This article explores violin for beginner. In it we will examine the issues and provide understanding for the beginning violinist. We will discuss beginner model instruments and look at teaching methods for the novice. We will approach violin for beginner from a point of view that will give you an appreciation and anticipation for the journey upon which you are about to embark.

- BEGINNER MODEL VIOLINS are available in a wide range of sizes and prices. A 1/16 size model is available for children as young as 3 years old with an arm length of 14 to 15 3/8 inches. From there you progress up in size depending on the length of your arm. A full size violin is referred to as a 4/4 size model. Prices for beginner model violins start at around $100 and go up from there. It is recommended that the beginner choose an instrument and learn the basics on it, before investing in a more expensive model.

- VIOLIN FOR BEGINNER TEACHING METHODS. A favorite method of musical instruction, especially for young children is the Suzuki Method. The Suzuki method was invented by Dr. Shinichi Suzuki in the 1920′s. It applies music training in the same manner as children learn to speak. Older children and adults generally respond more favorably to a more traditional approach. You are encouraged to explore the many methodologies available to you and determine which suits you best.

An extremely important aspect of violin for beginner to grasp is music theory. Music theory is the study of how music works and how the various aspects of music fit together. A basic understanding of music theory will give you an appreciation of the various genres of music and how each is unique to the overall world of music. Music theory identifies patterns that distinguish one compose from the other. It helps us to understand and identify the individual components of music such as the melody line, harmony, rhythm, structure, and form.

The beginning musician must understand the age old adage that ‘practice makes perfect.’ You can never expect proficiency in playing the violin without a disciplined practice routine. Your teacher will give you general guidelines for your practice schedule. Your adherence to that schedule, as closely as possible, will insure progression in playing the violin in a timely and satisfying manner.

Violin for beginner students should work with their teacher to select music that is fun for them to play. While you may not begin your learning process by selecting “Flight of the Bumblebee”, it is important to be challenged with music that is fun for you to play. The violin is a wonderful instrument for you to learn and appreciate classical music, don’t neglect other genres that you may find to be equally satisfying, such as gospel, inspirational, etc.

You are about to step into a world that will expand your horizons and fill your life with sound and musical color. Choose your violin carefully, and make sure your teacher is well qualified to accompany you on your journey. You won’t regret choosing to learn the violin for beginner.

Hailey Alton is a music enthusiast. For more great tips on Violin for Beginners please visit http://learntheviolinfast.com/

So you think you know violins? Here are ten questions about violins, violinists, fiddles and such that’ll probably make you say “Ah Fiddlesticks!” How many will you get right?

1. You probably know that at one time violin strings were made of a substance called “catgut.” What was the major ingredient in catgut?

2. Although many parents find it a bit of a fight to get their violinist to practice, playing the violin is usually a non-contact sport. But the name of at least one part of a violin might remind you of boxing. What might that (those) part(s) be?

3. You’ve heard that Stradivarius violins can be very expensive. You’ve heard how rare they are and how well they are made. How many violins did Stradivarius make?

4. Violinist Mark Wood calls himself the “first heavy metal violinist.” He plays an innovative electric violin called a “Viper.” What notes are the strings on Mark’s Viper tuned to? (Hint…The Viper has more than 4 strings.)

5. Most violins are made of wood. How many kinds of wood are there in most violins, and what woods are violins usually made of?

6. Which character on the old television show Hogan’s Heroes played the violin?

7. Many people associate wearing black clothing with singer Roy Orbison. Some call Johnny Cash, “the man in black.” What famous violinist from the past was notable for wearing all black clothing?

8. Three men were involved with writing the Declaration of Independence which declared that the American colonies were independent from their British rulers. One of the three was renowned for, among other things, playing the violin. Who?

9. Where are the strings on a Hardanger Violin?

10. The organ is often referred to as the “King of Instruments.” What royal nickname is bestowed upon the violin?

Well, those are my questions. How’d you do? Let’s take a look at the answers!

1. Contrary to popular belief, catgut strings are NOT made of cat innards, they are made of sheep intestines.

2. The “sides” of a violin are called “bouts,” another definition of which is, “a contest or trial of strength, as of boxing.”

