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    The new formula for success in the music business

     

    Hardly anybody in the music business understands that the old formula of how to successfully promote a new act is obsolete. The record companies are all aware that there is a big problem but they have no idea what the solution is. What they do understand is that they are unable to recoup their investment in studio time with a good producer, the cost of a good video, the advertising budget, and the cost of the first promotional road tour from the profits on a first hit CD. An act must be capable of repeating and sustaining their initial success in the studio in order for a record company to make a profit because the necessary investment has increased dramatically. Ever since the mid 1990's the record companies have become painfully aware that there are no acts containing songwriters who can keep on writing more hit songs. All the new acts since the mid 1990's have one, two, maybe three good songs at the most, and any person who's purchased a CD since that time will testify to that. The record companies also know that MP3 downloading on the internet is a factor that has negatively affected their profits. Put that together with their inability to find sustainable new acts and you have the two main reasons why so many record companies are losing money. The ones that are not losing money are the ones that have a library of popular artists from the past who continue to sell. The record companies now understand that the internet is the new communications medium, it's here to stay, and they are all trying to figure out how to take advantage of it. Their pattern has always been to watch the numbers, analyze the trends, and then try to jump on board and ride the wave for as long as it lasts. If I told them what the answer is to the problems they face, they simply wouldn't know what to do with the information. The new formula for success is to have the right factors in place first, and then to use the internet's full potential to bring the artist to the attention of the entire world. Step 1: In order to create a hit record it is necessary to have a hit song. So what is a hit song? It's a song that is so blasted catchy that after hearing it one time people cannot get it out of their minds and they will spend money to own the CD. The best producer cannot produce a hit record without having that kind of raw material. My old friend Gary Kelgren said it best - "You can't polish a turd". Step 2: In order to create a hit music artist on the internet, of course it is necessary to have one or more hit songs that have been properly produced, but it is also necessary to have a "hit web site". So what is a hit web site? Obviously it's one with thousands of "hits" per day but that's not the point. The point is that in the same way that a hit song works for a listener, a web site must grab a net surfer's interest within the first 5-10 seconds and hold their interest long enough for them to find the hit songs and listen to them. But it should also contain entertaining content for people to read and enjoy because a good web site is a much more complex form of entertainment. The best web sites are the ones that have great creative writing and cannot be digested in one sitting, so people will keep coming back for more entertainment. This kind of web site cannot possibly be designed by a web site design professional because real creative and entertaining writing is not for sale at any price. That means the successful artist of the future needs to be more than just a musician in order to take full advantage of the new medium because the web site needs to reflect the artist's personal expression, and nobody can do that except the artist. Step 3: Creative internet promotion. The new formula for success may not even require an advertising budget for proper promotion of the web site in order to achieve thousands of hits per day if the promotion is creative enough. But the two previous steps are absolute prerequisites for success in the new medium. A money-losing promotional road tour will be pointless and unnecessary until a large audience is developed by building an internet fan club and selling enough CD's to warrant a road tour that will turn a profit. The new formula also contains the potential for making the old costly distribution networks obsolete because purchasing directly over the internet could eliminate the necessity for retail mark-ups and thus maximize profits for all concerned. The Recording Industry Association of America has the correct statistics on what music is actually selling as opposed to what is being played on the radio and what the record companies are trying to market. They list The Beatles as the best selling act/artist of all time with 166.5 million albums sold in the USA alone. They list Elvis second with 117.5 million units sold, Led Zeppelin third with 106 million units sold, and the top 25 are dominated by classic rock acts including The Doors, The Stones, Pink Floyd, The Eagles and many others. I think it's very significant that those statistics are becoming geometrically times greater than the number of albums that they sold during their performance lifetimes. What has happened and is happening is that the young people of today are discovering them in droves and buying their music. Traditionally, the record buying public has always been young people between the ages of 12-25 and those demographics have not changed. What this means is that the potential for profit in new classic rock and roll music is beyond calculation.

         
    The piano or the keyboard witch is better to learn

     

    If your choosing to play the keyboard, learn that it has many advantages over learning how to play the piano. Tho' you may think studying one is as easy as the other, the keyboard as an musical instrument is outstanding in a lot of ways. On a piano, you just have one sort of musical instrument that you will be able to play and that is the piano. Keyboards permit you to mimic the sounds of a lot of divers musical instruments. A few costlier keyboards can mimic the sounds of 100's of musical instruments and permit your to put down tracks, on the keyboard! While you study how to play the keyboard, you're learning all of those musical instruments without being forced to take extra lessons. Sounds can include: A lot of types of pianos Percussive instruments Organs of all sorts and likings Stringed instruments (fiddle, viola, cello, contrabass) Brass instruments (horn, tuba, trombone) All of the woodwind instruments (clarinet, flute, sax) Pipes The sounds from a piano coming from a keyboard can sounds like a grand piano, electric piano, honky-tonk and a lot more! There could even be specific effects accessible like bird sounds, phone rings and additional novelty sounds. When you study on how to fiddle the keyboard, you will also get to select from a assortment of background sounds that can be attach to your primary tune. You will be able to select among the following: Rock Jazz Pop Dance Latin Hip-hop More advanced keyboard models may have more choices. if you're a student playing the keyboard will get you of to a great start. There are keyboard versions that will display to you all notes that needs to be played next. It's an comfortable technique of studying, that leads students into a better apprehension of music. The keyboard is smaller in size then a piano and there for more portable . A keyboard, if it is modest enough, can go anyplace with you. This makes it effortless to practise in different surroundings. Keyboards are cheaper and easier to find. Although pianos can be very expensive, you will be able to retrieve a keyboard for as cheap as in the classified advertisement or one a eBay auction site. There are keyboards that have a higher prize tag because there are more complex But for a little investment you will be able to choose if playing the keyboard is really the thing for you. In the time to come, you'll be able to upgrade your keyboard selection to a more featured keyboard. Learning to play the keyboard is one of the most painless and most amusing ways to get into the music. There are a lot of songs usable for the keyboard, and with exercise there's no limitation to what you can play! You will be able to experiment a great deal with the keyboard; and even create your own single band, complete with beats, piano, trumpets, string instruments and potentially even your own voice. Who knows? You might even bring out a demo that you could send to a music producer. You can do it all with the keyboard!

