Category Archives: learn music

What is Music Education?

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Music education involves the teaching and learning of all things related to music. It covers a lot of topics which can help people who show interest in the field to have a fuller grasp of the subject–from music history, music theory, learning to play musical instruments, musicology, musicianship, performance, and many others.

This specialized education starts during the formative years of children, wherein they are taught to sing kids’ songs and play toy instruments. From there, it continues to a time in which these children are made to join choirs, glee clubs, and school bands (concert band, marching band, or jazz band) where their basic comprehension of music is further developed.

In a more formal set-up, the study of music can be presented via music classes held inside the classroom. In fact, there are existing colleges and universities that solely offer music-related courses. They offer several degree options for those serious enough to take their music education up a notch. Those who venture in this endeavor can become professional musicians, music teachers, and studio technicians, among others.

In this kind of education, the history of music is deemed significant. In order for the student to have a better understanding of music, he/she has to know first its roots. Also, this is where the origins of music genres, musical instruments, and all other things discussed in music lessons are given due discourse.

Another important component of the study of music is music theory. This is what actually separates the learned musician from the casual one. If the music student knows music theory, he/she can very well expand on his/her works. You see, chords, intervals, composition types are all parts of music theory. Moreover, this subject helps in the development of the student’s ability to analyze music. Too, under music theory, the student is taught how to read, write, and notate music.

Learning to play musical instruments is basic, too, in studying music. It has been proven that taking up lessons (voice, dance, guitar, piano, drums, etc.) has many benefits. For instance, better physical and social health. Also, the development of one’s confidence, creativity, and compassion.

Now if you are interested in pursuing a serious career in music, the way to go for you is to involve yourself in music education. There are many avenues for you to explore in order to learn music. You can actually start by scouring available resources, i.e., books, instructional videos, the Internet, that can help you advance you understand music more.

You can also find a music lessons provider or a music school where you can enlist yourself in its programs. This option is actually better since these kinds of institutions specialize in music, and so, your chances of getting solid comprehension are by far larger compared to just chancing upon random resources. Moreover, you will get an opportunity to have a professional teacher guide you as you go along and monitor your progress. As such, learning music becomes easier, faster, and more effective.

 

Karlo Jose R. Pineda, who has a degree in Journalism, has been a casual yet big fan of music since he first listened to The Beatles when he was 10. He then came to discover other bands, most specifically from the punk, grunge, and post-grunge movements, and has since been interested in the scene. His exposure to music saw him writing music reviews for various websites and founding his own band, with him composing songs and performing drumming duties.

 

Piano Lessons – Kids Learn Better When They Play Music They Recognize

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pianostudent 300x199 Piano Lessons Kids Learn Better When They Play Music They RecognizeIt’s very important for parents of piano lesson students, particularly students under twelve, to understand that playing classical music does not benefit children and young people near as much as playing music they recognize. In my years of being a musician and teacher, I’ve encountered a lot of parents who assumed that it was somehow “better” for their child to be playing classical music.

However, your average eight-year-old has no knowledge of classical music. They may like listening to it if it’s presented well to them, like hearing it on TV or in a movie. But children have no natural inclination to want to play it on the piano, particularly if it’s unfamiliar to them. It’s actually quite difficult. It’s a lot of work for them, and far harder than simpler children’s songs that they recognize.

In the beginning of their lessons, and at least for the first two to three years, kids benefit the most from playing music they recognize. There are some great brain reasons for this. By playing music they recognize, they are able to take advantage of their ability to make sure they are playing the song how its “supposed” to sound. Since classical music is both difficult and unfamiliar to them, they have no “inner check” to assure that what they are doing is correct. I found that children learned far faster, and developed better musical skills from playing what they recognized. Learning faster and developing superior musical skills trumps any benefit of struggling through a piece one doesn’t know merely because the word “classical” is attached to it.

I once had a student who had partially learned to read music before studying with me. She had memorized what notes looked like on the page and which letter names they corresponded to. However, she had never learned exactly which keys and letter names were a match and she had never learned to read or count rhythms! This is the equivalent of knowing how to read the alphabet but not how to spell and attempting to read the newspaper. It will produce no positive result.