3. Trick Question! How many violins did Stradivarius make? NONE. The famous luthier’s name was Antonio Stradivari, not Stradivarius.

4. From highest to lowest, the strings on Mark’s Viper are E, A, D, G, C, F, B-Flat. Seven strings!

5. Typically there are three woods used in a violin. The back and bouts are maple. The belly, or table, is spruce, and the fingerboard/tailpiece/chinrest are made of ebony, or boxwood or rosewood.

6. On at least one occasion, Colonel Klink played the violin in his office.

7. Paganini was the original “man in black.” He was said to be so good on the violin that many people suspected he had made a pact with the devil to give him that skill. His clothing choice did not help them change their minds.

8. A song from the Broadway musical 1776 has Martha Jefferson sing about her husband.

He plays the violin He tucks it right under his chin And he bows, oh he bows For he knows, yes he knows That it’s hi-hi-hi-diddle diddle It’s my heart, Tom and his fiddle My strings are unstrung Hi-hi-hi-hi I am undone

Among other skills, future President Thomas Jefferson was an accomplished violinist.

9. On a Hardanger violin, four strings are in the traditional place above the fingerboard, and several sympathetic strings are below the fingerboard.

10. The violin is called the “King of Strings.”

So, how many did you get correct? All ten? That’s phenomenal! Have you considered a career teaching music? Five? You’re probably still above average! But no matter how many you got correct, you’ve probably learned something you didn’t know about one of the most beloved instruments in the world, and that’s a good thing!

Arthur Haule studied violin in a traditional program for ten years. He participated in several orchestras and an opera company in the New York City area and founded a string quartet. He has taken part in several music festivals and even acted as a violin coach. He is currently webmaster of http://www.ViolinStudent.com

Although Art learned violin in a traditional setting, his daughter Adriana studied with a Suzuki Violin teacher. So Art has personal experience in both traditions. And you’ll often hear him say, “It Doesn’t Matter How You Learned, All That Counts Is That You Play!”

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

Art Haule lives, plays violin, and designs T-shirts for http://www.cafepress.com/violin_student in Flower Mound, Texas with his wife Kathy and his daughter Adriana.

U2 was formed in 1977 when fourteen year old Larry Mullen Jr. posted a notice on his school notice board seeking musicians for a new band. They were called Feedback and The Hype before settling on the name, U2.

On St. Patrick’s Day 1978, they won a battle of the bands competition, using the prize money to record a demo which impressed Paul McGuinness enough to become their manager and they were subsequently signed to CBS Records.

Island Records signed the band in early 1980, their UK debut, 11 O’Clock Tick Tock was well received by the critics but failed to chart. Their debut album, Boy, was released to critical acclaim and included their first hit single, I Will Follow.

Their subsequent tour of Europe and America, these revealed U2′s potential with Bono’s passionate singing and the band’s musical prowess. October, their second album was released in 1981, it was a much more mellow and spiritual record than their debut reflecting the Christian beliefs of Bono, The Edge and Larry Mullen Jr. The album met with a lukewarm reception form the critics and it received limited radio airplay. However, their subsequent album, War was acclaimed by critics and was a commercial success, it entered the UK charts at number 1.

They recorded the live album Under a Blood Red Sky on the War tour, it received extensive play on radio and MTV bringing the band to a wider audience. The Unforgettable Fire was released in 1984, produced by Brian Eno and Daniel Lanois; it displayed a more complex, polished and mature sound. The first single from the album, Pride (In the Name of Love) was their biggest hit at that point and illustrated the passion, idealism and humanity of the band. That year they played Live Aid, Self Aid, became involved with Amnesty International and contributed to Little Steven’s anti-apartheid single Sun City.

Russell Shortt is a travel consultant with Exploring Ireland, the leading specialists in customised, private escorted tours, escorted coach tours and independent self drive tours of Ireland.

Article source: Russell Shortt, http://www.exploringireland.net

I recently upgraded my Yamaha Pacifica 112 guitar with Dimarzio pickups and I thought about making a detailed account here about the project.

So, here’s a step-by-step account on how to remove the stock pickups and install new pickups on a Stratocaster-type guitar, based on how I installed the Dimarzio pickups (DP100 Super Distortion: bridge, DP116 HS-2: middle, DP217 YJM: neck) on my strat-clone. Here it goes!

