Hip Hop Song Writers

Hip Hop song writers are finding the song writing process becoming easier than ever before with the increasing number of song writing tools and software available online and in the market. Traditionally song writing has always had the same steps, lyrics, music, production; the path followed varying from artist to artist.

Generally in hip hop, the beat comes first. The artist working on arranging the beats first and then getting on the lyrics. This is mostly done because it is easier to try and write lyrics to fit in with a pre-existing beat, but it is comparatively difficult to try and form a beat around lyrics that have already been writer and decided on. The basis of the beat is the drum and other percussion instruments.

Drums are the basis of the song production and can be sampled or created on original kits. In sampling, the hip hop song writers use a part of an already existing song, or track by another artist. The essence of sampling is that a part, be it drum or vocals, from a song or recording belonging to any other artist is taken and used by the song writer as a part of their track.

Parts of the track can be mixed into the main track over and over to form a pattern, which is called a loop. Loops not only add a different dimension to the song, but also add layers, introducing the work of another artist into the mix, which can be considered as some form of collaboration on the hip hop song writers part. There are other ways to collaborate such as working on lyrics with another artist or having them do guest vocals on your song track.

Besides the drums, bass lines are also an integral part of any hip hop song. Where the drums add a backing to the song, bass lines add a depth, a resonance. Generally synthesizers can be used to create bass lines. The arrangement of the drums, bass lines, sampling elements etc. is all dependent on the hip hop song writers, how they want to style the song.

Once the beat and instrumental part is laid down, most artists work on the lyrics. At the same time, many other artists prefer to work on the lyrics before creating the instrumental bass beat. A music ghostwriter can help by writing the lyrics or instrumental to your song.

A Parent's Guide to Drum Lessons: When Is the Right Time to Start? (Part One)

Often the answer to this question hits many parents and kids right in the face! From the onset of mom and dad taking note of their young one tapping along with music the epiphany usually follows; "time to look into this!" From there the rest is history!

There is an age old saying in the world of drums: "People do not choose to become drummers; drumming chooses its victims." So very true!

Curious parents have to discern between brute pounding and a genuine interest in drums. For parents, gauging this interest hinges on two parts; they are: 1. Is there genuine interest in becoming a drummer and 2. The age of the child.

This article will detail ways to detect real interest. My next article will assist parents in deciding the right age for your particular child.

Here are a few things that you can look for and do to measure interest in drum lessons for your child.

•     Does your kid clap their hands and/or stomp their feet to music? Watch their faces as they pound. Do they seem to genuinely try to follow the music? Pay particular attention to any attempt at REPETITION of sounds... that is a dead give-away to call the best drum teacher you can find!!!

•     Whenever you take your son or daughter to a social or family event that has live music of any sort, do they pay particularly close attention to the drums and/or the drummer more than all else? If so, that could be a good sign. In addition, if the venue allows, perhaps have your kid meet the drummer on a break (maybe even ask if your kid can tap something on the drums-maybe this person teaches or knows of a good teacher).

•     Instead of just buying your kids the same old video games, Hot Wheels cars, and Barbie Dolls take your kid to a music store and buy them an inexpensive pair of drumsticks and a practice pad. This "field trip" to the music store will really serve to gauge your child's interest! If your kid lights up automatically at the sight of all of those beautiful drums and other equipment, ask the store if they offer lessons or if they can recommend a good drum teacher.

•     Parades are also a great way to measure a child's interest. If your child is making it a point to watch the drummers in the parade as opposed to the fire trucks, mascots, horses, and people throwing candy, then that could be the go ahead for lessons...

•     Here's a quick test: watch these YouTube Videos with your youngster and watch their reaction:

        A. Rudimental Solo-Grandfather's Clock (you will see two men in colonial garb)
        B. 2002 Cavaliers Drumline
        C. Drum Lesson: Journey: Don't Stop Believin'

Following these short tips will allow a parent to see if a kid really wants to take the next step in learning to play the drums for real or if they are just pounding away for recreation.

My next article will focus on what is the right age to start...

George Guest run InnerBeat Drum School in Pittsburgh, PA.

He teaches full-time as a profession and works with kids as young as 3 years old. He also teaches adult students who are professional musicians.

http://www.InnerBeatDrumSchool.com

George teaches private lessons and group lessons; kids who take lessons at InnerBeat Drum School have fun learning!

To get a sample of George's teaching methods, sign up for his email list to receive regular education material once per week

http://www.innerbeatdrumschool.com/_free_lessons.html

The Elements That Make People Buy Trap Beats

Before you get into making a trap beat the first thing that you must know is the main elements of trap beats that give them that hardcore, gangsta feel. You can start from a simple foundation of a few key elements before you start making these types of beats. Here are some elements that are very crucial in making trap beats and ultimately trying to get artists to buy trap beats.

    THE 808's - First and foremost the key ingredient that popular trap beats are known for is 808 sounds. 808 Kicks, Hi Hats, Toms, and Snares. These 808 sounds are the main sounds that give these beats that distinctive trap beat feel. Typically the 808 kicks are made to provide a good low frequency punch to emphasize the sub bass tails that almost every trap beat has. In the industry today, 808 toms are the most popular to use for drum fills. These toms are usually used just prior to the ending of the 4th bar to emphasize the transition or prior to the ending of the 8th bar. It really depends on the feel and the character of the beat and is really up to you. The tom fills are mainly used to give the beat a nice, fluent transition into a different part of the beat. Hot selling trap beats almost all the time have a 808 snare drum sound. This is a very crucial element of trap beats. Majority of the time, once it is laid on the track, it is then boosted by a basic "EQ"(Equalizer) that boosts the bandwidth, frequency on an average of about 200 hz and adjust the high-frequency pass somewhere between the 50 hz -120 hz range, depending mainly on the bass and the direction you are trying to go with it. When in doubt listen on different systems, positions, and volumes(Ex. Monitors, Headphones, Corner Of Your Room, Near and Far From Speakers, High,Mid, and Low Volumes). Your ears are and should be your most valued tool. Usually you can find these 808 sounds on the company website of the Digital Audio Workstation that you use.

    DRIP EFFECTS - Another popular sound that is used a lot in trap beats are drip-like drop effects. Usually sounding very similar to a continuous water drop that starts at a high pitch and as the progression goes on it descends to a low pitch. These sounds, in most cases, are sampled sounds or a self-programmed synthesized effect that emulates a drop effect(very difficult to do if you are not already familiar with oscillators, wave sounds, filters, etc). This effect is most commonly used in intros, transition points, prior to a breakdown, etc.

    CHANTS - These are a very commonly used, mainly in that "Crunk" type of music. But in the industry today, producers are using chants more in trap and dirty south type beats. Most of the time chants are samples and usually go something like "Hey... Hey... Hey... Hey". These consistent chants sound best when they are hitting on the 2nd and 4th beat of a 4 bar measure. Usually on the hook, to add extra feel to it so the hook has a more powerful impact and impression on the listener. Again, depending on the flow and direction of the beat, placements of these chants may vary.