This child had played this way for years! By the time she got to me she had already wasted about three years of multiple hours per day playing this way at home with no teacher because she really loved to play. She just had absolutely no idea that what she was playing had nothing to do whatsoever with what was on the page. Since she was playing out of books of songs that were unfamiliar to her, she had no “inner check” on what she was doing. Essentially, she was playing letter names in her head and making up the song the way she like. There was absolutely no benefit to this because it robbed her of any ability to properly learn and apply what she read. She was just pounding the piano in a way she liked without knowing that she wasn’t playing the song.

When I asked her to play by ear a song she recognized, she could do it quite well. However, when I asked her to perform something from the book, it was clear she was “illiterate,” yet oddly musical. I asked her how she came upon playing the classical music in an attempt to straighten all this out and get her going the right way. It turns out her childhood teacher had endlessly extolled the virtues of classical music. Her parents believed this to be true, and during the time when the child was not taking lessons, they continued to buy her piano books of unknown music thinking she was teaching herself. When I finally got to the bottom of her problem and began working with her on learning to read and count the rhythms, she realized how much work it would be and quit lessons. If she had been playing music she recognized for all those years, the whole problem could have been prevented. She is far from the only student I’ve encountered who had some of this problem going on.

Despite how traditional piano lessons are taught, it’s important to distinguish that reading music and playing the instrument are actually two completely different, and mutually exclusive, elements of music instruction. They are different skills, and in fact, have nothing to do with each other.

As a lessons consumer, particularly a parent, it’s critical for you to understand that. Let’s say you are a non-musician seeking piano lessons for your child and your are thinking “I want my child to learn to read music.” What’s really important to understand about this is that reading music happens in the brain in totally different parts of the brain than those that have anything to do with hearing and understanding music or playing the instrument as a tactile experience. Although reading music and playing music are related, they are absolutely not the same skill.

What it takes a student to learn how to play the piano is completely outside the domain of what it takes that student to learn to read music. Written music is a language, the same as any other written language and learning to operate in that language requires that it be taught separate from learning the instrument. This is despite the fact that in most traditional music lessons, particularly piano lessons and school band programs, the teachers try to combine playing and reading into the same task. This is why so few music students end up as proficient readers. Most children who really want to play will instinctively sacrifice reading skills to improve their playing skills.

This may lead you, the parent, to ask “Does my child really need to learn to read music?” Truthfully, it’s not necessary in order to learn to play the instrument. There are many players who do not read music who are far better players than those who do read music. In fact, many of the household names in both popular and classical music do not read, yet are tremendous performers and artists.

However, there are significant advantages to learning to read music. If you are thinking “Maybe I don’t want to put upon my child that they have to learn to read music” understand, if taught correctly, it will provide advantages.

Children who start piano lessons at very young ages are often taught to read music before they learn to read their native language, so it can be learned by anyone who applies themselves and is given encouragement and coaching in making it easier and fun. Understanding the difference between those two skills goes a long way in clarifying what is to be accomplished in studying the piano. It is also much better for both the parent and the student to understand that reading music is not the same as playing the instrument so that everyone, student, parent and teacher are clear about the goals of learning to read music.

If you have questions about this, contact me through my website at http://anaheimpiano.com and I’d be happy to give you some assistance that addresses the players in your house. There’s not one solution that works for everyone, so I’d be happy to address any individual questions you may have.

http://anaheimpiano.com Athena Murphy teaches piano lessons in Anaheim, CA. Visit her website for her free report “7 Insider Secrets to Getting Your Money’s Worth from Piano Lessons.”
In the past fifteen years, she has taught individual lessons to over one thousand students, including one who went on to become a multi-platinum-selling recording artist. Athena has studied neuroscience extensively for the past twenty years and incorporates all her knowledge of brains and learning habits into her music lessons. If you are in North Orange County or the southern Los Angeles County area and would like more information on lessons with Athena, please visit her website at http://anaheimpiano.com

 

How to Play Lead Guitar

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You probably already know the difference between rhythm and lead if you’ve spent any length of time searching for information on how to play lead guitar.

There is a wealth of free tutorials available on the Internet that will teach you basic ‘licks’ and ‘riffs.’However, many of these tutorials fail to explain how rhythm guitar and lead guitar differ not just in the skills required, but also in mindset.

It’s one thing to say that lead guitar focuses more on playing scales than chords, and quite another to say that playing lead guitar changes how you hear things within a song — but that’s exactly what it does.