1. Loosen the strings but don’t remove them from the tuning pegs. When it’s loose enough, remove the neck mounting screws and carefully detach the neck from the body.

* This will save time when putting it all back together, using the same strings. On the other hand, if you’re going to put new strings anyway, then just remove the strings and don’t bother removing the neck.

2. After putting the neck aside, detach the “volume”, “tone” and selector switch caps. Once removed, the volume pot, tone pot and selector switch can now be detached from the pickguard.

3. Remove the pickguard screws.

4. Detach the stock pickups from the pickguard.

5. To totally remove the stock pickups, look for the 3 lugs under the selector switch where the 3 stock pickups are connected. When found, de-solder the 3 “hot” wires from the stock pickups.

* Before de-soldering, try to remember or label WHICH LUG IS FOR WHICH POSITION (bridge, middle or neck).

6. De-solder the ground wires of the 3 stock pickups from the back of volume potentiometer.

* Now the stock pickups are completely detached. Set them aside or store them in a box for safekeeping.

7. Attach the replacement pickups to their respective positions in the pickguard.

8. Check the wiring diagram for the color coding of the new pickup. Usually the new Dimarzios have 5 wires with the following colors: red, green, black, white and a bare wire. (For me, I used the full humbucker *series* wiring for all three Dimarzio pickups). Solder tips of the black and white wires together then wrap tightly with electrical tape.

9. Solder the green and bare wires together then solder properly to the back of the volume pot for grounding. Be sure to use higher wattage soldering iron ( >45 watts ) in order for the soldering lead to stick and make a good connection.

10. Solder the red “hot” wire from the pickup to its the corresponding position in the selector switch lug as mentioned in Step#5.

11. Repeat Steps #9 and #10 for the other two pickups.

* After all soldering jobs, be sure to conduct a visual inspection on all soldering connections. All connections should be secure and solid.

12. Return the “volume” pot, “tone” pot and selector switch to their rightful places. Be sure to properly attach their screws securely. Re-place the pots and switch caps.

13. Re-place the pickguard and attach screws on the guitar body. Check for stray wires that may stick out. All wires should stay inside the guitar cavity.

14. Re-attach the neck to the guitar body’s neck joint, then screw tightly.

There you go. Just a simple 14-step procedure anyone can do at home. Hope this helps!

Enrico Monsanto is a freelance writer. He writes mainly about guitars, music and sport-related topics. Most of his work can be seen at his blog, http://monsaint.blogspot.com

I don’t know of anyone in the last several decades who hasn’t heard of the Wizard of Oz, that wonderful musical journey down the yellow brick road with a teenage Judy Garland singing her heart out. It’s brought out of the MGM archives every now and then and played to another generation who are delighted with the story. Besides being entertaining it teaches us four valuable themes about life.

First, that life seems better elsewhere – like over the rainbow. But in fact, there’s no place like home. What you have and have been given is usually pretty good if you can recognize and accept it. Dorothy wanted to explore the world beyond Kansas but after experiencing it realizes the farm with loving Aunt Em and the farm hands is pretty wonderful.

Secondly, no one is ever really alone. When lost in a strange world and you need friends in life there will always be a Tin Man, a Cowardly Lion and a Scarecrow to stand by you.

Thirdly, there will always be threats and challenges in life- from the spooky forest to the Wicked Witch of the West. But there’s always good in the world as well. That’s why Glinda, the good witch comes to help Dorothy when she truly needs her.

And Fourth, Wizards are not always infallible. Sometimes they can lead you astray. The journey itself down the yellow brick road was actually more valuable for Dorothy than finding the wizard because she learned so much about life and herself. She gained confidence and learned to trust her friends, finally finding her own way home.

How does this relate to an acting career?

1 .Over the Rainbow – I’ve never met an actor who didn’t at some time resent that another actor had gotten cast in a role he wanted or got a contract role on a TV series or a B’way audition or achieved movie star status. Things always look better when someone else possesses them.

Lesson: A smart actor has to be wary of jealousy and resentment. You rarely see the real or downside to being a movie star or what it would be like playing someone else’s role. Accept that who and what you are is wonderful and that your path is yours alone. Enjoy the work and the path. That is real success!