    LEADS, SYNTHS, BASSES, ETC - These elements are key to getting a hard hitting trap beat. This part gives the beat its character and personality and is mainly part that makes the beat memorable. Its popular to have a synth lead pattern consisting of a simple 4 bar melody that switches between high or low octaves after every 4 bars. It is ideal to use this technique for the hook. But in some cases producers do use it on verses, depending on the complexity and progression of the melody. It is very popular to leave out the lead melody on the verses and leave the raw drum and bass lines while still utilizing the other elements. This technique mainly is used to bring out the vocals and give the vocalist most presence on the beat. By far, this part is the funnest part of making these trap beats because these synths and basses just give the beat that extra flame.

Ultimately at the end of the day, if you want to add other elements, by all means do it. The most important thing here is to experiment to open up the opportunity to grasp your own unique sound. But this is a different story if you have your trap beats for sale online. Artists, now days, tend to like beats that sound similar to the songs they hear on the radio. Anyways, this is a whole different subject on its own and is for a totally different article. This information shared here is strictly to help people get an idea of the elements of a trap beat and what types of sounds to use to effectively make one. Keep in mind that there is no law here that says you have to follow these steps or instructions. By all means, feel free to do your own thing.

On the flip side, the most important thing you must learn to do is to trust what you hear. Your ears don't lie. Sometimes beats will start off one way and end up going in totally different direction. In some cases this is a good sign that your level of creativity is increasing.

Now the last thing I want to leave you with. A cool technique you may use to help keep your trap beats up to par, as far as fluidity and consistency. Its called the "TRIPLE F's". Which stands for "Flow", "Finesse", and "Fix".

    FLOW - First really listen and get the feel for the direction and flow of the beat. Then ask the questions "how is the flow of the instruments or instrumentation? melodies? chord progression?"

    FINESSE - Then playback melodies, leads, drum beats, bass lines, and see if the finesse of these elements are exposed to its fullest potential. This step usually will point out notes, chords, instruments, effects that will need to be re-touched and adjusted.

    FIX - Last step and final step here is to go back and fix the things that need to be fixed in order for the beat to have consistent flow and character.

P.S - It is very crucial to always be experimenting on different melodies, sounds, effects, etc while creating or mixing your beat. If you think it doesn't sound good, switch it up and experiment with it. You must remember that music is infinite and you can literally do anything you wish with it.

Breydan Keohokapu

http://www.ccpbeats.com

The Only Website Where You Have The Opportunity To Get The Best Trap Beats For Sale in Bundles Of 2 Beats For $9, 4 Beats For $19, 6 Beats For $29. And Also Get Access To 8 Hot Unreleased Instrumentals That You Can Download For Free Via Emailed Link. Just Send Us The Email Address To Send Them To.

Click On The Link And Get The Best Official Deal For The Hottest Trap Beats Online. http://www.ccpbeats.com

Fix Your String Skipping Problems On Guitar

String skipping on guitar is the simplest skill to learn. Not even! Virtually every single guitarist will have a number of string skipping problems over the learning process. And yet with just a bit of focused work, the openness to allow a great deal of errors, along with the easy drills you are about to find out about, you will find yourself jumping over strings with wild abandon and sticking those landings just like an Olympic gymnast.

"String skipping" means picking notes on non-adjacent strings. Such as playing a note on your second string, then one on the fourth string. To make it easier to correct your technique let's work with the right-hand using just single notes.

You will see me continuously describe restricting the range of motion in the right-hand. That sounds like a negative thing to do. However, we're going to use it for the forces of good to allow your right hand a finite region to operate in to help you to create the muscle memories for the space in between your strings.

1. Rest stroke. In a "rest stroke" you'll pick the string and let the pick come to a stop against the subsequent string. For instance: Pick your open fourth string and allow the pick to come to rest on the 3rd string.

Here is this finite movement in operation. The guitar pick is going to move the exact same distance each and every time and your muscles should learn this distance easily. When you become comfortable with this rest stroke, your hand will be able to determine the length between several guitar strings readily.

As a bonus, the rest stroke also will improve your tone and right hand accuracy and precision as a whole.

2. Anchor. I am not referring to the 3-ton seafaring equipment. Although that could help keep you in one spot to practice for a longer time! Using a right hand anchor means resting your right hand pinkie finger on the body of the guitar. If you are using the bottom strings you will attach it to the top string. Same point here. It limits the mobility into a smaller space on the guitar.

A few guitar players will disagree with me on the use of an anchor. Many don't use one at all. Having said that, in my 2 decades of teaching guitar I have seen anchors help to tidy up poor right-hand technique numerous times.

3. Those blind dudes had the right idea. Now that you've got a solid rest stroke and pinkie anchor we'll do some actual string skipping, though with your eyes shut. This is also a trust exercise. A bit like that exercise where your partner falls backwards and you are supposed to catch them. However there is no possibility of a head injury here. Instead you are going to learn how to put your trust in your hands. You WILL mess up quite a few times at first, but that is entirely ok. Ignore those mistakes and try once more. Your technique will get better faster if you don't let the mistakes frustrate you.

To keep it simple, we will just use the open strings for this exercise. Close your eyes then start with the sixth string. Always keep your pinkie anchor and rest strokes under consideration. Then pick every other string: 6th, 4th, 2nd. Next start on the first string and pluck every other string coming back down: 1st, 3rd, 5th.

Keep it slow, mess up a lot, then repeat the process.

Then do it in reverse. Go down on strings 2, 4, 6 and go up on strings 5, 3, 1.

When you're able to achieve that comfortably, have a go at skipping a pair of strings: 6th/3rd, 5th/2nd, 4th/1st. Very same thing backwards. And then you can try skipping three strings, and so forth.

Whenever you shut your eyes, your mind shifts gears and places additional concentration on your senses of hearing and touch (and scent, but I really hope you don't need that here). That's why playing guitar with your eyes closed can help you develop this technique more quickly. All those ridiculous "guitar player rocking out/having a bowel movement" faces are optional, yet seem to go with the territory.

When you have it down, have a go with your eyes open, but do not look at your hands. You don't have to anymore. While you're playing, your eyes should be on the written music or the 1000s of screaming admirers in front of the stage.

Just follow these steps and fight through the mistakes. You may see that guitar string skipping is really rather easy after all!

For more guitar brain hacks and effective practice tips visit www.GuitarNotesForBeginnersHQ.com

A Singer's Interview: 5 Performance Tips for Good Results

Preparation for a singer's interview is how a successful performer can play an active part in the promotion program designed by the team they have chosen to represent their interests. During the launch of a singer's recording career there could be a nation-wide tour of 200 or more interview dates. These range from in-store mini-concerts, press and radio interviews, to national television appearances.

