Jackson Browne's "These Days" - Simply a Masterpiece

Singer/Songwriter Jackson Browne has penned a countless number of songs inspiring and influencing a generation of songwriters. On his For Everyman album, released in 1973, Jackson Browne closed side one (remember when albums had "sides?") with this four minute, forty one second masterpiece. What is it about this song that has (literally) millions of YouTube visitors watching/listening to it almost forty years later?

There's an old expression about good songwriting: "All you need is three chords and the truth". And while this statement may over-simply the songwriting process this cliché, like many others, is grounded in some truth. A look at the chord structure of "These Days" reveals pure simplicity. Browne plays the song with his guitar capo placed at the second fret and employs a chord progression of: C, C/B (or a C chord with a B note in the bass of the chord,) A minor, G and F. This progression is repeated four times in the introduction of the song and continues throughout the first half of the verse before Browne moves to the F chord leading to the C and then G chords to help resolve the progression. The song then returns to the original progression of C, C/B, Am, G and F.

Simple, right? Yes, it is very simple. As Jackson Browne states in several YouTube performances he wrote "These Days" when he was sixteen years old. Of course given the natural and basic chord progression, this is easy to believe. These chords are among the first we learn when we take on the challenge of learning to play the guitar. Given the fact one of the chords, the C/B is essentially a C chord with the bass (or root) note dropped down a half of a step to a B note "These Days" employs four chords. Pretty darn close to the cliché of "three chords and the truth..."

What makes this song so timeless is this simple chord progression placed against an equally simple melody. However this simplicity gives way to brilliance when the lyrics begin. Especially in hindsight knowing Browne wrote this song at the age of sixteen. The lyrics open: "Well I've been out walking. I don't do that much talking these days. These days. These days I seem to think a lot about the things that I forgot to do for you. And all the times I had the chance to."

Of course anybody can relate to this opening line. Is Browne talking to a lover? A parent? A friend? The point is, it doesn't much matter. What makes this song so "universal" is the fact Jackson Browne could be referring to any of these people. And as listeners we immediately hear this opening line and think to ourselves "I could have done better with..." or "I should have known better...I owe an apology..." In other words, we are not even through the first verse and the songwriter has us hooked with a simple chord structure, a simple melody and then hammers us with some heavy "truth".

As the lyrics continue we learn Jackson may be referring to a lover (although the second verse can also be thoughts completely independent of the first verse): "And I had a lover. It's so hard to risk another, these days. These days..." Then Browne turns his attention to his career (or even simply his life): "Now if I seem to be afraid to live a life that I have made in song...Well it's just that I've been losing so long." Pretty heavy line from a sixteen year old (who would later be inducted into the Rock and Roll Hall of Fame.)

Jackson Browne does offer up some hope in the final verse: "I'll keep on moving. Things are bound to be improving these days. One of these days..." before closing the song with a plea: "Don't confront me with my failures, I have not forgotten them."

What makes "These Days" even more special is the fact Browne only requires his own acoustic guitar accompaniment. No bells. No whistles. No slick studio techniques or "hooks" or production magic. A very simple chord progression, simple but memorable melody and lyrics written by a sixteen year old that just as easily could have been written by a sixty year old looking back at their life.

Grab a hold of the For Everyman album and listen to the original version of this song. Then visit YouTube and watch a couple of the versions. It won't take long to realize how brilliant this simple piece of music really is.

Kenn Morr http://www.kennmorr.com/ is an internationally acclaimed Singer/Songwriter, Performer, Producer and Author with six albums to his credit. Originally from Long Island, NY Kenn lives in the foothills of New England's Berkshire Mountains with his wife and two young sons.

View the original article here

Organ Technique: Avoid These Pedal Playing Mistakes to Facilitate Your Progress

Are you struggling to take your pedal playing to the next level? Or perhaps wondering why your performance is not stylistically appropriate. Chances are you are making common mistakes which might slow down your progress and do not allow to make your playing sound convincing. Please read on to find out the solution.