2. Friends – are wonderful if they support your agenda-what you’re trying to accomplish-as the whimsical trio did for Dorothy. They dropped everything to help her get home.
Lesson: Make sure your “friends” are true friends. When your “crowd” however consists of other out of work actors who are resentful and hostile, beware! They can definitely pull you down. Hang around with winners and you become one! Join a Mastermind of like-minded, success-oriented actors!

3. Threats and challenges – Fortunately, there really aren’t people in this world whose goal is to destroy actors but there are some industry pro’s including acting teachers/divas, casting directors, film directors or others who may discourage, demean or insult performers. They’re to be avoided “like the plague” and ignored. The Wicked Witch of the West shouldn’t have any control over you. Tell them to “be gone!” or you’ll “drop a house on them!” (That’s what Glinda the good witch advises Dorothy to do).

Lesson: No one can tell you if you’re good or bad or even if you should consider another career. An acting teacher or casting director shouldn’t use a class or a paid workshop in which to damage your spirit and psyche. Thankfully, there are very few of these people left in the business. They seem to have died off with the “studio” era.

4. Wizards – Perhaps we can translate that to mean hotshot agents, managers, those who promise to get you there but can’t seem to get the balloon off the ground. Or when they do, you’re not aboard. Most agents I know want to see you succeed but some don’t have the connections to get you in the door, don’t understand your type and range or just don’t “get” you. Nobody’s perfect.

Lesson: Don’t trust any one person or agency to make your career happen. Move on. Dorothy eventually didn’t need the wizard to get her home. She had the power of the ruby red slippers all the time. And by wishing and expressing her goal, she made it happen on her own. So can you! Finding a good agent takes time and you need to be selective. Don’t rush to find that “match” any more than you would to find a personal “Match” in your life. It’s too important a decision to just “grab the first offer”.

So…the allegory of The Wizard of Oz is a good example for actors or anyone on a life journey. Just find your team-your tin man, scarecrow and cowardly lion to help you on your way. Your team is your acting coach, headshot photographer, videographer/editor, graphic artist,webmaster and Career Coach all of whom can guide you, give you advice, drop everything to help you on your path and even rescue you from mean spirited “witches”. So if you’re not in Kansas anymore-it’s OK. You can safely get down that Yellow Brick Road.

Successful Marketing!

Gwyn

Gwyn Gilliss is the Executive Director of TAM, The Actor’s Market (http://www.theactorsmarket.com) a marketing firm for actors. They provide every marketing tool an actor needs – HEADSHOTS, RESUMES, BIOS, DEMO REELS, CAREER COACHING, MARATHON SEMINARS to met the INDUSTRY-AGENTS & CASTING DIRECTORS – as well as FREE monthly seminars, FREE weekly marketing tips and access to top photographers, graphic artists and videographers to create great demo reels (sizzle reels). There are Training courses via teleseminars, downloadable Podcasts and Home study courses with DVD’s and the ACTOR’S MASTERMIND a bi-monthly FREE teleseminar for all actors globally. (check for more products and services at http://TheTAMStore.com) Gwyn’s acting career spans several decades during which time she appeared on and off-B’way, in classical roles in American Repertory companies, in over 18 contract and recurring roles in Daytime/Primetime TV, Films and dozens of network commercials/V.O.’s. As a Career Coach she is available to work One-on-One with actors at all levels.

Your child can announce that he wants to play the piano when he comes home. The question of he is too young, always arises. Generally anything under 4 or 5 is too young however children under 4 can still be introduced to music in many forms including piano that is appropriate for age and attention span. Many lessons can be learned by young children when put in the form of music. If your child is under 4, check with the local musical schools or pre-schools to see if they have any kind of musical programs for your child.

There have been many studies done regarding children and exposure to music with many positive results. Children exposed or involved in music early, learn to read earlier and generally score better on tests (even standardized tests such as SAT etc.).

Only you can tell if purchasing an acoustic piano is right for you and your budget; or perhaps you want to let your child first start with a digital one (less expensive) and judge to see if the expense is warranted based on your child’s enthusiasm.