Recently there has been an explosion of new talent vying for media attention in an already crowded field. Learning to deliver engaging interviews is one way to guarantee you will stand out from the rest of the pack. So here are some tips for executing successful media events.

1. Be animated, have fun, Everything discussed when singers interview should be in a positive tone of voice, unless, of course, you are speaking of a disaster. Keep the tone upbeat and enthusiastic. This is especially important for drive-time radio interviews when radio hosts are working hard to keep their listeners awake and alive. When you present a positive attitude, even in times of personal difficulty, it is difficult for the interviewer not to respond in kind.

2. You will need to remember that you are there to promote a relationship with the public, but keep in mind that your job is not only to promote your agenda; it's also your job to make the interviewer look good. A singer's interview should always have an intimate feel. Plan on treating your host as if they were your very best friend -- at least for the next three to twenty minutes.

Occasionally refer to your interviewer by name. It is a good idea to match your speaking pace to that of your host. Be sure not to "step on" their lines. Give them plenty of time to finish their thoughts before you speak. Everybody loves a good listener. Besides that, it buys time for you to formulate your own answers. After all, the real translation of the sound "um" is "I'm stalling."

3. If you support your voice with your entire body when you speak, you will give the impression that you stand firmly behind what you say. Short concise bites, with strong consonant sounds at the beginning of words are best. Punch up your responses by ending your words with pauses for additional emphasis.

4. It's also good to remember that Silence is golden. Say what you need to say, then quit talking. Don't continue to ramble. Silence is not nothing; it's simply a real, real quiet sound.

5. You cannot control which questions will be asked of you in a singer's interview, but if you plan your responses in advance and practice them until they become natural, you will not be caught off guard. First and foremost you want to come through the interview with your career intact, so take comfort in the fact that you are bound to know your topic better than the host.

Be yourself; let others see you as a real person; share your life with them; have fun; make your interviewer look good and you can be assured that many more interviews will come your way.

Bonus Tip #1: Try not to leave the studio without firm plans for receiving a print, audio or video copy of your interview. You will want these public records for your growing dossier.

Bonus Tip #2: Always send a thank-you note to the hosts, engineers and producers. These little notes pave the way for future interviews.

Bonus Tip #3: Find a notebook or a place on your computer to keep records of each interview. You will want to remember the people involved, what you wore, and the topic of the interview.

Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera...

Click Here to receive her free weekly Vocal Video Lessons and PDF of "Answers to Singers' 7 Most Important Questions."

Author of "Voice Power" AMACOM (NY). She offers insider's information via on-line lessons at cybervoicestudio.com.

Teacher Vs Teach Yourself - What's the Best Way to Learn an Instrument?

Playing an instrument is a great talent. We can all admire the skills of expert players, but few of us can actually pick up an instrument and play. If you've always wanted to be a musical maestro, now is a great time to start. But what's the best way to learn an instrument - expert guidance or teaching yourself?

Music Teacher

Getting taught by a professional is the most common way to learn an instrument, but why? Here we look at the pros and cons of taking lessons:

Pros

They know exactly how everything works, and will teach you the basics. As you develop, they will be able to teach you the more complicated parts. Music teachers help you get to know all the technicalities inside out.

Find yourself struggling? They are always on hand to make everything a little clearer. You can take lessons as regularly as you need to, and practice in the mean time. Music teachers are the ideal way to help your kids learn an instrument.

Cons:

Music lessons can be expensive. At a time where everyone is feeling the pinch, is this a luxury you can really afford? Depending on your level of experience and particular instrument, the cost can skyrocket.

You may also struggle to find time to fit lessons into a busy schedule. You have to rely on someone else having the time to see you. If you work full time, it is sometimes impossible to find a mutually beneficial time.

You also have to learn what the teacher wants you to. On some occasions you will have very little freedom over the songs you learn. By learning in this way, some people find it difficult to adapt their skills to play anything else.

Teaching Yourself

What about teaching yourself then? Is this a more viable option? Here are some things to consider:

Pros:

If you teach yourself, you can do so on your own terms. You can dedicate as much time to learning as possible. This also gives you the freedom to learn in a way that suits you. Musicians can choose to learn note by note, or song by song.

This freedom also transcends into how you teach yourself. You can learn to play the instrument of your choice by following YouTube videos for example. This way you can continue to go over a specific aspect until you have it mastered. Books and DVDs are also easy, affordable ways to learn at home.

Cons:

However if you're struggling, where can you turn? If you teach yourself you have no real way of getting over a particular hurdle. This is often the point may people who are teaching themselves give up.

Learning from a novice isn't the same as learning from a professional. There's a chance that you'll miss out on something. For example, your tutorials may not cover tuning your instrument. This will then result in lasting damage.

What's the Answer?

There is no real right answer to this conundrum. It is all dependent on your personal preferences. If you have a little background knowledge, why not start with trying to teach yourself and see how it goes? With so many options though, it's worth trying both.

If you're thinking of taking up new musical instrument, you can find some unusual and great fun instruments at the Djembe Drum Shop.

Top 3 Songwriting "How-To" Books

I've been a songwriter for a long time. Going on 20 years, seriously. Before that I was journalling and well, writing out my pre-teen angst.

Over the years, I've done the good old-fashioned trial and error - which is by far THE BEST way to get better writing songs. Yes, I wrote one OK song for every ten bad, then 2 OK songs, then 1 good for ten bad. You get the idea...

But I'd stop for help along the way, pick up some inspiration and generally pick up a few new tricks. So I've narrowed down some of my favourite songwriting books. These are the ones I won't sell, give away or lend without holding someone's driver's license and car keys.

So, in no particular order my top 3 songwriter books are:

1) Writing Better Lyrics - Pat Pattison

I went to his workshops and also book his workbooks on rhyming etc. This guy is good and has excellent exercises for improving skills. Pat even says John Mayer keeps a copy on his toilet tank. Yah!

2) Writing Music for Hit Songs - Jai Josefs

I did all the exercises at the back of each chapter over the course of a summer. It was a lot of work, but well worth it. If filled in a lot of gaps between music lessons over the years and emphasized choosing the write chords and progressions to match the lyrics.

3) How to Make a Good Song a Hit Song - Molly-Ann Leikin

I'm actually re-reading this book and walking around making up rhymes, internal rhymes and generally getting some funny looks from people I walk by on the street.

There are some other books that songwriter friends enjoyed. Frankly I never got as much out of them as the ones above, but you might so here goes:

Anything by Sheila Davis, John Braheny or Jason Blume.

Lastly, you're a bit lost without some help on guitar and found 'Arlen Roth's Complete Acoustic Guitar Guide' was excellent for skill building and Natalie Goldberg's 'Writing Down the Bones', excellent for inspiration and sticking to your calling as a writer.

There was two years in particular that I read most of the book above and it definitely took me forward leaps and bounds. Of course, you have to put it into practise to get the most out of the learning. Write bad songs! Think of it as clearing them out to make way for the good ones!