         
    The power of consistent guitar practice

     

    Most of us have heard of the power of being consistent in our guitar practice. You know what I mean. Practicing something EVERY day until mastered. But do you do this? I know that in the past, I definitely didn't... When I first started playing I was a maniac! I had no real structure to my practice. I just put in the hours and hoped that I got better. And I did! But there was a problem. I practiced something different almost every day. My practice "schedule" changed from one day to the next. This created two major negative side effects... 1. Sore hands. For example, I would often go so berserk on alternate picking exercises that my picking wrist would get incredibly sore. It would be so sore that I couldn't practice alternate picking the next day. So what did I do? I then went crazy with legato exercises. So much so that I wouldn't be able to practice legato the next day. So I went back to my trusty alternate picking. Mmmm...there's a pattern emerging here. :-) 2. Slower Progress. Now, don't get me wrong. I progressed faster than any of my friends. But I definitely don't think I progressed at my fastest possible rate. If I had practiced less on an exercise, but did it EVERY day I think my progress would have been much faster. I guess the moral of the story is to temper your enthusiasm with intelligence. Let's look at how to start to be more consistent with your practice... ***Step One*** Decide on something that you would like to master. Make it something short like a lick, scale or perhaps a few bars of a song. ***Step Two*** Decide on a speed goal for the thing that you have chosen. This will be your target tempo. Make it challenging. Something that will make you a significantly better player once you have achieved it. Of course, you need to keep in mind your current playing level. If you are a beginner and you set a speed goal of sixteenth notes at 240bpm, you are definitely setting yourself up for a failure! ***Step Three*** Decide on how much time you'll invest practicing the thing that you have chosen. I would recommend setting a goal of 10-15 minutes a day. A small amount done daily will give you better results than hours done irregularly. ***Step Four*** Make a commitment to practice what you have chosen on a daily basis. The key is to practice it every single day until your speed goal has been reached. No excuses, no crying, no moaning, no exceptions. ***Step Five*** Get to work! This is the step that requires discipline. It could take weeks or months to achieve your speed goal! Just keep in mind that anyone can write down a goal, but unfortunately VERY few people will follow it though to completion. That's probably why there are so many more guitar OWNERS than guitar PLAYERS ;-) I invite you to try this approach to guitar practice. I've found that it really helps me, and I'm sure you'll benefit from it as well!

         
    The power of songs

     

    What do a car ride, a wedding ceremony and any great party have in common? Many things probably, but one thing they have in commong for sure is songs. Think about it. So many of our daily activities and our special events include special songs. Think about the things you love to do during the day. Love to watch television? Pretty much any television show is filled with the songs of different musical artists. Do you prefer to go to the mall and shop? If so, take time to listen in each store you enter because you will find that songs make up the background noise at every shopping mall. If you are anything like me you cannot stand being in the car for more than a few minutes without turning on the radio or putting a tape in your player. Why? Because we love to hear songs. The next time you see someone out for a run on your street look closely and you very well might see a small cd player or another musical device that is pumping songs of inspiration into their ears as they exercise. Will you agree that songs hold a lot of power? Many songs have the ability to put someone in a good mood or a bad mood pretty quickly. If you have ever been feeling down and then suddenly found yourself singing happily to the tune of one of your favorite songs then you know the power that songs can have. Songs have the ability to help us feel mellow or to make us feel excited. They are able to give us the energy to keep going or to relax us closer to sleep at night. Songs also help us to celebrate many special events. Can you imagine a high school prom, a dance party, or a wedding reception without songs? Of course not. Because whether or not we realize it, songs have a huge role in most every event we participate in. Many people remember the first song they danced to at their prom or at their wedding. For whatever reason, songs tie us to memories like few other things do. Many people enjoy hearing songs in live settings. You can enjoy the beauty and power of songs by attending a local concert put on by a choir or orchestra. You can also experience the power of live songs by ordering tickets to see your favorite musical artist or band play live. Few things make up such a large part of our daily lives like songs. Enjoy the pleasure of listening to or even singing one of your favorite songs today.

         
    The radiohead story

     

    Radiohead are that rare thing: a band that has maintained is artistic freedom over the years, despite being signed to a major label – and a band that has constantly developed. This week’s article looks at the story of how Radiohead got to where they are today, and hopefully you can take a few tips so that you can make it the Radiohead way. The band formed back in 1986, when they were at school. Originally called “On a Friday”, they played their first gig in 1986, at the famous Jericho’s Tavern in Oxford. However, when the members left for university, “On a Friday” was put to one side, and it wasn’t until 1991 that they reformed, and started playing again in Oxford. At the time, Oxford was becoming a haven for independent musicians. Ride were gaining a national reputation, and by 1992 were playing all the major venues across the country, and Supergrass had just formed, playing the local venues, on their way to international stardom. Radiohead benefited from being part of the local scene, and the early 90s were ideal for indie bands. It was then that they became Radiohead, and they started releasing demos, including the magnificently-titled “Magic Hedgehog Demo”. These self-funded demos were sent out to local venues, industry figures, record companies, etc., and started the band’s road to success. Gradually, through hard work and persistence, they became very well known on the local scene – appearing on the front cover of a local indie music magazine, and playing regularly around Oxford. Record companies began to take interest as the buzz grew around Radiohead, and it was EMI who were first to pounce, taking the band on their Parlophone subsidiary. In 1992, they released their first single, “Creep”, which barely registered on the British charts, but gained them significant interest with the music press. The indie music magazine NME, for example, made it their single of the week, and with the backing of the independent music press, the band had momentum. They released their first album, “Pablo Honey”, in the middle of a period that saw British indie music enter a darker phase. The album was given a lukewarm reception by the music press, who had so appreciated Creep. However, the public took to the album very quickly, and its success meant that the band soon went to tour the States. The pressure on the band meant that they almost split up, and as the album became more and more successful, the band felt that they needed more artistic freedom. And this is where “The Bends” comes into it. Generally recognised by music critics around the world as one of, if not the best album of the 1990s, “The Bends” was the product of a band’s desire to go it alone and to produce something extraordinary. Hiring a new producer who allowed them to do what they wanted, they released an EP (My Iron Lung) before the release of their second album, and went on to provide more musical depth than in their previous album. Riding on the success that was Britpop, “The Bends” was a huge commercial success, far more edgy than the pop-rock of “Pablo Honey”. Lead singer Thom Yorke had become an idol for many indie music fans across the world, and Jonny Greenwood’s unique guitar style had already become iconic. From their origins as a young unsigned band in Oxford, they had gone international, gaining success in the States, which not many British bands manage. Although Britpop inevitably helped the band succeed, it also cut short the longevity of other bands. Those that managed to change and adapt when Britpop became passй remained successful, but there were plenty of bands who couldn’t change, and soon fell by the wayside. Radiohead’s attitude after “The Bends” was to explore new avenues, and the release of “OK Computer” saw the band in a more sombre mood. Many saw it as a natural progression, and saw it as a much better album than “The Bends”, while others felt alienated by the band’s progression from the pop-rock of their first album. The band’s recording techniques also changed. They decided to keep away from traditional recording studios, after several bad experiences, and actually recorded most of the songs for “OK Computer” at Jane Seymour’s 15th century mansion near Bath! By moulding their settings to fit the characteristics of the band, they immediately improved their recording experience. Blending rock sounds with more ambient, technical sounds, the album shot to number one across the world. With Britpop dead, it was a few years before Radiohead surfaced again. Having detached themselves from the scene, they now became a “word of mouth” band with an enormous fanbase across the world. Music events were organised through the internet, with very little advertising required, and tickets were near impossible to come by. The band seemed reclusive, and were close to splitting up, with Thom York on the verge of depression. The release of “Kid A” in 2000 shocked both fans and industry alike. Stripping down the guitars, the album was at first difficult listening – electronic, cryptic, synthesised, and with no stand-out tracks at all. It almost seemed as if the band were sticking two fingers up at the world, but it just went to show how brave Radiohead were in their musical direction. After several listens, Radiohead fans grew to love the album, and equally so with the quick follow-up “Amnesiac”. The albums blended electronica with jazz and ambient music, but maintained Radiohead’s lyrical hooks and character. Again, the albums were given very little advance warning, and very little advertising. It was another case of the word-of-mouth buzz that Radiohead had been building up over the years, and with such a loyal fanbase, Radiohead are the perfect example of a band that has done all the hard work, sent off the demos, and gone from the top of the local scene to the top of the international scene. After the release of “Hail to the Thief”, which was hailed as a return to the guitar-based indie of “OK Computer”, the band is today recording again, and Thom Yorke is about to release his own solo album, and live performances of new Radiohead songs show them back in “The Bends” territory. So, did Radiohead “make it” differently from any other band? Well, probably not, if you look at it – they started off by gigging locally, making their reputation in their hometown of Oxford – and you could say that they were helped by two factors – the rise of Oxford bands in the early 90s, and the rise of Britpop bands in the mid 90s. After gaining their reputation, they kept up the hard work, and the most important thing is that they never stood still: no Radiohead album is like the previous one, making them one of the most innovative and interesting bands around. The internet fanbase is another interesting factor, as Radiohead were probably the first band to really use the internet for their promotion, as opposed to traditional channels. If you want to make it the Radiohead way, then, get yourself known locally, and most important: never stand still.