Upright pianos and the grand piano style are examples of an acoustic piano. A digital one is just the key board and the electronics give all the sounds of a piano without taking up the room like an acoustic takes. Perhaps if space is tight in your house then a digital piano might be the way to go.

Since we are talking about teaching young children, the prospective teacher should be approachable, with the ability to motivate your child through inventive lessons. A devoted teacher will treat each child as an individual and gear lessons towards both your child’s strengths and weaknesses.

Ask the teacher about their philosophy on piano technique. Some teach that the fingers and only the fingers should be involved in playing, while others believe the whole arm is involved. See what the teacher feels is appropriate for your child and ask how they go about teaching it.

One method of teaching that does work with very young music students is called the Suzuki method. The drawback of this method is that it concentrates on developing istening skills but doesn’t teach the reading of musical notes until the child gets older. Some teachers swear by this method while others disagree.

The Music Tree (or Clark Method) does a very good job teaching the basics. The lessons teach the reading of music as well as counting, phrases and form from day one.

A very popular series is written by Nancy and Randall Faber (Faber & Faber) and is used by many teachers. The position method is taught in these books and it reinforces proper hand position and appropriate suggestions for counting.

There are many other methods used by teachers and the goal will be to find the right teacher and method for your child. Many teachers believe that playing scales over and over is the right thing to do, where as others feel it’s making a child do something that is not necessary. Some children do well with one method and not with another.

When speaking with the prospective teacher, ask about what books they use. Is it possible they loan the books to you until you know if the method they are going to use will be good for your child. That way should your child decide he doesn’t want to play piano anymore; maybe it has to do with the method being taught. Find out how flexible is the teacher when it comes to method.

By doing some foot work following your child’s announcement of wanting to play piano, you will be giving your child the gift of music today and long into their future.

Gift your child with piano lessons Kenner Louisiana to learn the art of music. Search a trained teacher who can teach some techniques and methods for playing the instrument. To know about various pianos available and their maintenance, visit http://www.hallpiano.com.

U2 was formed in 1977 when fourteen year old Larry Mullen Jr. posted a notice on his school notice board seeking musicians for a new band. They were called Feedback and The Hype before settling on the name, U2.

On St. Patrick’s Day 1978, they won a battle of the bands competition, using the prize money to record a demo which impressed Paul McGuinness enough to become their manager and they were subsequently signed to CBS Records.

Island Records signed the band in early 1980, their UK debut, 11 O’Clock Tick Tock was well received by the critics but failed to chart. Their debut album, Boy, was released to critical acclaim and included their first hit single, I Will Follow.

Their subsequent tour of Europe and America, these revealed U2′s potential with Bono’s passionate singing and the band’s musical prowess. October, their second album was released in 1981, it was a much more mellow and spiritual record than their debut reflecting the Christian beliefs of Bono, The Edge and Larry Mullen Jr. The album met with a lukewarm reception form the critics and it received limited radio airplay. However, their subsequent album, War was acclaimed by critics and was a commercial success, it entered the UK charts at number 1.

They recorded the live album Under a Blood Red Sky on the War tour, it received extensive play on radio and MTV bringing the band to a wider audience. The Unforgettable Fire was released in 1984, produced by Brian Eno and Daniel Lanois; it displayed a more complex, polished and mature sound. The first single from the album, Pride (In the Name of Love) was their biggest hit at that point and illustrated the passion, idealism and humanity of the band. That year they played Live Aid, Self Aid, became involved with Amnesty International and contributed to Little Steven’s anti-apartheid single Sun City.

Russell Shortt is a travel consultant with Exploring Ireland, the leading specialists in customised, private escorted tours, escorted coach tours and independent self drive tours of Ireland.

Article source: Russell Shortt, http://www.exploringireland.net

First Released On: 20th April 1998
Duration: 06:18
Variations/Remixes:

Blur Remix – A remix undertaken by Damon Albarn and Graham Coxon of Blur, which is far removed from the regular version, which has polarized many fans to its quality (or lack of!). This was Damon Albarn’s first remix for another artist that was released. He worked with remixing some of Tricky’s songs, two years before, but the pair fell out with each other and the material was never released. Included on all single releases.