Good luck!

Lindsay May is a 'classy alt-country songstress' who invites the muse on every occasion. With two albums under her belt and numerous singles, she's been a finalist at Kerrville New Folk Festival and New Mountain Stage Songwriting contest among her many accolades. Get a free song and find more songwriting tips by signing up for her newsletter at:

http://www.lindsaymaymusic.com

How to Tune a Harp Without an Electronic Tuner-Tuning by Perfect 5ths and Octaves

In today's high tech world, it is rare when someone does not have an electronic tuner for the acoustic instrument they play. For instance, I play the Celtic Harp, and every harpist I know has an electronic tuner. What if your tuner is out of batteries and so is the junk drawer? My harp has 39 strings that are tuned to the white keys of the piano. (Many harpists tune their harps to the keys of B flat or E flat-I actually tune mine to the key of F). For this particular situation, we will (pretend to) tune to the key of C.

We do have to get a 'reference point' in order to tune to 'A-440'. If you have a piano, you can use the middle C note as a reference point. Maybe you have a tuning fork to use? If you have no reference point at all, maybe finding a tone on your telephone through the Internet? I imagine if you Google 'middle C tone', you would find something out there that would produce a tone for you.

Ok, let's get started. The best way to tune the harp is by 5ths. A perfect 5th has a certain vibration that makes it sound 'perfect'. Review in your mind the 'Do Re Mi' scale. If you can sing in your head the interval of Do to Sol and pay attention to the evenness of vibration that is produced by a perfect 5th, then tuning will become easier.

You begin by bringing the G above middle C into its perfect state. (We are going to tune a full octave and then move on to the rest of the strings by tuning with octaves from that point on.) After the G is in and the vibrations are steady and together (not 'beating against each other') then you will tune from that G to the D above. This is also a perfect 5th and you should be able to bring the vibrations together. What I mean is that when a note is in tune with another (in a perfect 5th or 4th or octave), the two notes will vibrate in harmony (together). If they are not in tune, you will hear an 'out of phase' vibration between the two notes; they beat 'against' each other instead of together. After getting the D above middle G in tune, then you will tune the D that's an octave below. Again you are going to listen very carefully to the beating of the vibrations. Play with it a bit... make it really flat and then bring it up to the note. Try making it sharp (without breaking the string!) and then tuning it back to its proper note. The more carefully you listen, the more aware you will become of the 'perfect tone' and whether a note is sharp or flat-whether a note is beating against another or vibrating in harmony with it.

So no we have tuned Middle C, the G above that, the D above that and the D next to Middle C. From there we tune the A above the Middle D (again a perfect 5th). Each time, you are listening for the beating of the vibrations of each note. Are they beating together or against each other? From that A (when it's in tune) we will tune the E above that (another perfect 5th). Now tune the E an octave below (which will be Middle E). From the Middle E (when it's in tune) you will tune the B above middle C. Once again, it's another perfect 5th. We're almost there! Now, the only things left are the C, an octave above middle C, and we will tune that against the Middle C note. Once you have done that full octave, you will tune the F (just above middle C) from the upper C note (again, another perfect 5th). After you are through with the full octave above Middle C along with the other couple notes above, you will next want to listen very carefully to the entire scale and sing along with it to make sure it sounds like the Do Re Mi Fa Sol La Ti Do scale. If you are content with how it sounds, you can move on to tuning the rest of the strings by octaves.

A 'harmonic' is produced by lightly touching the string with your palm halfway between the soundboard and the harmonic curve and then plucking the string with your thumbIn the Middle C range the distance between the 'palm touch' and the 'thumb pluck' is approximately 5 inches. The shorter the string, the closer the distance is between palm and thumb--the longer the string, the wider the distance.

These harmonics help to 'check' the note once you think it's in tune. When you create the first harmonic of a note(exactly half of the length of the string), it sounds an octave higher. This is the "check" that you will do to confirm that your harp is in tune. If an octave is in tune with its unison note (the harmonic), then you are on the right path. Each string also has other harmonics (besides the octave) that you can produce by shortening the distance again between palm and thumb, and moving up the string towards the harmonic curve or down the string towards the soundboard. Some harmonics are perfect 5ths above the octave: for example, if you create the harmonic on Middle C of its upper octave C note, you can also create the G above that with the next harmonic on the Middle C string. This helps you check some notes in a perfect 5th sense.. In a physics sense when playing harmonics, we are actually 'cutting the string in half' with the placement of our palm, and once again with the pluck of the thumb. This mathematical reduction will produce overtones in many different ways. As you further the reduction by that action of moving your hand placement up the string or down towards the sound board it results in those higher overtones (12th's, double octaves, etc.).

This is certainly very detailed information, but none-the-less, a great exercise in ear-training. You will gain confidence in your playing and musicianship with these skills in tuning and harmonic playing.

The Irrational National Anthem

The National Anthem is the song every American singer is most likely to sing at least once in public, as long as there is a sporting event on the horizon. The ubiquitous Happy Birthday may rival it in popularity, but Happy Birthday usually turns up on a singer's menu as a group effort. With the National Anthem you are pretty much left to your own devices -- to sing it a cappella, no less! There are plenty of good reasons why The Star-Spangled Banner terrifies singers.

It's a bear to sing; the range is so wide (an octave and a fifth above that) that a singer of modest capability can barely scan the notes. And it's written in such a way that the phrasing invites the singer to breathe at inappropriate junctures.

The words were written by Francis Scott Keyearly in the morning after witnessing the all-night bombardment of Fort McHenry by the British Royal Navy ships in Chesapeake Bay during the War of 1812. His poem was set to the tune of a popular British song written by John Stafford Smith.

I'm going to give you some tips for taming the beast. For now, I'd like to concentrate on the words. You may never have taken a close look at them. Do you realize there are only two sentences in the entire song? And that the first sentence is probably the longest sentence in the history of sentences? Nevertheless it does actually mean something. It's not just a bunch of gibberish -- the words tell a story that makes sense if you phrase it correctly.

"Oh say," Hey you guys over there.

"can you see," What can you see from your vantage point?

"by the dawn's early light," Now that the sun's come up?

"what so proudly we hailed at the twilight's last gleaming," That flag that we are so proud of was still visible on the fort ramparts as daylight drew to a close.

"whose broad stripes and bright stars, through the perilous fight, o'er the ramparts we watched were so gallantly gleaming," We could see the flag there waving.

THE SENTENCE CONTINUES

"and the rocket's red glare, the bombs bursting in air," Every time a bomb burst

"gave proof through the night that our flag was still there." We could see that the flag was still flying.

BREAK

End of first sentence. Now remember, that was ONE sentence. And not written in Albanian. In English (well, English as it was spoken two hundred years ago.)