Let’s look at an example using a simple I-V-VI-IV-I chord progression in the key of G-major.

If you have the necessary tools, go ahead and record yourself playing these chords (G-major to D-major to E-minor to C-major back to G-major) so that you have a backing track (a 4 measure progression in 4/4 time will do just fine).

Now, play the track back and think about how to make the progression more interesting from a lead guitar perspective. If these were the only chords in a song, and they were played in the same order the whole way through, it could get boring pretty quickly, right?

In your role as a lead guitarist, you could spend a good portion of your time making the progression less mundane by picking notes within those chords or adding other flourishes to help pull out a more complex melodic movement.

For example, you could move up the fretboard to a different ‘voicing’ of the chords and, instead of picking individual notes, use your fingers to ‘pluck’ the interval of root and fifth for each chord.

This demonstrates an important point: playing lead isn’t all about being ‘flashy’. You’ve got know when to ‘blend in’ and when to stand out. It is much better to do what is best for the song. Sometimes less is more for the sake of keeping a song ‘uncluttered’.

There are other times, though, when a song does call for a fancy, breathtaking solo that shows off your ‘guitar god’ skills. Many beginners, however, mistakenly equate great solos with ‘quantity’ and speed. They try to cram as many notes as possible into as short of a time as possible.

I’ll let you in on a secret, though: great guitar solos (even those lightning-fast ones) often don’t involve as many notes as you think they do. The fact is you can take just 4 or 5 notes and build a riff that sounds like you’re traveling all over the fretboard.

How?

First, start thinking of riffs as ‘building blocks’ that can be fit together. For example, you can pair up a 2 note riff with a 3 or 4 note riff to create a ‘larger’, 5 or 6 note riff. If you know your fretboard (and your music theory) well enough, you’ll see how each riff ‘centers’ around either the ‘tonic’ or the ‘dominant’ tonalities of the key.

This is important because your solo must follow the progression. If the progression is about to resolve back to the root (key center), then your riff needs to include the notes which “lead” most strongly back to that key center.

The concept of “leading” is actually a psychoacoustic phenomenon. In Western culture, our ears are trained to expect a ‘resolution’ to the key center of a musical progression whenever we hear the ‘Dominant’ (V) tone of the key.

However, the impact of this leading quality is also dependent on where the Dominant falls within the progression. If you have a Perfect Fourth (which is ‘D’ when in the key of A-major) inserted somewhere in between, you may expect either the root or Dominant tonality to follow.

So, imagine that you’re playing a two-note blues riff in the key of A by bending D up to E and back down again. You can play this riff over any part of the progression from A to D to E. However, the riff will sound different at each point in the progression relative to how ‘far’ your are from resolving to the tonic.

Let’s say you have a ‘collection’ of riffs. Some of them center around A, some around D and some around E. You can mix and match these riffs in different ways across your chord progression, so long as you’re emphasizing the appropriate ‘tonics’ at the appropriate time.

You can play them backwards and forwards. You can arpeggiate them. You can play one riff really quickly, insert a slow bend, and then another quick flurry of notes. You can even repeat a single riff across several measures until it comes time to ‘lead’ back towards the key center.

The effect of all this is that you can create a lot of ‘drama’ and movement without having to play every single note within the scale. You’ll sound like you’re totally shredding, but you’ll do it with only half the effort!

My recommendation to anyone who wants to grow as guitarist and all-around musician is to continue educating yourself on music theory, learn your fretboard and practice both your left and right hand techniques (finger-picking, bends, hammer-ons, pull-offs, etc.).

That’s the real secret to playing lead guitar.

 

Andreas Wahlstedt is committed to learn ordinary people play guitar.
Get his free report and mails here:

http://www.learnguitarin48hours.com/

 

Keyboard lessons for Everybody

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pianostudent 300x199 Keyboard lessons for EverybodyIt’s very fascinating if you know how to play keyboards. So what do you expect if you enroll in a keyboard lesson?

First lesson is the building of foundation. This stage will prepare you with the keyboard playing proficiency. Studying the proper posture in playing the keyboard is a very important skill, and will help the student as he steps forward in studying how to play keyboard. It is imperative for the student that the fingers should remain curved and at all times should be relaxed.