Mad Professor Remix – The Mad Professor once more remixes a Massive Attack single. Included only on the promo 12″ vinyl release, and then only in a truncated form, until the arrival of the Singles 90/98 Box Set where this remix was included on CD in its full form.

Radio Edit – A truncated version of the song for radio playback. Trims off much of the beginning and end of the song. Included only on promo releases and on the Singles 90/98 Box Set.

Credits:

Written by Robert Del Naja, Grant Marshall, Andrew Vowles and Horace Hinds
Produced by Robert Del Naja, Grant Marshall, Andrew Vowles and Neil Davidge
For the Collected version of the song, additional credits are:
Remastered by Mike Marsh at the Exchange and Tim Young at Metropolis Mastering.

Sampled:
Angel uses a sample from the song “Last Bongo In Belgium” by The Incredible Bongo Band. It appears primarily on their 1973 release Bongo Rock. It is not credited officially by Massive Attack.

Vocalist(s):
Horace Andy

Lyrics:
You are my angel
Come from way above
To bring me love

Her eyes
She’s on the dark side
Neutralize
Every man in sight

To love you, love you, love you …

You are my angel
To love you, love you, love you …

History:

Originally, Angel was intended to be a very different sounding song, as it was to be a cover of “Straight To Hell” by The Clash that would have also have included a sample from an old Sex Gang Children record. For this cover version, 3D had earmarked Horace Andy as being the ideal vocalist but by the time it came to record his vocals in London’s Olympic Studios they hit a snag. Horace Andy, a religious man, was unwilling to sing the word “hell” in The Clash song so at the last minute, unexpectedly Massive Attack were forced to improvise a new song on the spot to accomadate Horace Andy’s refusal. In the space of merely four hours, they stripped away much of the originally prepared track, wrote a new melody around it, halved the tempo and removed the Sex Gang Children sample entirely. Finally to use as lyrics for this new untitled song, they took the lyrics almost directly from Horace Andy’s own song You Are My Angel.

Additional Info:

Angel was the third single released from Mezzanine

Horace Andy is credited as Horace Hinds on Angel as this is has real name with “Andy” being his stage name.

It is quite probably the most used Massive Attack song in both TV and movie soundtracks ever having appeared in countless different filmed media. See the Videography section for a sampling of what Angel has been used in.

Live Appearances:

Angel was first played live in it’s finished state at the Olympia in Dublin, Ireland on 15th April 1998. It has since become ome of the permanent fixtures of Massive Attack’s live show, hardly ever leaving the setlist except in the very rare times that Horace Andy was not available to do live vocals. On the 1998/1999 tour, Angel served as the opening song in most cases and duly had a long intro sequence of roughly two minutes before the entrance of Horace Andy’s vocals, but in subsequent tours this intro has been shortened down to only about half a minute. On the 2008 tour, Angel was moved till near the end of the live show typically being the first of the 3/4 encore songs.

Quotes:

Mushroom on Angel – “I like the simplicity of it. You see, I’ve always liked the earlier albums and the elements in that and Angel really takes me back to things on Protection and Blue Lines” [Mezzanine Interview Disc - March 1998]

3D on the meaning behind Angel – “As with many of the tracks [on Mezzanine], it deals with relationships: what you expect from a woman and what you actually get back” [Vox Magazine - May 1998]

3D on the initial recording of Angel – “In the space of four hours we stripped all the music away, wrote loads of stuff around it, keeping some of the old melody, putting in Horaces’ new melodies, taking the Sex Gang sample away, halving the tempo and adding new words” [Q Magazine - January 1999]

http://www.massiveattack.ie/info/songs/angel.php
http://massiveattack.ie

The super talented Smooth Jazz artist Gregg Karukas has released his CD on the N-Coded Music recording label, entitled Heatwave.

I wish it weren’t the case but, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Heatwave. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Heatwave has a nicely varied, mix of 12 very nicely put together tracks from this clearly talented artist. One of the good things about a CD like this is with this level of talent even if Smooth Jazz isn’t your favorite genre you still can’t help but appreciate the greatness of the artist.

Heatwave is a first rate CD, delivering a little something for everyone. I give it my highest recommendation. It’s quite simply great listening. A must buy for the Smooth Jazz fan.

Heatwave Release Notes:

Gregg Karukas originally released Heatwave on Oct 22, 2002 on the N-Coded Music record label.