Looking at the feet when playing the pedals. This can happen quite often, especially at the beginning stages of organ playing. Since the pedal board is unfamiliar to the beginner organist, there is always a strong temptation to locate the keys by looking at them. However, it is always better to look at the music and try to feel the pedal board with our feet. If we insist on not looking down, then after a very reasonable time we will begin to feel where any specific pedal is. Pedal preparation also helps to achieve that.

Not using the entire leg in early music. In order to depress the pedals we usually use the motion from an ankle which is the correct way to play music written after around 1800s. However, not every organist knows that for early music, and especially on historical instruments or replicas of old organs the depression of the pedals should be done using the entire leg.

This theory is debatable whether or not it is applicable to the performance of early music on modern instruments. We should at least try to adhere to it when playing old instruments or instruments that are built in old style.
The technique of playing pedals using the entire leg comes from the clavichord which was popular stringed keyboard instrument at that time and an instrument of choice of practice for many organists. It was the clavichord technique which became the basis of organ technique (at least in German-speaking lands). On the clavichord, the depression of the pedal keys is achieved mainly using the weight of the leg. Otherwise the string of the clavichord would not make a deep and reverberating sound. In consequence, this technique was applied to the pedal playing on old organs as well.

It is really important that you develop the right practicing habits early on in your pedal playing. Being strict with yourself and paying attention whether or not you are making the mistakes in your performance can save much precious time. However, it is never too late to start fixing the mistakes and forming the right playing habits. If you follow my suggestions carefully, you will have more chances to perform difficult organ music with confidence.

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.

View the original article here

Learn How to Sing Better With These Great Tips!

Every singer - both amateur and professional - wants to learn how to improve their singing. While there are people who are indeed born with the gift of perfect singing and pitch, most have to work hard to achieve the voice that they desire to have. Some are even tone deaf, and yet they have risen above their handicaps to develop voices that are a level up from amateur singers.

Let us take a look at some pointers that will help you to sing better.

First of all, it is very important to know your voice type. To determine this, you will need the aid of a voice coach. Factors that are considered in determining voice type include voice weight, timbre, color, range and texture. If you are a man, your voice is either that of a bass, baritone, countertenor or tenor. If you are a woman, you may either be a contralto, mezzo soprano or a soprano. Knowing your voice type will enable you to learn the techniques that are specifically suited for you. Also, you will learn the limitations of your voice so that you don't put undue strain on it when you sing.

Secondly, you need to have a good understanding of vocal tone. Vocal tone refers to the quality of tones that you produce when you sing. No two singers will have the same vocal tone. If you are aware of your vocal tone, you can easily select the songs that are best for your voice, and would bring out its full power. For example, if you produce full, powerful tones, you should go for songs that are frequently performed by belters. If the tones you produce are thin and sharp, you should sing songs that are higher in pitch. Vocal tone will not only make you a better singer; you will be transformed into an intelligent singer as well.

Thirdly, you should always be keenly aware of how you sing. This would entail knowing how best to manipulate essential parts of your vocal apparatus, particularly your velum, diaphragm and your mouth (specifically how you open it). You know you are singing correctly if you are using an open voice. In this form, the notes flow effortlessly and with minimal strain. You are using a closed voice if it croaks, cracks or if there is too much strain in your throat. Ask your vocal coach to check if you are using an open or closed voice.

Next, be aware of your posture. The way you position your body has an effect on the quality of notes that you produce. Make sure that you sing with body straight, chest forward and belly pressed inward. Also, develop the motor skills so that you will be able to produce gestures and other movements that would complement your song. Part and parcel of great singing is stage performance. You should be able to connect with your audience not just with your voice, but also with the way you move on stage.

Last but certainly not least, make it a point to practice. It is only through constant practice that you will be able to further develop and polish the voice that you have. Even if you are not born with the gift, you can improve tremendously if you regularly perform your exercises and sing a wide variety of songs.

Learn more tips on how to sing better today!

There are more tips on how to sing better in my website. Check out http://learnhowtosingbettertoo.com/ Today!

View the original article here