         
    The real slim shady

     

    : Marshall Bruce Mathers III was born on October 17, 1972, in St. Joseph, Missouri. His stage name is Eminem (both of his initials put together) and has established himself as one of the most talented, but also one of the most controversial, rappers of this era. Mathers is both a Grammy and Oscar award-winner. Mathers was raised in Warren, Michigan, and his early years in that city inspired his film, titled 8 Mile. The majority of his childhood was spent moving back and forth between St. Joseph, Missouri and Detroit, Michigan. His father deserted the family when Mathers was 15 months old, which did not help his family’s financial situation. Thus, Mathers and his family were forced to move constantly from home to home and community to community, which conceivably left him finding himself to be an outcast in new neighborhoods and schools. Mathers had a shaky relationship with his mother, Debbie Mathers. In multiple interviews, he has stated that his mother abused drugs, in addition to accusing her of having Munchausen syndrome by proxy, a disorder in which the sufferer feigns or exaggerates symptoms of illnesses to gain attention, treatment, or sympathy. Though he did not have very affectionate feelings for his mother, he was especially close to his uncle, Ronald Dean “Ronnie” Polkingharn, who would become Mathers’s best friend. It was Polkingharn, who first introduced Mathers to hip hop. In 1991, Polkingharn committed suicide, which would leave Mathers devastated, so much so that he would abandon his musical aspirations for a year. Upon failing ninth grade for his third time, Mathers would drop out of Lincoln High School at the age of 17, but not before meeting his future ex-wife Kimberly Ann “Kim” Scott and befriending the late rapper Proof, who would become his best friend. In 1995, Kim gave birth to Hailie Jade Scott, Mathers’ first and only child. Hailie is mentioned in several of Mathers’ hit singles, including “Hailie’s Song,” “Mockingbird,” and “When I’m Gone”. Mathers, began performing at the young age of 13 and would make a name for himself as a young adult in the hip-hop underground, thanks in part to his unique style, lyrical content, as well as being white in a predominantly black genre. With his underground status gaining momentum thanks to countless rap battles and the release of his first independent album, Infinite, Mathers would eventually be discovered by rapper-producer Dr. Dre. With Dr. Dre in his corner as producer, Mathers would release his debut studio album, The Slim Shady LP, in 1999. At the end of the year, the album reached triple platinum status, thanks to hit singles such as, “My Name Is,” “97 Bonnie and Clyde,” and “Guilty Conscience.” Mathers’ album would also win Best Rap Album at the 2000 Grammy Awards, including Best Rap Solo Performance for “My Name Is”. Mathers would follow up his successful debut, with The Marshall Mathers LP, which would go on to become an even bigger success debuting at the top of U. S. and U. K. album charts and achieving Diamond status (10 million copies sold) in the U. S. and selling 21 million worldwide. The album, which includes hit singles, “The Real Slim Shady,” “The Way I Am”, and “Stan,” would also win Best Rap Album, in addition to Best Rap Solo Performance for “The Real Slim Shady” honors at the 2001 Grammy Awards. Mather’s next album, The Eminem Show, which includes hit singles, “Without Me,” “Cleanin’ Out My Closet,” and "Sing for the Moment,” also topped U. S. and U. K. music charts during its debut release in the summer of 2002, selling about 19 million copies worldwide. The album would be Mather’s second album to be nominated for the coveted Grammy Award, Album of the Year (the other album being The Marshall Mathers LP). While failing to win Album of the Year honors, Mathers would take home Best Rap Album for the third year in a row. In November 2002, Mathers made his acting debut with the semi-autobiographical 8 Mile, which would open at the top of the box office its opening weekend and go on to gross over $215,300,000 worldwide and another $130,000,000 in US home video sales. Mathers would also release a soundtrack for the film, 8 Mile Soundtrack, which would also debut at the top of U. S. and U. K. album charts. The album’s lead single, “Lose Yourself” would become an instant hit, winning Best Rap Song at the Grammy Awards, as well as an Oscar for Best Song at the 2002 Academy Awards. In 2004, Mathers would release Encore, an album that would debut at #1 in both the U. S. and U. K. markets and eventually sell over 11 million copies worldwide. The album has produced hit singles including “Just Lose It,” “Like Toy Soldiers,” and “Mosh.” One year later, Mathers would release a greatest hits collection, Curtain Call: The Hits, which would also debut at the top of music charts in both the U. S. and U. K. The album, which also includes new hit singles, “Shake That” and “When I’m Gone,” to date has sold over 6 million units worldwide. Till this day, Mathers is revered for his unique ability to change his rap pace and style multiple times within a song, while keeping pace with the beat. Furthermore, his ability to write creative lyrics has earned him much praise from both his fans and music critics alike. However, not everyone appreciates his lyrical content. Some critics like GLAAD have denounced many of his lyrics as being homophobic, misogynistic, and too violent. Despite the public outcries, Mathers has won several Grammy awards, an Oscar, and is revered as one of the top rappers in the industry. He has announced that he is taking a break from his solo career, but not retiring. Mathers continues to produce and collaborate with Shady/Aftermath and G-Unit artists. If your an Eminem fan get your Eminem Ringtones