CD Track List Follows:

1. Uptown Rendezvous

2. Your Sweet Smile

3. Riverside Drive

4. Too Cool (To Be Hot)

5. Healing Song

6. Heatwave

7. Penthouse View

8. Brooklyn Nights

9. Home To You

10. Last Train

11. Remember When

12. I Meant What I Said

Personnel: Gregg Karukas (piano, Fender Rhodes piano, keyboards, synthesizer); Andy Suzuki (saxophone, flute, alto flute); Dino Soldo, Dave Koz, Kirk Whalum (saxophone); Rick Braun (trumpet, flugelhorn); Nick Lane (trombone); Michael O’ Neil, Paul Jackson, Jr. (guitar); Mel Brown, Jervonny Collier (bass); William Kennedy, John Lewis (drums); Luis Conte (congas, tambourine, percussion). Includes liner notes by Gregg Karukas. Guests: Dave Koz/Kirk Whalum/ Rick Braun/Paul Jackson Jr

http://www.satellitetvforpc.ws

Playing by ear is the ability to play a piece of music (or, eventually, learn an instrument) by simply listening to it repeatedly. The majority of self-taught musicians began their education this way; they picked up their instrument and began playing an easy melody from a well-known song, slowly picking out the notes as they went along. And even after these musicians master their instruments or a particular song, playing by ear still plays a large role.

Many pop and rock bands don’t play or write their songs based on sheet music, they figure the songs out by playing by ear. It’s even common among non-musicians. Ever sit down a piano and mindlessly pick out the tune to “Mary Had a Little Lamb”? What about grabbing a guitar and suddenly finding yourself playing the opening licks to “Smoke on the Water”? That’s playing by ear. You’re able to play part of the song just because you’ve heard it so often.

Playing by ear is a valuable technique for many musicians; learning songs based solely on hearing them is a great way to understand song and chord structure. In fact, a great number of rock and pop musicians learned to play their instruments this way. Instead of picking up a book or taking lessons, they concentrated on figuring out the notes and rhythms to a song until it was mastered. Then they moved on to another song. And another. Gradually, they learned their instrument just by playing by ear — and in the process learned how to effectively structure a song in that particular genre.

Playing by ear is also beneficial in helping a musician develop his or her own style; sure, they’ll at first mimic the style of the song they’re imitating, but the amalgamation of the music that they’re playing by ear will help them create something distinctive, something indicative of them only.
Though classical musicians are generally educated based on tons of music theory and sight reading, some methods rely on playing by ear. The Suzuki method of musical training, for instance, claims that learning music is the same as learning a language; it’s acquired by years of hearing it, eventually coupled with formal training. Just like we pick up our language by listening to our parents and subsequently attending school, we can learn music by playing by ear and later taking formal lessons.

So can the average person ever hope to play their piano by ear? Maybe not to the degree that some extremely talented musicians do, but anyone can learn enough about the basics of playing by ear if they learn the following skills:

Being able to hear a tune and have a general sense of the contour of the melody — when the tune moves higher or lower as the song progresses.

Learning to chart that melody contour either on paper or in their memory.

Learning to match the melody to appropriate chords.

Playing by ear is really a combination of of three factors:

1. Using your tonal memory to recall music you have heard:

2. Using your ears and fingers to help you reproduce what you recall;

3. Using “melody contour” (the “shape” of the tune), “chord structure” (how to form the chords on the keyboard to match the tune), and “chord progressions” (the path chords take as they move through a song).

Obviously, the first 2 steps you can take more or less by yourself — you can mentally rehearse recalling a particular tune; you can sit at the piano for hours and through trial and error pick out tunes, chords, and rhythms. But the real key to playing by ear is learning how to chart the shape of a tune, learn how to construct chords, and then determine the likelihood of chord progressions — in other words, which chord comes next.

When you get an understanding of step three, you will be in a MUCH better position to understand and profit from steps one and two!

For more info on playing the piano by ear, please go to “How To Play Piano By Ear!” In addition, a series of 101 free email lessons on playing by ear & piano chords is available at “Exciting Piano Lessons on Musical Form & Playing Piano By Ear & Sizzling Chord Progressions!”