SECOND AND FINAL SENTENCE

"Oh, say, does that star-spangled banner yet wave," Is our flag still flying over the fort this morning? Were we victorious in the battle?

"o'er the land of the free and the home of the brave." Over our new country?

So, when you phrase the anthem to fit the contours of the meaning of the words you will find that you sing with the commas instead of just anywhere.

Example: Sing "Oh, say, [breath] can you see... "

NOT "Oh, say, can [breath] you see... "

To interrupt 'can' and 'you' is unnatural phrasing

I've heard very few people sing the national anthem like they believed in what was written. If nothing else, if you make it a patriotic song that means something of special value and pride, then you should make a notable impression.

And, you know, It's funny how just thinking about what the words mean makes your voice sound better.

Nashville vocal coach Renee Grant-Williams helped make stars out of many top artists: Tim McGraw, Martina McBride, Dixie Chicks, Miley Cyrus, Huey Lewis, Kenny Chesney, Faith Hill, Jason Aldean, Christina Aguilera...

Click Here to receive her free weekly Vocal Video Lessons and PDF of "Answers to Singers' 7 Most Important Questions."

Author of "Voice Power" AMACOM (NY). She offers insider's information via on-line lessons at cybervoicestudio.com.

Organ Improvisation: What Is the Biggest Challenge Every Improviser Should Overcome?

If you want to learn to improvise on the organ, you inevitably have to face certain challenges. Without overcoming them, it will be very difficult to succeed. In this article, I will share with you what is the biggest challenge you should overcome as an improviser.

I believe the thing that many people struggle the most when it comes to improvisation is having to many wishes. Organ music is so wonderful and the repertoire is so vast, spanning almost seven centuries. Therefore, it is only natural that you like certain historical styles, composers, national schools of organ composition, or genres more than others.

If you do, then you might wish to learn to improvise like many various composers have done so in the past. In other words, you might want to imitate many different musical styles or genres. While this is a very positive sign in itself, I believe that at the beginning of your process in becoming a good improviser, having too many wishes can actually slow down your progress. I will explain why it is so in a moment.

Let's pretend you have a limited time during your day for improvisation practice. Let's say, you have 1 hour. You see, if you have only 60 minutes which you should spend on developing your improvisation skills, you should focus and practice in a way that allows you to progress the fastest.

If you love the music of 10 different organ composers and would like to imitate their styles in your improvisations, you only have 6 minutes for each of the composer, style, or genre. What can you achieve as an improviser in 6 minutes? Can you learn many interesting tricks or techniques that way? As a matter of fact, in 6 minutes, you will not be able to master even 1 sequence or a cadence.

By "master" I mean that you should be able to memorize it, and transpose it to 24 different keys at least 3 times in a row without mistakes. You will need much more time to do that. It will take at least 30 minutes or even longer, for most people.

And remember, that you have 9 other techniques, or tricks to learn and master. There is no way, you can do it in 1 hour. So I hope you see the inherent problem here.

In learning organ improvisation, you must learn to focus on the task at hand, finish it, and only then go on to the next task. If you like many different organ composers and genres, it is better to fully focus on only one or two techniques in one practice session.

In order to have the fastest progress in improvisation, the next day when you sit down on the organ bench, I recommend, you repeat the previously mastered material very briefly and only then learn something new.

Perhaps learning this way, you will learn to improvise only 1 piece or genre in a week or so but you will know that you gave your best focus. Even better, I suggest you choose one genre and work on it for a full month. We will call it "a genre of the month". Then the next month you go on to another technique or genre and practice it for a full month.

Use these tips in your practice to have the fastest progress in organ improvisation. This way you will overcome the biggest challenge of having too many wishes when learning to improvise.

By the way, do you want to learn to improvise in the style of Bach? If so, I suggest you check out my 9 day mini course in Keyboard Prelude Improvisation.

Or if you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide.

Practice Playing Flute - Free Flute Music Helps

Learning to play the flute as well as you'd like to can seem a daunting task. It takes time, effort and sacrifice to start to sound like your favorite flutist. We (or our students) usually begin with lots of enthusiasm which often fades with time as we start to realize that sometimes working at our flute playing does feel a little bit too much like WORK! This article is intended to help you or your students improve at the flute, keep that initial optimism and find long-term enjoyment out of playing the flute.

Practice Makes Perfect

Since we know we have to practice to get good, nailing down a practice time everyday is important. If you know that everyday at 7:00 am, say, right before breakfast, you're going to play your flute for thirty minutes then you can schedule that and make it a habit. It can be wise to have a plan B as well. If you don't make the 7:00 appointment, what time will be your backup time? Sometimes just having it on the calendar makes a big difference. Teachers can enlist parents to help find a time that will work for their young flutists. If the child and parent both know what time flute practice happens, it will be more likely to happen.

Make Every Moment Count

We all seem to be pressed for time so getting the most out of a practice session is vital. Children like to spend time on the music they like and already know--ok, so do adults. It's more of a challenge to play the new, harder pieces but that's how we improve. Working on the hard stuff first gets it out of the way and gives us a sense of accomplishment. If a piece seems especially difficult, taking it one or two measures at a time may be the best plan of attack. Play through the measure or measures three times slowly. Gradually increase your speed and add another measure. This might seem slow but it's very effective, more than playing through an entire piece three times quickly. Muscle memory will develop and those measures will "stick".

Play What You Love

We're all more motivated when we're playing something we think is beautiful, fun or exciting. Maybe we've heard a recording of it or it's a melody we've always loved. While we can't always play the fun stuff, let's make sure that there's always a musical treat at the end of each practice session in the form of a solo or song that we or our students really want to learn. Duets can also be lots of fun and a reward at each week's lesson. Preparing to play that piece we love for a recital, concert or even a friend can also serve as motivation.

How's Your Flute?

There's nothing more frustrating to a student or teacher than a flute that isn't playing properly. Make sure you are playing with a quality instrument that is in top playing condition. An older flute may have leaks, a loose head cork or other unseen problems that prevent you from playing your best. Have your flute checked out by a professional who can tell you if it's fully functional so you can get the most enjoyment and learning from it. As you do progress, upgrading to a higher quality flute can take you to a whole new level, especially in tone.

The more we regularly practice, make our practice sessions count and seriously prepare those pieces of music that we love on a fine instrument, the more long-lasting enjoyment we'll give and receive from playing the flute.

Amy Dampt, flute teacher and advisor. Amy has studied and taught flute for well over 20 years. Her studies include 3 years of study and performance in France near Paris. She enjoys playing, teaching and refurbishing flutes.

Cheap Flutes Online offers brand name, refurbished flutes at affordable prices. Each flute is completely reconditioned and is fully cleaned, oiled and adjusted. All flutes are play tested and come with a money back guarantee.

