In this case, C is the root note. When a chord is stacked with the Root note on the bottom, 3rd in the middle and 5th on top it is in root position. When the 3rd is on the bottom, 5th in the middle and the root note is on top it is 1st inversion. When the 5th note is on the bottom, the root note is in the middle and the 3rd note is on top it is in 2nd inversion.

All triads can be put into root position, 1st inversion and 2nd inversion. For example; D minor has the root note D, the 3rd note F and the 5th note A. Root position would be D F A. First inversion would be F A D. 2nd inversion would be A D F. Inversions become very useful when applied to chord progressions.

If we compare the C major triad (C E G) with the A minor triad (A C E), we see they have the two notes C and E in common. The G note from the C major triad is only a tone away from the A note in the A minor triad. If We played a progression which had C major going to A minor we could use an inversion to get between the two triads quickly. If C major was in root position an(C E G), then you would use A minor in 1st inversion (C E A). This limits finger movement for a guitarist which is of great use for getting quickly between chords.

Triads should be used as part of daily practice. They can be highly effective when used in performance situations. They can provide different options when composing songs.

C. Thompson is a guitar tutor who has many year experience in playing music. His philosophy for teaching is that all lessons must be fun. If the students is having fun then they will enjoy there instrument more and therefore, learn more.

Guitar Teachers Blog
Triads Part 1

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How to Choose a Banjo

If you're buying a banjo for the first time, then you need to be very careful with what you purchase. Like guitars, banjos come with different features so it's important to get a model that can provide you with what you need. That being said, following are some tips on how to choose the right banjo for you.

Choose a 5-String Banjo

There are actually different types of banjo depending on the number of their strings. Although it is perfectly possible for beginners to purchase a four string or a six string banjo, the five string banjo is actually the most commonly used by beginners. This is because the 5-string is the "median" or the "average" so by learning this, it would be easier for you to manipulate a 4-string or a 6-string.

Look for Basic Features

Check your banjo to make sure that it contains everything you need for playing. The banjo itself should have a resonator, a resonator flange, wooden rim and a bell bronze tone ring. If possible, choose a banjo that already comes with a carrier case, especially if you intend to go jamming with the instrument. For beginners, having an electric tuner with you at all times would also be a good idea. This way, you will be able to tune your banjo at any time or place. However, as you learn how to play the instrument, you should also be able to start tuning the banjo manually.

Check the Price and Design

Beginner banjos usually cost around $300 or less depending on the brand. If you are just starting, it's not necessary to buy an expensive instrument since you might want a more expensive model once you become better. Also, take note of the design. Some banjos today are exquisitely designed and are perfect for jamming. Actually, there are banjos today that are specially made for beginners AND boast of excellent designs for those who intend to start playing in public.

Read Product Reviews

Lastly, don't forget to read reviews about the product. This is crucial especially if you are buying a banjo for the first time. By reading reviews, you will be informed about the different perks of the banjo, the quality of the music and how durable it is. Reviewers should also inform you if there are better products out there or you are better off buying this banjo.

Play it

Regardless of whether you're already a practiced banjo player or not, it is crucial that you always play the product that you intend to buy. Online reviews can only do so much in providing you ample information about the product. If possible, try going to one of your local music stores and check out different banjo instruments. You don't have to actually buy the item from the music store, just check it out to know if this is the brand you want. You can then order the product online, especially if they sell it at a cheaper price. If this is not possible, you can still refer to product reviews just as long as you be very thorough when reading. Also, make sure to check product warranty and return options. The best brands today include Deering, Gibson and Hopkins.

Check out 5 string banjo reviews for reviews and ratings or visit us at five string banjos for more information.

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How to Choose a Good Tutor to Teach You How to Play Keyboard

Having the opportunity to play keyboard is exciting, rewarding and challenging.

You may have different ideas about how you want to start learning because there are a wide variety of different ways you can learn.

It may be that you are the sort of person who is very dedicated to study and can buy books and learn from books only.

You could be the type of person who prefers a private one to one teacher, or alternatively an interactive online course might suit you if you have a busy lifestyle.

Whatever way you choose to learn piano or keyboard, make sure it is the right choice for you, and if you don't get on with one learning method try another, but don't give up. You will find your way eventually.

If you have chosen the route of using a private piano or keyboard teacher then make sure you don't rush into recruiting any old tutor.

Try to get a teacher that has been recommended or has good reviews and testimonials either by word of mouth or on their website.