         
    The relevance of having a backup audio interface

     

    Whichever soundcard/audio interface you use, at some point you will inevitably run into a situation where something will go wrong with your soundcard just when you need it the most. Maybe the drivers will corrupt which is very common, maybe you install a new piece of hardware and its sharing the same IRQ as your soundcard and any number of other scenario's. If you've got a paying client in your recording space then trust that they're not going to be very understanding when you spend 2 hours or more trying to fix your soundcard which has decided not to work at the most inappropriate time. For example about a month ago I was working on backing tracks for a client which had to be finished the next day, of course my main audio interface decided to pack it in when I needed it the most. I just didn't have the time to screw around trying to fix it at that moment with all the stress which accompanies this while your in the middle of working on a project, so I knew all I'd have to do is to switch to my backup soundcard which is also a pro audio card and has Asio drivers which are very important to achieve low latency in just about most pc's. And because I use a controller keyboard which transfers its midi via USB, there was no switching of midi leads between soundcards which can be a potential nightmare if like me you have a lot of cabling and other things hooked up at the back of the pc. So after switching soundcard drivers I was back on track within a few minutes, oh I can hear people protesting now saying they can just reinstall their soundcard drivers and everything will be hunky dory',but if your soundcard is anything like my main card it will be quite a large install routine that will take a while to install and will probably need a reboot or two. And if like my interface it has considerable onboard dsp horsepower and utilizes its own plugins, then theres extra stuff you have to reload. So to conclude, do yourself and your clients a favor have a 'backup' (preferably pro audio) soundcard installed just in case your main audio interface malfunctions when you need it the most.

         
    The rolling stones

     

    1. You Can't Always Get What You Want 2. Only Rock 'n Roll 3. Get Off My Cloud 4. She's A Rainbow 5. Under My Thumb 6. It's All Over Now 7. Don't Stop 8. Happy 9. The Last Time 1. You Can't Always Get What You Want Mere days after their release of "Beggar's Banquet" in 1968, the band pulled together a real-life circus of a show. Designed as a television spectacle consisting of real circus performers, and some top rock acts of the day. Jethro Tull, The Who and Eric Clapton were in attendance, as were lions, trapeze artists, John Lennon and Yoko Ono. The kind of show you might only now see on the very best of David Letterman. The idea was to produce a unique showcase, but the footage was eventually shelved and hidden away for nearly 3 decades due to what was deemed sub-standard performances. It was not shown publicly for 27 years, except for brief excerpts in home videos. The Who's performance of "A Quick One" was used in their own film/career documentary, "The Kids Are Alright". The true landmark of the show for The Rolling Stones was it was Brian Jones' last performance with the band. 2. Only Rock 'n Roll Before the Rolling Stones had galvanized their name as the World Greatest Rock & Roll Band in the late '60s, they had already laid a handsome claim to the title. The Beatles had paved the way for the British Invasion, but the Rolling Stones pioneered the gritty, hard-pounding blues-infused rock and roll that now defines the genre. Mick Jagger might be a tiny little man by many standards, but with no question he is the biggest front man to ever grace a rock stage. Wild. Macho. Campy. Sexy. He created the role of the rockstar. 3. Get Off My Cloud To nightcap their hugely successful 1969 North American tour, the band planned a large, free concert in San Francisco similar to a successful concert they had done in London's Hyde Park earlier that summer. But between permit denials, greed and a last-minute change of venue, the event spiraled from what was potentially a West Coast Woodstock to a jumbled chaotic mess. Things turned for the worse with their bad choice of security, the biker gang the "Hell's Angels", contributing to a day-long sideshow of brutal violence and truly bad vibes. By the time the Stones took the stage that evening, things had already come undone with a dramatic stabbing of spectator by one of the Hell's Angels. The stabbing was captured on film in the documentary, "Gimme Shelter". 4. She's A Rainbow The band's longtime acquaintance with law enforcement started with an infamous 'pissing' incident in March of 1965. Bill Wyman needed to use the restroom at a gas station, but was refused admittance and told to promptly vacate the premises. Mick Jagger and Brian Jones joined Bill in pissing against a wall, and the Rolling Stones' image as bad boys was firmly established. In a remarkable show of solidarity and opportunism, which was not to be repeated, all five-band members showed up at court, several weeks later. 5. Under My Thumb How can you be the next Keith Richards? Well, asides from several obvious personal decisions, to get his legendary sound, first you're going to need to go out and get yourself a Fender Telecaster. Keith plays in open G tuning with his own customized 5-string version. Take your low E string off the guitar and then tune it low to high as GDGBD. You can always tune the low E string to D as well if you're not into removing the sixth string. Keith sums up his approach with a simple phrase that only he could truly relate, "5 strings, 3 fingers, and one ***hole." There's no one like Keith Richards. 6. It's All Over Now The famous tongue and lip design and countless variations of such has graced countless official and unofficial Rolling Stones memorabilia and products since it first appeared when the band formed "Rolling Stones Records" in 1971. Credit for the creation of the original design has been mistakenly given to several people over the years. Many have stated that Andy Warhol was the originator. He did design two album covers for the band, but not the tongue design. In 1995, Billboard Magazine printed that it was from the mind of Ruby Mazur. Discovering their mistake, they later corrected their statement, identifying Mazur as the designer of the first official variation of the tongue design. With further research later that year, Billboard definitely uncovered that the original classic design came from John Pasch. Two years later, Mick Jagger confirmed that Pasch was the originator of the fabled logo. 7. Don't Stop Rolling Stones museum, anyone? Former Rolling Stones member, Bill Wyman operates a restaurant entitled, "Sticky Fingers" in the well-to-do Kensington section of London. The food is nothing to write home about, unless you consider the cuisine at the Hard Rock Cafй something to die for. The prices are so-so, no more than the one-two punch inflicted by Planet Hollywood fare. What's special here is that the whole place is a shrine the legendary rockers. Jam-packed with posters, magazine covers, guitars, gold discs and the like. Most of time, as you might imagine, you'll be enjoying the soothing sounds of Stones tune while you munch your fish and chips. 8. Happy If you never get a chance to stand live in the crowd and soak the sound waves as they emit straight from the wall of loud speakers, then the next best chance at the excitement is one many films made from their various shows. Perhaps the most famous is from their 1972 North American tour. Titled, "Ladies and Gentlemen, The Rolling Stones", unfortunately the screening of it can prove difficult. Originally released in Quadraphonic sound, the original soundtrack, record as it is on the film in an unusual manner requires considerable labor to view properly. The effort is occasionally undertaken, as it was done in a September 1996 screening at New York's Lincoln Center. Hmmm, maybe it would be easier to just see them live after all. 9. The Last Time Is this their last world tour? They've been fielding that question ever since they were first asked it way back in 1966. Mick Jagger turned 59 this past July 26th and Keith Richards turns 59 on December 18th. Jagger will be 60 by the time they wrap up their European tour, perhaps that's old enough to retire, but we're betting that they'll be back as long as they're around. Why stop now?