Buying Your First Bass Guitar On A Good Budget

If you are an aspiring bass guitarist, the first thing you need to do is buy your own bass guitar. If it is your first time to buy this instrument, some bass prices may completely surprise you. Normally, the first shops beginners visit are very expensive, since the person has no experience in buying these instruments. Nevertheless, with a few tips, it is possible to find a quality bass guitar at a reasonable price. The first thing you should do before you go out to buy a bass is to decide the amount you want to spend. Setting a price range will help you to be focused and lead you to the right places.

Shop around

Shop around before settling on where to buy the guitar. A few years ago, some huge stores in US began selling beginner instruments at an extremely low price, compared to those available in a guitar shop. You may also have a good chance of getting a cheap guitar or a good deal by checking pawn shops and guitar shops. Additionally, if you are not in a hurry to buy the bass, you can keep checking the classified ads for potential sellers. Many people will have no idea if they are selling them at the right price, thus you might find an excellent guitar at a good price.

Try out the instrument

Before paying for the bass and taking it home, it is important to try it and get its feel. Many guitar shops will let you to plug-in the guitar right at the store and play it. Play it carefully while analyzing how it feels, sounds or looks in your arms. If you do not like the guitar, you can return it to get another one. You should be cautious when buying the instrument online. Make sure you have seen the guitar and tested it before paying for it. You might also want to look for shops that have a return policy.

Consider going for a used guitar

You might also consider purchasing a used bass. Used instruments are considerably cheaper than new ones, yet they offer the same quality or sometimes even better. Examine the used bass for any damages before obtaining it. If you doubt your judgment, you can bring along an experienced bassist to test the instrument for you before you buy it. Before looking for the instrument online, try to find it in the guitar shops first. It is wise not to buy the guitar through a vendor, since this will cost you more money.

Piano Tutorial for Beginners

An effective piano tutorial for beginners should begin with an overview of what you might expect to learn in the beginning. Many piano beginners have unrealistic expectations which may lead them to frustration and disappointment. Here's how to avoid that.

Most piano methods begin with reading music. This may be a mistake for many people. The reason is that most people can play music far more difficult than what they can read. If you restrict yourself to reading music at first, you may fail to ignite interest due to the inherent drudgery of learning a complex graphic language like musical notation.

STEP ONE

Learn to play a few songs without reading music. There are lots of ways to do this: by ear, by eye, by color, by memory, by number to mention but a few. Select a method that allows you to play right away, without reading music.

Use this "starter method" for a while, perhaps playing with only one hand. Don't fall into the trap of expecting to play grand and difficult pieces right away: play simple familiar songs to get your feet wet.

Get the rough idea of playing before you engage your grander ambitions for the piano.

STEP TWO

Now divide your efforts into two sections: first, continuing to play music without reading, and second, start to learn to read the first five notes above middle C.

To do this, you need a second starter method, like the Bastien books. They are easy to understand, and are easy enough that anyone can make their way through them.

The advantage of the "two part" or "two method" regimen is that it allows you to play music while you slowly start to gain facility with reading music.

Don't confuse the two, playing music and reading music. Keep them separate.

STEP THREE

Eventually, you will ideally merge the two "methods" but this may take years. Do not expect to read music very well quickly. It will not happen. What CAN happen is for you to start playing music using the first starter method well enough that you will want to continue exploring reading music, using the "second" method.

Think of music and learning piano as a tree with two huge limbs. On one limb, you will play music by any means you can, as long as it is enjoyable. On the other limb, you will submit to a painstaking and slow study of the very difficult and ancient graphic language of musical notation. Don't be discouraged or disappointed if reading music seems hard: everyone finds it difficult.

The surest way to defeat yourself at the piano is to expect too much.

There are many other ways to learn the piano besides looking at a page.

Here's a link to a starter method that uses only numbers to help you begin playing simple songs at the piano without reading music: http://www.pianoiseasy2.com

John Aschenbrenner is the author of the Piano By Number system. You can visit http://www.pianoiseasy.com to see the method and play fun songs online.

How to Compose or Improvise a Toccata or Praeludium in the North German Organ Style in 7 Steps?

Are you struggling with composing or improvising an organ piece, similar to the famous D minor Toccata and Fugue, BWV 565 by Johann Sebastian Bach? If you knew how to do it, I can assure you, that you would have much fun in the process. In this article, I will teach you how to compose or improvise such piece in 7 simple steps.

Bach created this composition when he was very young, perhaps 18 years old. At that time he imitated the North German style which composers like Buxtehude, Bruhns, Lubeck and many other were using.

Toccata or Praeludium in North German style is composed in the so-called Stylus Phantasticus - a multi-sectional composition which has alternating free improvisatory and fugal imitative sections.

Very often such composition has 7 sections: Free-Strict-Free-Strict-Free-Strict-Free.

When composing or improvising such piece, use these 7 steps:

1. Choose a key. Open with Passagio in 4/4 meter - a melodic line in 1 voice, 2 voices for manuals or pedals which emphasizes the tonic notes. Then write the free section based on the figure from the Passagio. The first modulation is in the Dominant key. Also use excursions in the relative keys. End this section with a perfect cadence.

A sample chordal plan for this section might look something like this:

I ii42 V65 I V6 ii7-vii6/V V V6 I V65/V V V65/vi I6 IV V7 V46 V7 V46 V43 V7 I.

Duration - 1 page.

2. First fugal section in 4/4 meter. Find or compose a theme and use a basic plan - exposition and counter-exposition. End with a perfect cadence in the tonic key. Duration: 2 pages.

3. A short free section: use more suspensions here, modulations, runs and passages in the hand parts. End with a half cadence. Duration: 8 measures.

4. Second fugal section: convert your fugue theme to another meter (3/2). Create exposition and counter-exposition. End with a perfect cadence. Duration 1-2 pages.

5. Short free section: similar as Step 3. Use different figure this time. Duration 8 measures.

6. Third fugal section: convert you theme to triple meter (6/8, or 9/8 or 12/8), use the same plan as in Step 2. Duration 1-2 pages.

7. Ending short free section. Emphasize the key of Subdominant with extended plagal cadence. Duration 8 measures. If this section is a continuation of the preceding fugal section, keep the same meter and tempo.

Bottom line: for best results, always study first the works of above mentioned composers, especially those of Buxtehude.

Final tip: in order to create free sections, you could analyze his piece of your choice, take his harmonic structure but add your own figures in different keys.

By the way, do you want to learn to improvise in the style of Bach? If so, I suggest you check out my 9 day mini course in Keyboard Prelude Improvisation.

Or if you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide.