Have a look at some keyboard and piano forums and find out from other people how they went about employing their keyboard tutor.

It is really important to build a good relationship with your teacher so after an introductory lesson, if you feel you are not clicking with your teacher then before booking too many lessons with them try out a couple of other teachers.

This will then give you a feel for which one you are going to get on best with.

After all, you want your experience of playing piano or keyboard to be an enjoyable and happy one, so make sure you get the correct tutor in place from the start.

Below is an example of how your first lesson may run:

Your teacher will introduce themselves to you, and give you an introduction to the keyboard. After a short chat they will then get you used to the keys and get you familiar with the note patterns.After around 10 minutes they will get you used to the feel of the keys by randomly picking notes and asking you to find them on the keyboard and maybe get you to play a short rhythm on each note.They will introduce you to a scale. This will be chosen depending on your initial reaction to finding the notes on the keyboard. Usually a contrary motion scale is a good place to start as the pattern.Your teacher will explain the treble clef in the lesson, and teach you how to find these notes on the piano from musical score.This will then be put into practice by playing a short piece of music with your right hand only.

It can take many years of practice to reach the standard to be able play piano or keyboard to a good level, so stick at it.

Alternatively you could try this quick method for learning piano or keyboard songs: Easy Piano & Keyboard

There are also many tips and tricks to teach yourself piano or keyboard here: Piano Songs For Beginners

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Bruckner - Symphony No 8

As with most of his other symphonies, Bruckner rewrote the 8th, this time on the advice of Hermann Levi, the conductor that was to premiere the work. The first version of the symphony was completed in 1888 and sent to Levi and after reading through it and giving his opinion, the conductor told Bruckner that he could not "make the symphony his own". After giving it some thought, Bruckner agreed and completed his revisions of the work in 1890.

The work was supposed to be premiered in Munich, but by the time the revisions were done Levi was unavailable and the conductor he recommended to take his place kept postponing the premiere, evidently due to lack of rehearsal time to adequately prepare the symphony. Bruckner then changed the premiere city to Vienna and Hans Richer finally conducted the premiere in 1892.

The symphony is in the usual 4 movements and begins with a reminiscence of Beethoven's 9th Symphony with tremolos in the high strings and the first theme stated in the low strings. There are three themes in the first movement, one of Bruckner's innovations to standard sonata form, and the second theme is stated by the full orchestra in the so-called Bruckner rhythm of two quarter notes followed by a quarter triplet. This movement is also notable because it ends quietly, and is the only example of this in any first movement of a Bruckner symphony. Bruckner himself alluded to the quietness of the ending as representing death.

The second movement is the Scherzo, which often times was the third movement in a Bruckner symphony. The opening kind of reminds me of Wagner's style in a way, but the further it goes the more Brucknerian it gets. It is also the longest scherzo of any Bruckner symphony.

The third movement is an expansive Adagio, is pure Bruckner, and has some exquisite writing for horns. the orchestration in general is lush. The orchestra builds to a shattering climax and then slowly winds down with the horns and strings singing together. This movement runs over twenty minutes usually but it is pure Bruckner as the music transcends time.

Bruckner uses recollections of the other themes in the symphony in the finale. I say recollections because he doesn't always give a direct quote of the theme but he uses the rhythm or a piece of the melody. This gives a kind of déjà vu effect to the movement, as the themes seem familiar but not quite recognizable. Bruckner does give a quote of the scherzo theme near the end of the movement, and it ends in a blaze of Brucknerian glory.

Visit Musical Musings for thoughts and impressions about musicians, composers and their music. http://muswrite.blogspot.com/

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Discover the Wide Variety of High-Quality, Low-Price Gig Bags for Your Guitar

Getting a gig bag for your guitar can be way cheaper than buying a hard case, and give you just as much protection and just as wide a selection.

Some may have a prejudice against soft guitar cases, but this should really be reconsidered. Not only in terms of protection, but also in stylishness, flexibility, and certainly in price, soft cases have a real advantage. If you are looking for high quality, cheap guitar cases, then a gig bag is the way to go.

While a soft case might not be able to protect your guitar from the sudden, concentrated impact of a falling boulder, say, it will be able to safeguard your guitar against routine knocks and bumps perfectly. And these are the most common and immediate threats to your guitar.

However, different brands have developed different sorts of protection, using some amazing technology, giving great protection combined with lightweight and flexibility.