         
    The roots of nirvana

     

    No band develops in a vacuum; every band starts out thinking, at least a bit, of other musicians that they want to take after or rebel against. But Nirvana was the first great band of actual music snobs: record fiends who wanted to make it very clear exactly what they listened to. They all loved Led Zep and Aerosmith and CCR and Black Sabbath and Kiss and then some more Led Zep on top of that. Mostly, though, Kurt Cobain and Krist Novoselic had grown up as Pacific Northwest punk rock kids. They hung out with the Melvins in Aberdeen, Washington, were required by circumstance to define their position with respect to K Records and the Olympia scene and carried Flipper and Bad Brains records like shields to ward off poseurs. (Dave Grohl had a roughly equivalent experience growing up in the DC area.) When they hit the big time, they covered their favorite bands, got them to open for Nirvana, wore their T-shirts every chance they got. Kurt even oversaw reissues of his beloved Raincoats' lost work. In case there was any ambiguity left about who Nirvana considered their ancestors, it's all laid out in Kurt's Journals -- the scribblings of an inveterate listmaker who clearly loved even writing the names of his favorite records, like talismans of good luck and good punk rock karma. Certain discs turn up again and again in Kurt's pantheons of music: some are multiplatinum warhorses (Meet the Beatles, Aerosmith's Rocks), others are hopelessly obscure (Fang's Land Shark, the self-titled Tales of Terror album). Most of them, though, are remarkable American indie-rock and hardcore albums from the '80s, with a few artier European post-punk records and the inevitable Leadbelly album thrown in. They're worth investigating for anyone who loves Nirvana: these are not just the raw materials Cobain and Novoselic and Grohl transmuted into gold, they're what the band aspired to. The Best Of Leadbelly Artist: Lead Belly Release Date: 2003 When Nirvana played their wrenching cover of Leadbelly's "Where Did You Sleep Last Night?" (a. k.a. "In the Pines") on MTV Unplugged, it looked like an unexpected gesture toward the blues blood that still courses so powerfully through rock's veins. Actually, though, Kurt doesn't seem to have been so into vintage blues in general -- he just loved Leadbelly obsessively (and had previously recorded four Leadbelly songs with Screaming Trees' Mark Lanegan). This collection is a solid introduction to the "King of the Twelve-String Guitar," a roaring ex-con who miraculously pulled joyful music out of his personal horrors. Surfer Rosa / Come On Pilgrim Artist: The Pixies Release Date: 1988 Kurt called this 1988 album "a die-cast metal fossil from a spacecraft," and some of the Pixies' favorite tricks -- endlessly looping riffs that had never quite been used before, tense clean-toned verses that bloom into explosive, distorted choruses -- showed up on Nevermind a few years later. Steve Albini's drumstick-to-your-skull engineering work here pretty obviously inspired Nirvana to hire him for In Utero, too. But most of what Nirvana got from the Pixies was an attitude: the sense of being off-balance and screaming while keeping one foot in tightly controlled structure. Over The Edge Artist: Wipers Release Date: 1983 Kurt's "Top 50" list ultimately included three albums by Portland, Oregon's Wipers: Is This Real?, Youth of America and 1983's Over the Edge. Singer-guitar monster Greg Sage's band was ferociously chugging and deeply into its own alienation -- and operated independently of the music-business machine -- years before anyone else in the Pacific Northwest caught on to their techniques. Nirvana and Hole both eventually covered Wipers songs; "So Young," from this album, could very easily be mistaken for a Cobain original. Singles 1-12 Artist: Melvins Release Date: 1997 If you were a punk rock kid in Aberdeen, Washington in the mid-'80s, the Melvins were IT: they spiked their hardcore with brutal metal, they could play scorchingly fast or tortuously slow, they got to play in Olympia and Seattle and their practice space was the locus of the local punk scene. They also had a knack for doing screwed-up things on their recordings, and the 1996 series of singles collected here is classic Melvins -- tributes to the Germs, Flipper and Butthole Surfers, corrosive audio experiments and straight-up blasts of the grunge style they helped to invent. Jamboree Artist: Beat Happening Release Date: 1988 In some ways, Kurt never quite fit in with Olympia's K Records, their flagship band Beat Happening and the "love-rock" scene around them -- too much tummy-rubbing, not enough gut-punch -- but he loved it enough that he got the K logo tattooed on his left arm, and its fascination with childhood fed his own. 1988's Jamboree, evidently his favorite Beat Happening record, is half pastel nostalgia, half savage dread, a la-la pop album that collapses into a puddle of screeching noise at the end. Bayou Country Artist: Creedence Clearwater Revival Release Date: 1969 Like a lot of other punk bands, Nirvana adored classic rock; unlike most of their peers, they embraced it -- one of Cobain and Novoselic's first attempts to play music together was a Creedence cover band. Kurt cited this 1969 album as a favorite of his, and you can hear a lot of John Fogerty's throaty bellow on "Born on the Bayou" in the way he taught himself to sing; you can also hear how Creedence's sturdy chording and simple melodies resurfaced in Nirvana's music. What Nirvana might also have picked up from Creedence, though, was the art of self-reinvention and presentation: remember, Fogerty's really a Cali kid, not a bayou native. LiliPUT Artist: Kleenex / LiliPUT Release Date: 2003 "Anything by Kleenex" was the way Kurt usually put it on his lists of favorite records. The young Swiss women who recorded first as Kleenex and then as LiLiPUT between 1978 and 1983 had a garbled discography, and this compilation of everything by them didn't appear in the US until 2001. So start with their delirious, glorious singles "Split," "Ain't You" and "Eisiger Wind," full of shrieks and chirps, and powered by the rhythms of people who are determined to play their way and nobody else's. Kill Rock Stars Artist: Various Artists - Kill Rock Stars Release Date: 2003 In the summer of 1991, Nirvana were just another well-loved Washington band, and the other bands compiled here -- on the anthology that launched the label of the same name -- were their contemporaries and scenemates: their old pals the Melvins, Bikini Kill (featuring Kurt's ex-girlfriend Tobi Vail), label owner Slim Moon's band Witchypoo, Steve Fisk (who'd recorded the Blew EP), Heavens to Betsy (with a very young Corin Tucker, later of Sleater-Kinney) and a duo of Lois Maffeo and Pat Maley that went by the name of Courtney Love -- no relation... or almost none. Extended Play Artist: The Raincoats Release Date: 1995 In the liner notes of Incesticide, Kurt told the story of how he'd tracked down "that wonderfully classic scripture," the Raincoats' 1979 debut album, in England. Songwriters Ana da Silva and Gina Birch reformed the group in 1994 to open for Nirvana on the tour that never happened. They did, however, tour America, and recorded this EP for a BBC radio session: two new songs and two early favorites, performed with the sure-footed power and fresh-minded re-conception of the proper language, subject and sound for pop songs that had drawn Cobain to them in the first place.