How to Record Bass

Recording Bass
Getting a good bass recording is typically one of the most difficult things to accomplish as an amateur producer. Learning how to record bass the right way can really make a difference when you get to the mixing stage. Bass can be really tough to fit into the mix and blend well with the other instruments. It's unfortunate because I think the bass is often the must overlooked item when it comes to recording a good sounding track. If you are able to lock down a good bass sound then you are on your way to a good mix. Steps to achieving a good bass recording:

• Preparing the bass for recording - changing strings and tuning

• Using the right equipment - using a DI box to capture a clean signal, recording a mic'd amp/cabinet, reamping

• Testing - Checking your signal for distortion, or noise

Preparing the Bass for Recording
So how do we get started? Getting a good sound from your bass guitar starts before you enter the studio. Before pressing the record button it is essential to change the strings on your bass. Using old strings will leave you with a dull lifeless bass tone. Bass strings can be expensive but this is not where you can afford to cut your budget. The next step is tuning. Ideally you will stretch the strings as you string the instrument. This will help you avoid more issues with tuning in the long run. Tuning should take place before recording as well as all stages of the recording process. Having an out of tune instrument really makes the job hard for the person responsible for mixing.

Bass Recording Equipment
The next step in the process is your equipment setup. With bass guitar it is highly recommended that you always record an unprocessed DI. This will give you an unprocessed file you can go to town on later and alter to your needs. Run your bass signal into the instrument input of a DI box and then to your audio interface. In your recording software it is essential that you are capturing a clean sound with out any buzz, noise, or distortion.

Most DI boxes will also allow for a connection to an external source such as an amp. Recording an amp track now is also recommended. When recording bass it is often found that a DI blended with a miced amp cabinet combination sounds the best. Even it turns out not to sound the best having the most options available when mixing is the best option.

If you would like to forgo recording an amp you can also use a technique called reamping with your DI track later. Reamping does require more equipment and time but it is also a good option. Reamping after the fact also leaves you the option to adjust amp settings later on in the process. This process works by running your DI signal out of your recording software through a reamp box to an amplifier. That signal is then recorded back into the recording software via microphone.

Always prepare ahead of time and give yourself the most options later down the road for getting a good bass recording. The DI is essential to getting the best bass tones so don't skip this step as it will really limit what you can do with post processing. Remember that the bass can make or break your mix so don't let yourself down by not properly recording bass. Learning how to record bass the right way will give you a major advantage in the mixing stage.

William Fletcher is the lead writer for http://audioproductionhowto.com/. The source for audio production tutorials, tips, techniques, and much more.

Guitar Modes - Basic Theory and Application

Earlier this month I was encouraged to write something about Guitar Modes and their application. There is so much to say when it comes to Guitar Modes that I could probably write an entire book on the subject. However, I have neither the time, nor the inclination for that right now. Instead, I will just try to cover some basic principles regarding how modes are related to playing the guitar.

Before going any further let me just say that it's important to have a good understanding of guitar scales and the Circle of Fifths if you really want to get a grip on guitar modes. So, I suggest learning as much as you can about these two areas first, especially if you have trouble following the information I provide in this article.

BASIC PRINCIPLES:

The 7 Guitar Modes of the Major Scale are:

1. Ionian

2. Dorian

3. Phrygian

4. Lydian

5. Mixolydian

6. Aeolian

7. Locrian

Each Guitar Mode is based on the corresponding degree of the Major Scale. For example, the degrees of the C Major are: C D E F G A B C

1st Degree = C = Ioninian Mode

2nd Degree = D = Dorian Mode

3rd Degree = E = Phrygian Mode

4th Degree = F = Lydian Mode

5th Degree = G = Mixolydian Mode

6th Degree = A = Aeolian Mode

7th Degree = B = Locrian Mode

APPLICATION:

Playing from the 2nd degree of the C Major Scale (which is D) through to the octave (which is also D) creates a D minor scale, referred to in this case as the Dorian Mode.

Tones > D E F G A B C D

The pattern of whole steps and half-steps > W 1/2 W W W 1/2 W

Here is how to play the Dorian Mode in first position on guitar...

e|----------------------------------------------------------------0---1---3----

b|---------------------------------------------------0---1---3----------------

g|-------------------------------------------0---2-----------------------------

d|-----------------------------0---2---3--------------------------------------

a|----------------0---2---3----------------------------------------------------

e|---0---1---3-----------------------------------------------------------------

The root of this 8 tone scale begins with D on the 4th string and ends with D on the 2nd string. However, the other strings can be played too if they contain any of the same tones.

Soloing over chords is a fun way to practice playing modes and scales. You can use the example above to practice soloing over the Am7 and Em7 chords.

The D Dorian Guitar Mode can be played in various other positions on the fretboard as well. Why not challenge yourself a little and see if you can play it up one octave from the D on the 5th string at the 5th fret to D on the 3rd string at the 7th fret.

TRY ANOTHER ONE:

To construct the E Phrygian Mode from a C Major Scale you would follow the same process explained above, except the mode would begin and end on the tone E. Simply repeat this process for each consecutive mode.

SUMMARY:

There are 12 Major Keys. The 7 modes of a given Key are constructed from the 7 degrees of the related Major Scale and share the same Key Signature as well.

I hope that makes sense... At least a little!

Kathy Unruh is the webmaster of AbcLearnGuitar. She has been providing guitar lessons to students of all ages for over 25 years.

Steps in Composing or Improvising an Organ Sonata

Are you struggling with composition or improvisation of the organ piece in the classical sonata form? If you know how to do it, it is not as difficult as it may seem at first. Here are the steps you could take in composing or improvising a sonata on the organ.

The sonata form consists of 3 main parts: Exposition, Development, and Recapitulation.

I. Exposition (in the major key)

1. Choose a key and create the main theme of the energetic character. This will be the so called "question" (4 measures). Tip: end on the Dominant chord.

2. An answer to the question (4 m). Tip: end on the tonic chord.

3. Repeat the question (4 m).

4. A different conclusion (4 m) in the tonic key.

5. A bridge from the main key to the Dominant. End on the Dominant of the new key (8 m).

6. The secondary theme in a lyrical character in the key of the Dominant (4 m)

7. An answer to the secondary theme (4 m).

8. A contrasting episode (question) (Dominant of the Dominant, 4 m)

9. Answer of the contrasting episode (Dominant of the dominant, 4 m)

10. Repeat of the secondary theme (4 m)

11. A different answer to the secondary theme (4 m)

12. Closing theme of a lively character in the Dominant key (4 m)

13. Answer to this theme (4 m)

14. Repeat of the answer (4 m)

15. Repeat of the second half of the answer (2 m)

16. Repeat the cadence only (1 m) in the Dominant.

17. (Optional) Repeat the Exposition from the very beginning until this place.

II. Development

Tips for creating a Development section:

1. You can start with the main theme in the minor dominant key or minor Tonic.

2. When developing a theme, choose a fragment of it (1-2 measures) and use sequences, modulations, and imitations. You can also change melodic intervals in the theme, rhythms, harmony, and texture.

3. Structure you development so that 1) you will develop the main theme in the above ways, 2) develop the secondary theme, and 3) prepare for the recapitulation.