Like, for instance, ProTec has its own multidensity foam, and a patented honeycomb technology that offers protection really close to a hard case. BAM Guitar cases, too, also have their own patented rigid foam. You may be surprised at the sort of protection a gig bag can give you these days.

Some "soft" cases have added protection in other ways, too. For instance, some TKL gig bags have a heavy duty bridge protector, giving your guitar extra protection in its most sensitive parts. The fears about adequate protection are no longer valid. You get great protection now for your money.

Other gig bags, like the Economy series by ProTec, come with extra goodies, like guitar picks.

The prices of some of these cases are amazing. Some high-quality cases by leading manufacturers retail for under $15. Many more are sold for under $20.

And there is a wide selection for virtually all sizes and types of guitars. You can find soft cases for special acoustic guitars, like the Dreadnought sized, 3/4 sized, 1/2 sized, Standard sized, 6-string or 12-string guitars.

For Electric Guitars you can gig bags for various types like the traditional solid body guitars, mini electric guitars, and 1/2 sized guitars.

Even for extreme-shaped guitars, like the Flying V, Explorer, Dean ML, Warlock, and others, there are specialized soft cases that are very easy on your budget, while offering you style and high-quality protection, with an original manufacturer's warranty.

For those that are into Guitar Hero and RockBand video games and the like, there are great gig bags for your game guitars as well, some with Ozzy and Kiss logos, for example.

With all this variety, you need to make sure that before you choose your case, you know your guitar's measurements. You can find a good guide at Guitar Cases Online, for example.

Once you get this information, you can find some great cheap guitar cases for sale online. They will be stylish, brand new, offer great protection, and save you a lot of money.

Yaz is the administrator of http://guitarcasesonline.com/ where you can learn more about the excellent selection of high-quality yet cheap guitar cases for sale online.

If you need a guitar case and want to know a little bit more about your options, check us out.

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Places and Points To Consider Before Getting Houston TX Piano Lessons

In an environment with so many places and centers claiming to offer piano lessons in Houston TX, it can be a challenge trying to locate a place that is decent and affordable. If piano lessons in Houston TX is what you are in the market for, here is some helpful information on places and points to consider before enrolling.

One helpful point to consider involves doing some due diligent research before enrolling in any of Houston's piano lessons. This means asking around and even surfing the net for good reviews regarding an instructor or a center. This is important because once the lessons begin, it is important that you stick through and complete them and this can only be easy if the place you have enrolled provides you with what you want.

There are plenty of places in Houston where one can gather this information. One of them is the Houston Academy which specializes in musical arts. This is a place that can offer good advice especially for beginners who do not have a lot of experience in where to go. Another place you can consider within Houston is to ask students for example at the Texas Southern University faculty of music. The students and faculty members can offer excellent advice.

Another point to consider is of course the fees or costs. This is an important question especially if you are planning to enroll in a series of classes. Rates vary depending on where in Houston you are taking the classes and also who is teaching the classes. You should expect to reasonably pay around $50-$100/per hour. To save money, ask whether the school or instructor charges per lesson instead of per hour. This is a great way to avoid being charged excessively.

Because Houston is a very large city, you want to consider whether you want to be commuting to where the instructor is located or you want them to come to you. In many instances, many of the Houston piano instructors will come to you especially if you are located within a reasonable distance. In some cases, if you are located way on the other side of town, most private piano instructors in Houston will decline (for instance if you are located in Southwest Houston and the piano school is in Pasadena or Pearland or in the Northside)

We mentioned earlier that you should conduct some research. Since Houston has very many people and centers claiming expertise in piano lessons, you want to make sure you review the expert reviews especially online. These are mostly consumer reviews to make sure you have the very best information before making a commitment.

Irene James is a consultant who specializes in Houston piano lessons and expert advice on private Houston piano-lessons for both kids and adults.

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Awesome Universal Tips For Beat Editing - Part 2

If you're one of the multitudes of rappers that have the great lyrics down pat, but you're kind of out in the wilderness as to beat editing, and creating rap beats for your drum tracks, which is the foundation of hip hop, and/or rap, then this is a great tutorial that addresses all the issues you'll face. Let a real percussionist that has played drums and/or percussion for forty-five years share the secrets to finding, and tweaking samples, and making beats sound truly natural. Rather than a tutorial about a particular software, this is one that it's hard-earned principles are pretty much universal across all MIDI sequencing products.