         
    The six sigma music business keep your audiences coming back for more

     

    Six Sigma? What could a statistical math term possibly have to do with music? Well I could bore you with a long answer on the statistical benefits, or I could explain it in one simple sentence. Six Sigma is about quality, service, and making sure that your customers or “audiences” keep coming back for more! Would you like your audiences to come back for more? The more your audiences come back to see you; • The more of your music they purchase. • The more concert tickets you sell. • The more promotional items you sell. • The more venue’s you fill. • The more publicity you get. • The more money you earn! Of course you want your audiences to come back for more! Every musician wants to have his or her music appreciated. Every musician wants to sell more albums and more concert tickets. So what does six sigma have to do with that? Using six sigma techniques provides you with a clear understanding of what your customers expect. It helps you identify who your customers or audiences are and ensures you reach them. Does six sigma mean you change your music to accommodate the masses? Well of course not! Your music is your creative essence. The key to success is not to change your music to fit the wrong audience, the key is to reach the right audience and make sure they always know where, when, and how to find you. Do you actually know who your customers are? Can you tell me where they come from? How they found you? Or even what it is that they like about you, your music, or your work? Most musicians and bands that I come across always say the same thing! “Of course we do!” Yet when I ask them how their audience found them they would always answer “At the bar!” When I asked for specifics I always got the same answer! “I don’t know”. The key to music success is knowing who your audience is and how to reach them. If you where a Gospel Singer, where would you most likely find an audience that appreciates your music, in a church or a Jazz bar? I know, I made it a bit obvious but rest assured it is not always that clear. Ok, so I said that six sigma means quality! What does that imply? Well in general terms six sigma means that out of 1,000,000 occurrences no more then 3.4 have defects. Looking at it from the music industry point of view it could mean that: • For every 1,000,000 people that hear you sing all but 3 want more! • For every 1,000,000 concerts that you perform all but 3 sell out completely! • For every 1,000,000 albums you sell all but 3 customers want to buy more of your albums. Do I need to go on? I think you pretty much have the idea! Think of the possibilities. A large audience full of very happy people or “customers”. How much money is that worth? Its mind boggling! Ok, I know, the next question is always, “Why just 3, why not 4, 5, or even 100 out of 1,000,000, it is still a very small percentage of the total?” Yes that is true and it is often the most common mistake that anyone in the industry can make. The key to understand this is in recognizing that it is impossible to actually measure lost opportunities. The one person that left your concert in disgust could have represented the record label that would have sold the largest quantity of your albums. Many years ago companies where targeting the three sigma level of quality. This translates to about 2,700 defects per million. Consider what this would mean if it was applied to other processes used today. • No modern computer would function • 270 million wrong credit card transactions • Don’t even think about getting on an airplane! I think by now you have probably gotten the point. The thing to consider is this. How much money would you be making if every 999,997 people that listened to your music wanted to hear more!

         
    The songs and albums of lil wayne

     

    Although he had to do everything from the beginning, I think he had no supporters and he had to rely on his own intuition to become a ‘mark’ in the rapping world today. The Albums that have been released from the year 1999-2009 have been, Tha Block is Hot, Lights out, 500 Degreez, Tha Carter, Tha Carter II, Like father, Like son with birdman, I can’t feel my face, Tha Carter III and Dedication III. His solo singles from the year 1999-2007 have been, Tha Block is hot, Respect us, Get off the corner, Shine, Everything, Where you At, Way of life, Go DJ, Bring it back, Earthquake, Get something, Fireman, Hustler Musik, Money on my mind, Shooter, La La, I feel like Dying and Prostitute Flange. Some of his featured singles have been, Back that Azz up, Bling Bling, Stunna, Soldeir, Make it work for you, Tell me, Grey Goose, Don’t trip, Gimme that, Touch it or not, You know what, Holla at me, Hollywood divorce, Make it rain, You, Diamonds, We takin over, Lock U Down, Srewed up, Easy, 9mm, Brown paper bag, me and my money. His Collaborative singles have been, “Stuntin’ like my Daddy”, “Leather so soft”, “know what I’m Doin”, “You Ain’t Know”, “Army Gunz”. Lil Wayne has a official website which is myspace/lilwayne . This is all about Lil Wayne and so don’t forget to go to the mp3-lil-wayne/ website to download lil’s all the songs and the freestyles and much more, you can see the testimonials given by people who have already chanced the website for the downloads of lil’s songs and albums.

         
    The top four home karaoke music players

     