4. The preparation is usually done by using a Dominant pedal point - an episode which increases tension. Here the main emphasis is on the Dominant chord which alternates with the 2nd inversion tonic chord and/or diminished 7th chord built on the 7th scale degree of the Dominant. The reason for a rising tension is this - there is no real resolution to the tonic chord.

III. Recapitulation

1. Repeat steps 1-5 from the Exposition but instead of modulating in the Bridge, stay in the tonic key. Tip: In order to end this Bridge on the Dominant chord of the tonic key, START the bridge in the Subdominant key.

2. Repeat steps 6-16 from the Exposition transposed to the Tonic key.

Variation: you can reverse the order of the main and the secondary themes in the Recapitulation.

Use these tips when composing or improvising a classical sonata on the organ. For best results, don't forget to analyze the works of your favorite composers. If you choose an opening minor key, the first modulation of the Exposition is in the relative major key. In such case, the secondary theme and later parts of the Recapitulation can be in a major tonic.

By the way, do you want to learn to improvise in the style of Bach? If so, I suggest you check out my 9 day mini course in Keyboard Prelude Improvisation.

Or if you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide.

Best Ways to Learn Piano

You have probably wished to be able to play the piano whenever you see anyone playing or hear good music. You are not alone in this, almost everyone has, even the completely tone-deaf. You probably include it in your list of New Year resolutions and then forget about because of other more pressing concerns. You may be already thinking that it's too late for you to begin learning or that it's for children. You could not be more wrong.

Whether you want to want to become a great concert pianist or you just want to enjoy yourself with your piano, there are various ways of learning and you can choose whichever suits you, depending on the cost, how much you know already and how much time you have. Some of the best ways to learn piano are:

Private instruction: This can be an effective way of learning piano, but it can be expensive and scheduling a convenient time for both teacher and student might be difficult. Still, the individualized instruction means that lessons proceed at the student's pace.

Public instruction: This can take place at music academies, community centers or other institutions. This has similar advantages and disadvantages to private instruction, and there is the added problem of travelling to the location. Also, attention may not be paid to individual students.

Video instruction: This can be done using a DVD or online video learning system. It may be cheaper than hiring a private or public instructor, convenient and the pace of learning is flexible, but multiple DVDs may be needed and the student may not know exactly how much progress is being made due to the absence of an instructor.

Use of books: This has similar merits and demerits as video instruction, and may not be as effective as other methods because the student may find the books difficult to understand and the instructions somewhat hard to practice.

Use of online instruction software: This is by far the best way to learn piano. Online piano instruction combines the best features of most of the methods of learning piano such as individualized training, flexible learning pace, convenience and feedback from the instructor, which lets the student know how well he or she is doing.

You can choose the best way to learn piano from one or even a combination of the above methods. It's up to you which method you choose, to learn to play the piano!

Bored Of Practicing Guitar? 8 Tips To Supercharge Your Playing

Playing the guitar is hard work. That's a bit blunt but it's true and that's the reason why we spend so much time looking on the internet for lessons, tips and videos.

In my opinion we have to learn to enjoy playing as without that progress will grind to a halt. I have come up with 10 tips to help relieve the frustration and boredom that can occur when practicing becomes a bit too boring.

1. Jam with other musicians.

This one is a no brainer as music is meant to be shared with others and performed. We all need band mates and an audience and both can be of great benefit. Band mates create a very enjoyable environment within which to practice and an audience can help us gain confidence with our own playing ability.

2. Record yourself playing.

Sometimes we aren't aware of our mistakes as when we play to ourselves we generally sound better than we are. By recording either using a audio device or a video recorder, we can objectively judge our standard and where we are going wrong. It is a real eye opener.

3. Learn something in a new genre

If you're a metaller like me, often we can become a bit blinkered with regards to other musical genres. Sometimes I get a little bored of playing the same thing and I like to dive into something totally different. Try some Flamenco or some Blues for a change and see if it invigorates your practice sessions.

4. Focus on one thing and ignore everything else.

One of the reasons why I can get frustrated is we live in a world where we have a million different things bombarding us from all angles. How to we know what song to learn or what technique to master if there are so many? Just pick one thing and ignore everything else. Only change when you either master it or you hit a brick wall.

5. Hit a brick wall? Leave it alone

When we reach a plateau with our learning it is sometimes best to just leave it alone and come back to it at a later date. For example, say you are learning a particular sweep picking technique but you just can't seem to improve on it. Well leave it be and learn something else related to it. Learn some more sweep patterns and come back to it in the future. You will probably find that it is now easier to play.

6. Buy or use another guitar.

Us guitar players are a bit fickle at times and we all love the latest designs and shiny guitars that get released every year. Sometimes something as simple as playing on a different guitar can inspire us to practice a lot more intently than before.

7. Leave that lead alone and play some rhythm.

Most guitarists focus too much on lead playing and they tend to neglect their rhythm duties. Maybe it's time to leave the solos behind for a while and embrace the role of the rhythm guitarist. Sometimes that is a much more rewarding way to play.

8. Become an instructor.

By doing this, you kind of force yourself to look through the eyes of the beginner and this can cause you to remember what it was like being that wide eyed and fresh with the instrument. You are also accountable to another person so you need to up your game to keep your skills sharp.

There, I hope I have given you some ideas about how to change things up and kick start your practice sessions. Click through to my website below for more articles and tips.

The Basics of Learning Piano

Learning how to play the piano can look like a daunting task, especially for beginners. However, it is possible for almost anyone to learn to play the piano, and there is no other point to start than at the beginning.

Before you begin to play, you must adopt the proper posture. You should sit up with your back straight, especially at the beginning of your performance. Your elbows should be bent at 90 degrees, not pushed out behind you or reaching forward in front of you. Your wrists should be level with the keyboard.

Now that you have the proper posture, you can begin playing. The starting point on the piano is Middle C. From this key, you can go up the keyboard and play all the notes in the scale (doh, ray, mi, fah, soh, la, tee, doh) using the white keys only). This is a C Major scale. From the notes on this scale, you can build chords known as triads or three-note chords. The chords are built with alternating keys. The first chord is the C chord. It starts with Middle C and consists of C, E, and G (doh, mi, soh). The next chord is F, A, C and the last is G, B, D.

One thing you cannot do without in learning how to play the piano for beginners is finger practice. Play the notes of the scale using all five fingers. Work your way up, and then back down again. Start off slow and give equal volume to all the notes. Do not flick your fingers; move them in steady, downward motions. You can increase your speed only after you can play steadily and with good volume. As you continue to practice, your fingers will develop the proper muscle memory and you will soon be able to play without thinking of the notes. So you should continue practice in order to achieve higher skill.

You also need to train your ear in learning how to play the piano so that you can translate the music you hear (whether with your ears or in your head) onto the keyboard. To do this, you need to have a little understanding of scales, intervals and seeing the keyboard as a visual representation of what you hear.

The most important point to note is that learning how to play the piano for beginners requires constant practice. Practise every day and soon you will become a professional.