Let's continue in a still broad category of how drums, and even tasty percussion in your arranging, and songwriting can add incredible dimension, and space to an otherwise very boring sound. How do we accomplish that? Well, probably the most critical, but subconscious aspect of songwriting is instilling enough tension and release in the song at just the right places. After all, tension and release is the essence of life itself, which is why it's so critical in great music. In fact, great producers, which are often great arrangers...hello Quincy Jones, and/or Phil Spector, know all too well how to use tension and release in rhythm, harmony, and space with the greatest of skill.

So, with drums, in general, this tension and release usually occurs every eight bars or so. Think Michael J's original version of "Got to be There". WOW! The epitome of tension and release in a pop record. However, with most rap beats you'll just need 2-bar phrases, along with at least a dozen or so fill bars to kick you into another section. But you can produce some real magic using natural, but eclectic percussion sounds to create, and/or add layers to the sound in order to build tension, space, and dimension along with the foundational groove of the drum kit. Again, there are tons of free loops out there to get you inspired, and when you get better, you can customize you're own based on some of the masters mentioned above.

Getting into the weeds of beat editing, the real secret to making the sequences sound like a real drummer, instead of a machine is learning how to effectively use multiple-velocity samples. You see, most musicians familiar with MIDI are under the illusion that it's the zero quantization that makes the sequences sound like a machine...NOT!!! It's the subtle differences in velocity, or lack thereof, that make you feel like you're breaking out in hives. Here is where you can really separate the boys from the men.

If you've ever noticed when you hear a drum machine play a roll it sounds more like a machine gun than it sounds like a real drummer. So, how do you make it sound normal?

1.) Well, for hi-hat, snare, and toms you can usually adjust the velocity for alternating strokes, or events about 7-8 clicks lower than the counter events. Most step-sequencers let you slide the mouse up or down while hovering over any note/event.

2.) If you want to create a crescendo you can experiment by establishing the softest, and loudest levels between the starting and finishing point using say 8th notes of 1 hand, or velocity level, then inserting notes in between those (16th notes) with the velocities adjusted for alternating strokes.

3.) When you're writing flams keep the alternating stroke velocities the same, but make the timing about 5-7 ticks apart.

4.) Yet another subtle trick, instead of making the phrases only 2 bars, as most rap beats are written for, make them 4 bars, and maybe change up the velocities slightly to give a little more realistic feel.

5.) On the kick drum you can make the 1st beat maybe 5 clicks higher than beat 3. Further, if you're playing a 16th note just before beat 1, or 3, you should lower the velocity maybe another 5 clicks.

6.) Whenever you insert a crash cymbal make sure you insert a kick drum note with possibly a max 127 velocity exactly simultaneously with each other for added realism.

If you're a beginner at making beats, but you aren't making money...YET, DubTurbo beat maker is DEFINITELY your first choice for your sequencing tool box. So, take your mouse immediately to http://gizmobutler.com/.

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Contrasting Gory Nursery Rhymes of Old to Today's Sing Alongs

There is something about the melody of a nursery rhyme that has lasted the ages. Perhaps it is because the melody is so simple that it has a natural catchiness to it. Other times it could be that the lyrics are so vivid that it embeds itself in the memory of the listener and singer. However, who knew that when 'Jack and Jill went up the hill' it was right before a beheading and that it is really about a French king and queen? The tumbling down part need not be explained but that a happy ending was added when Jack went home with a head wrapped in 'brown paper and vinegar'. Anybody with the name 'Mary' has been accosted with any rhyme to do with 'Mary'. When was it forgotten that "Mary, Mary Quite Contrary" was about "Bloody Mary" and the 'silver bells' sung of in this song would be something akin to the dungeons of the Tower of London? Her 'garden' was referring to a graveyard of martyrs resulting from her quest to rid the country of Protestantism. Regardless of the content and subject matter, these rhymes have been around a very long time.

Today catchy melodies often have to do with advertising. The most notable might be the T-Mobile sound. The only problem with this melody is that it is not really ascribed to anything anybody really cares about. The melody is attributed to a cellphone. It can be used for a cellphone 'ring' or as a way to get somebody's attention on the television. So I wonder how long this melody will live in the consciousness of the culture of our time. Does anybody remember, for example fully, the old melodies attributed to Kleenex, paper towels or Oscar Meyer? The last melody that was used for bologna has been used for years so out of all of the above that is probably the most memorable. It is so memorable that who knows if it will get fashioned into another song in the time ahead.