    Home karaoke systems have been around for at least a decade, but with "American Idol" consistently garnering record-breaking televisions ratings and shows like "Don't Forget the Lyrics!" and "The Singing Bee" trying to grab a piece of the action, it's no wonder that they're enjoying a resurgence. With everyone wanting to become the next Taylor Hicks or Carrie Underwood, and even so-so singers getting their 15 minutes of fame, it's completely acceptable to sing your heart out in front of your friends or within the privacy of your own home. Enter the home karaoke machine. Everyone from young children to those in middle age and beyond are picking up the microphone and crooning to their favorite tunes. When you're in the market for a home karaoke music player, though, how do you know which to choose? There are four main types of home karaoke music players. The first is the traditional singing machine that comes with a microphone and hooks up to your television. You insert a karaoke CD or cassette into the player and it displays the lyrics to the songs (and perhaps video) on your television. You sing along to the music using the microphone and hear the results through either the television speakers or through built-in speakers in the karaoke machine. This type of home karaoke music player is rather cumbersome and not very portable. The second type of karaoke machine is a stand-alone model. It typically has a small black and white screen (about five-and-a-half inches), speakers, and a microphone. It may also have a small video camera built in. With these home karaoke music players, you can read the lyrics on the small screen. If you hook it up to your television and VCR, you can use the video camera to superimpose an image of the person singing onto the screen and record their performance to tape. While this type of machine can be fun for parties, the small black and white screen is a major drawback. Another disadvantage of the traditional singing machines and the stand along models is that you're limited in the songs you can play. In other words, you have to wait for popular tunes to come out on karaoke CDs or cassettes before you can start singing them. By this time, songs are generally out of date and not as much fun. The third type of karaoke is packaged as only a microphone. It comes with about three dozen songs preloaded, through you can also load MP3 downloads. While this type of home karaoke music player is more portable and is meant to be plugged into your television, there's no mechanism for reading the lyrics. This means that your musical performance has to be just that - a performance where you already know the words to the songs. The fourth type of karaoke player is among the hot new gadgets hitting the market. It can best be described as a cross between an iPod and a MP3 player. These specialized MP3 players allow you to buy MP3 downloads, load them into the player, and input the song lyrics. Then proprietary software allows you to remove the original voice track from the song and record your own voice over the music while reading a display of the lyrics. This type of karaoke player is definitely poised to sweep the market. It's portability is unprecedented - in essence, it's a handheld karaoke MP3 - in that you don't need to be anywhere near a TV in order to use it. It also has the advantage of being able to play any song - even top 20 Billboard hits. Of all the karaoke music players on the market, the cutting edge MP3 karaoke player is the one to beat.

         
    The ultimate guide to video ipod

     

    Alright. So after all that hype about having a practical way of watching TV and movies while on the go, you have finally gone and bought yourself the new iPod. Now what? Well, let’s see. There are so many options squeezed into one slim, 2.5” LCD screen media center that it’s going to take a lot of time going over each one of them. So let’s do take it one at a time, shall we? This guide is going to take over all the options you’ve got and how to convert absolutely anything and everything – DVDs, TiVo video, messy AVIs, muxed MPEGs and more to iPod compatible video – all within OS X. And along the way, we’ll teach you a couple of iPod tips and tricks, too! Handling Those Nasty Scratches When you take your iPod out of the box, your first order of business should be to protect your investment. You don’t want any of those nasty scratches from appearing on your precious media box, do you? It’s a complete eye soar and one you can completely avoid. The good thing about this new iPod is that its design is slightly different from that of the nano, which according to most users scratch easily. The new iPod has better chassis and doubled-layered, probably to protect the LCD monitor. But if you want to make sure that your iPod doesn’t show any scratches, most users recommend plastic cases, such as The Invisible Shield. If not, you can always get the white model, instead of the black one. What Videos Can You Play? Let us briefly go over the kinds of videos that your new iPod can support. According to Apple’s website, the video specifications of the new iPod are the following: • H.264 video: up to 768 Kbps, 320 x 240, 30 frames per sec, Baseline Profile up to Level 1.3 with AAC-LC up to 160 Kbps, 48 Khz, stereo audio in. m4v,.mp4, and. mov file formats. • MPEG-4 video: up to 2.5 mbps, 480 x 480, 30 frames per sec, Simple Profile with AAC-LC up to 160 Kbps, 48 Khz, stereo audio in. m4v,.mp4, and. mov file formats. For the newbies, this might all sound a little too confusing. What’s with all the numbers? Don’t worry because chances are you only need to remember a few of those for you to get the most out of your new iPod. First, let’s start with H.264 video. The highest video bitrate with the H.264 codec is 768 kilobits per second. The biggest picture size for your H.264 movie is 320 pixels wide by 240 pixels high, which is incidentally the exact dimension of your iPod’s screen. Your iPod can play H.364 video at framerates up to 30 frames per second. Every one of the applications that we’ll be using encodes with the Baseline Profile. Your audio needs to be encoded as AAC audio up to 160 Kbps, 48 KHz, and it can be in either stereo or mono. As long as you follow all the guidelines, your movie can even be a QuickTime movie or an MPEG-4 movie file. The other option you have is the MPEG-4 video, which supports a much higher bitrate than H.264 video – 2500 kilobits per second. Using higher bitrates will also create larger files, which means that you’ll have less space for additional songs and movies, but more segments of your favorite movie. The biggest picture size for your MPEG-4 video is 480 pixels wide by 480 pixels high – three times as many pixels than your iPod’s screen in capable of displaying. Your iPod will shrink the picture proportionally so that everything fits on the screen. Again, the iPod can play videos up to 30 frames per second and your audio and file format options are the same as H.264 video. So Which One is Better – H.264 or MPEG-4? Well, that’s a tough question really as each format has their ups and downs. Arguably, H.264 is preferable considering how it offers high quality and a file size that is much smaller compared to MPEG-4. When it comes to picture quality, however, both formats are comparable, especially when encoded at the higher supported video settings. As for speed of encoding, most people agree that H.264 video takes longer than standard MPEG-4. Take for example a two-hour movie. When you convert that to iPod using H.264 codec, the process could take considerably longer (especially with QuickTime Pro’s pokey Export: Movie to iPod video option). Where to Download Videos for Your iPod If you’re tired ripping movies from your DVD collection or you’ve used up all your movie files in your computer, then it’s probably time for you to look for other sources of iPod compatible videos. Below are some good sites that offer iPod video files that are both free and legal! • ChannelFrederator – If you like to watch short animations while taking a breather, this is the place to look in. • PodGuide. tv – It’s not called “PodGuide” for nothing. • Channel 101 and Channel 102 – Brilliant downloadable shows are up on offer. • The iTunes Music Store’s podcast section – One of the best things about the new iPod is that Apple has bundled it with their updates on iTunes. Now, you can download loads of free videos from the store for your daily dose of iPod-casting. • Apple iTunes – Sometimes you just have to go to the source of the source to find what you’re looking for. • Archive. org – This site is great for old videos and movies. Watch iPod Videos on Your TV Say what?! Yep, it’s true. And for some users who prefer widescreen as opposed to pocket-TV, this is the best thing about the new iPod. Now, outputting your iPod videos to any TV is easy. Just use a special video cable (and it doesn’t even be the one sold by Apple), output it through your iPod’s headphone jack, and voila! You’re a couch potato, baby! If you’re more interested in watching videos on your TV, you may want to go with the MPEG-4 format since it can support the bigger 480 x 480 picture size. When you encode widescreen movies and output them to a TV, the pixel limit is usually 230,400 pixels. So when these larger images are displayed on your TV, you’ll get to see all those extra pixels. Okay So You Can Watch Videos on TV, Big Deal…What About My Other Videos? When you download video files from the web or file sharing networks, some of these files may not be marked as iPod compatible. Does that mean you can’t play them on your iPod? Well, the good news is that it’s easy enough to find out. Tip #1 – Open iTunes The easiest and less time-consuming way to determine whether a video is iPod-supported or not is to simply open iTunes with your iPod connected. Afterwards, drop the video file directly into your iPod’s library. If the video is copied into your iPod, it means it’s compatible. If it’s not, then your iPod won’t be able to play it. To copy the video to your iPod, just select Manually manage songs and playlists in the iPod tab of your iTunes preferences. Tip #2 – Add Video to the iTunes Library The other way of finding out if your video files are iPod compatible is to add your video to your iTunes library. Just right lick the video and select Convert Selection to iPod. You will receive an alert from iTunes on your screen, telling you if your video is already compatible. If it’s not, your movie will be converted to a compatible H.264 video for you. We should probably mention that you don’t really need to add videos to your iTunes Library in order to add them to your iPod. Just drag and drop videos from the Finder straight onto your iPod in iTunes. Again, make sure you’ve enabled the manually manage option. You can also add songs and videos to your iPod’s library from any computer that has iTunes. Just make sure that you’ve enabled the manually manage option in iTunes. If your iPod was originally formatted on a PC, you can add files from both PCs and Macs. However, if you have a Mac-formatted iPod, you’ll only be able to add files from other Macs. Tip #3 – Open the file in QuickTime Alternatively, you can also find out if your video is iPod compatible if you open the file in QuickTime. Next, Select Window: Show Movie Info. In most cases, your video should be iPod-ready if the format is H.264 or MPEG-4, the audio is ACC, and the size of your video is 320 x 240 (or smaller) for H.264 or 480 x 480 (or smaller) for MPEG-4. Also, look at the data rate and make sure it’s not over 900 kbits/sec for H.264 or 2600 kbits/sec for MPEG-4. In most cases, the bitrate reported by QuickTime would include the video stream and the audio stream (normally 128 kbits/sec) so don’t wonder if the video is shown to have a higher bitrate. I have a lot more information available at me website, be sure to click by and have a look. Thanks for reading and I hope you find this information useful.

         
    The world does not revolve around you

     

    “Listen, you spoiled little cretins, the world does not revolve around you,” I patiently explained. “You’re kidding right?” hooted my students derisively. “Pick up your instruments, start together on the downbeat and count carefully.” How many music teachers have had the first part of that conversation? Almost none, at least not out loud. The second installment is an every day plea for many. Our youth-obsessed culture seems to make a liar out of me, but lest you think your work is in vain, let me present you with a few ideas. One of the things adults commonly complain about in their later years looking back on school, aside from a lousy prom, was that they felt ‘alone’ and like an ‘outsider’. The band and orchestra students that I have canvassed don’t often feel that way. Isn’t that interesting? I’m lobbying to have my son do a graduate research project on this issue. I’d love to see the results, wouldn’t you? Common sense, that harbinger of things ‘everybody knows’ insists that if you learn to be part of a group that needs you in order to get something done, you will feel valuable and worthwhile. Anecdotal evidence supports this concept. Our sports-mad country feeds us with stories of the scrawny child who becomes Mr. Olympia seven times, makes multimillions in movies and then governs California. What is often overlooked is that music serves many valuable parts of the maturation process that sports do not. Let me elaborate briefly. Most people involved with music know the statistics. Music makes you brighter, helps you focus in all areas of study, gives you greater mastery over fractions than heretofore thought humanly possible, etc. But here’s a thought for all those guitar players strumming alone in their garrets. When you have to listen and fit in, when there is the tyranny of a written part to play you are going to find yourself learning new musical concepts at light speed. Why? For the same reason that learning say, mathematics, is easier with some formal guidelines. Reinventing multiplication or discovering every formula newly takes a few lifetimes of inquiry, just check your history texts. Solitary inquiry is necessary and good and I hope it has a place of honor in everyone’s intellectual pantheon, but it cannot be the only method of realization. One thing ensemble music instruction teaches you is that you must ‘make nice’ with others in order to get the job done. “So what?” you say. It gets back to the heart of both of our issues. One of the signs of maturity, which my adorable dumplings in the lower grades find difficult to exhibit, is one’s place and involvement in an activity. In spite of what our youth worshipping culture and media would have you believe individuals are generally not the most important things on the program. In music you learn that you can have a part that is vital to the results, but so are the other parts. Together you all help to create a whole that is satisfying to everyone. This is something that musicians learn and team players discover, but many other people miss completely. Unlike sports where there can be a competitive factor to be the ‘best’, music requires everyone be good to make the whole creative performance satisfying. This is an even higher level of sophistication than sports because creating your part well and thoroughly gives you no personal glory but makes the whole experience better for all the other players and the audience. And all without someone else having to ‘lose’. A good musician must practice alone but still be able to play with a group to create something larger than themselves. The product of this collaboration? All of us have favored pieces of music associated with the times of our lives, and a majority of those pieces were created within a group, rather than by a solo artist. Both musician and listener profit from this synergy. With recordings you can hear your favorites repeatedly extending the memories for a lifetime. So, although the world doesn’t revolve around any one of us, the extended fruits of our conspiracies are definitely worth striving for. Go forth and make music for yourself and for all of us.

         
    Thing you should know when you start playing the guitar

     

    A individual must have got the time to spend for his or her guitar lessons and recognize that by exercising and learning the primary techniques slowly so he or she will understand the process that is required to master it and be skillful at it. Here are a few hints for novices on how to play the guitar: 1. It is essential that people learn how to hold on to the guitar the right way. A individual is recognized as a guitarist based on how he or she holds the guitar. He of she must think of that when sitting down the position must all of the times be comfortable with his pose and to sit leaning forwards. 2.Whenever the individual is sitting down on a chair, he or she must reside the body of the guitar on one of his or her legs wherever it is comfortable and easier to play. Whenever the individual is right-handed, it means that his or her right leg will be the one carrying the guitar, when those left-handed individuals will rest the body on their left legs. 3.A individual should concentrate in his or her fretting hand so he or she must position his or her hand where he or she has the closest reach to the neck of the guitar specially when he or she is sitting down. Do not forget to position the thumb of the fretting hand on the back from the neck of the guitar. The fingers need to be in a curling position where they are positioned above the strings of the guitar. 4.He or she should be doing different sorts of picking practises to better his picking skills. Don't concern you're self about how quick you play as a novice, what is crucial is to play smoothly and slow and carry through the correct musical notes with clarity and precision. When you play the guitar it can provide a lot of fun for a individual. Guitar playing could be easy as long as the interest last and commitment are maintained. A individual can play the guitar well and in a lot of ways but is crucial that he or she is comfortable and enjoys what he or she is doing.

         
     
         
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