Contrary to popular belief it was not Mozart who at the age of five created "Twinkle, Twinkle Little Star". At the time this would have been a French melody that was published in 1761 and it was actually about a daughter preferring sweets to her dad's sense of 'reason'. Later in 1806 it was Jane Taylor who published the story of a star being like a 'diamond in the sky'. Still these two pieces were unrelated. Twenty years later after the publication of the melody, Wolfgang Mozart created an adaptation that would add his own musical flourish. It is not at this time known how the French melody and the English poem merged into a song that has lasted to this day.

Unlike most nursery rhymes of European origin the story behind "Twinkle, Twinkle Little Star" is benign. It basically describes the wonderment of looking up at the sky and seeing something placed 'so high' with a description of a 'diamond'. This then moves on to the subject of the traveller and also lighting the night sky while the sun is down. This type of nursery rhyme is more typical of the American nursery rhyme. There is a basic connection here expressed in a fundamental part of creation. Other nursery rhymes take on a more joyful feel like "Hush Little Baby" or "Little Jack Horner". It seems that nursery rhymes that did not come from the medieval or Elizabethan ages are more kindly and they are carried on in the United States. Perhaps out of all of these "Twinkle,Twinkle Little Star" is the most popular and therefore presents the most contrast against stories of old. "Twinkle,Twinkle Little Star" has no hidden meaning behind it and it has a clear format of subject matter and story line. Also, it's melody is very easy to remember. We can thank Jane Taylor for writing something that might have paved the way as an example for a more positive subject line and perhaps Wolfgang Mozart for embellishing a melody that is appealing and memorable.

If you like writings like this you can find more at http://www.theguitartunershop.com/. Here there are more blogs and writings based on the various histories of music and how it pertains to the guitar tuner. We also provide an extensive line of guitar tuners for the professional and the hobbyist.

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Should You Take Singing Lessons?

You love to sing and wish that you can be a better singer than you are right now. In order to achieve your desire to be a good singer, you are wondering whether you should take singing lessons to improve your singing capability. Perhaps you are also wondering do you have what it takes to be a good singer.

So what do you have to do in order to go from where you are now to where you want to be as a singer and how long it will take you to get there? No, it is not that you are not willing to work for it, on the contrary, you are. That is why you are considering taking up singing lessons. This article will address some of the concerns that you may have.

Do you know something? Most people actually underestimate their own capabilities. Yes, you may be one of them and are your own worst critic. Everyone who have the knowledge and are willing to work for it can improve their situations exponentially unless they have certain handicaps which are physically obstructing their way to success.

As a matter of fact, many aspiring singers are actually rough uncut diamonds. With some encouragement and a few good singing tips, they usually break out from their shells and are raring to go.

Therefore if you are thinking of whether you can be a good singer or not, the general answer is yes, you can be. However, like just about everything else, you will need some knowledge and training to get to where you ultimately want to be as a singer.

Do you know that most, if not all world class singers take singing lessons? It may seem to most people that their favorite singers just happened to go on stage and start singing with perfect pitch and tone, but honestly, deep inside you know that is not the case. It just does not happen like that.

These excellent singers probably spent years taking singing lessons and practicing regularly. Just as an athlete who trains regularly to be at the top of his or her trade, so does a good singer.

As a singer, it is critically important to know about your voice, what you can do with it and what to do to preserve and not damage it. You may not even be aware that you have to pay attention to certain things that you may not even think about such as your breathing technique and even body posture.

So if that has convinced you to take up singing lessons, then the first thing to do is to find a good singing teacher and there are many good ones out there and some of these vocal coaches have also developed singing lessons that you can learn and practice online in your own time, own place that are very affordable.

Most of these online programs are things that you will learn with a one-on-one teacher simplified into a step-by-step system that you can follow on your computer. These programs are very affordable and because the instructor need not spend personal time coaching you because all the lessons are recorded.

On the downside, because of the absence of a teacher to push your progress forward and because the lessons are so affordable, you may tend to slack off. The key here is that you have to be able to motivate yourself to stick with the program. So how long does it take to see success is all up to you.

Therefore if you want to be a good singer, isn't it time to take singing lessons now?

The author Chris Chew is a music consultant at Learn How To Sing and Become A Good Singer where you can find many singing lessons.

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