The second stage is the basics in playing the keyboard. In the second state, proper note names will be discussed and the temporary “numbered fingers” notes will have to be forgotten. Also, the basics of treble and bass staffs will be taught. Both of them are comprise of 5 lines, and with 4 spaces in between. Memorizing the keyboard keys that match to each note is a quite tough to do. Exercising for naming each key will make it simpler to remember.

In the thirds stage, different symbols in reading musical notes will be instructed to the student. The spotlights of the topic are legato, staccato, accent, crescendo, decrescendo, and other special symbols. Another vital point to be talked about in this lesson is the dynamics, which refers to the loudness or softness of the key piece to be played.

Learning the use of scales and intervals is the next lesson. Intervals are the intervals between keys on the keyboard. The range of intervals can be from the smallest, called the half step, to the largest gap called the octave. Intervals which are played to make both pitches simultaneously are called harmonic, while melodic intervals are those played one after the other.

The principal and the common chords are then discussed. Triad is the most common type of chord. On the other hand, the most basic chord in music is the major chord.

Mixing up. These are the chords taken from the parallel major or minor key. Modulation will be taught in this lesson, moving further from the traditional harmony towards the borrowed chords. However, these techniques will not be discussed deeply in this lesson, because it needs a more advanced knowledge in playing the keyboard.

In the final stage for the starter keyboard players, the rules of species one counterpoint will be discussed. Voice leading is another term for species one counterpoint.

The different kinds of motion like parallel, similar, oblique and contrary will also be discussed in this lesson.

Tips for Getting the Most out of Your Practice Time

  1. Practice time to motivate yourself.
  2. Begin your practice with a scale to improve technical ability.
  3. Begin slowly and work up to faster speeds.
  4. It’s hard to tell in which parts you slow down and need additional practice on, so if you don’t have this, purchase one as an investment.

 

 

 

 

Easy Guitar Songs

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When learning guitar, a very common problem for most beginners is not knowing where to start from. Every guitar player has been through something like this in the beginning of his career, so don’t get discouraged if you’re feeling the same way. The answer you are looking for is very simple and it is called easy guitar songs.

Easy guitar songs play a key role when learning guitar. Not only they give you a steady foundation of music knowledge to build on, but they also help you build a serious repertoire, which you’ll see will be of great use to you when you make your first steps playing in a band.

Easy guitar songs are also a great way to complement your daily guitar exercises. While exercises help your both hands to get used to the instrument, playing songs puts your guitar skills on a test into a whole new situation, challenging you in a way that you will never experience while exercising.

As your repertoire grows, your technique will improve as well and you’ll start seeing a notable difference in what you can do with your guitar, reaching a point when all these easy guitar songs don’t seem hard anymore. When this moment comes, don’t just abandon them. This is a mistake that way too many aspiring guitarists make. They jump immediately into attempting advanced techniques and playing songs that require a serious amount of guitar playing experience, neglecting or not being aware of the fact that easy guitar songs make an excellent base for learning guitar improvisation and music theory.

Take an easy song and start jamming over it, while trying to build your own melodic lines and solos. Most probably your first attempts won’t be very successful, you won’t know which notes to play, which positions to press or where to place your left hand in general. That’s very good! These are the first steps in learning guitar improvisation.

Guitar improvisation and music theory are connected. Said simple, music theory is what will teach you which are the right frets to press and why. Don’t get scared, you don’t need to be a music theory expert, neither you need to have a degree in this field. All you need is the desire to learn, the passion to play the guitar and your favorite to support the learning process.

Once again, take any easy guitar song, but before starting to jam over it, analyze its harmony – what are the chords used throughout the song? Knowing the chords, try to figure out what key is the song in. Knowing the key, see the scales you can use in this key. Take the minor pentatonic scale for example and locate the right fingering for the current key. Now start jamming over that easy guitar song you chose, trying to build your own melodies and you will hear the difference.

As a conclusion, learning easy guitar songs is an important aspect of your development as a guitarist. They help you improve your skills, broaden your horizons and grow as a guitar player.

 

Harvey Mosley started developing his passion for music at age of 10. He learned to play guitar songs at age of 13 and pursued his love of music since then. He owns now a music studio and inspires many students to learn to play guitar songs. Visit http://www.bandjammer.com for more guitar song lessons.

 

Ron Eschete – Jazz Guitar Music Master

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ron eschete Ron Eschete Jazz Guitar Music MasterJazz guitarist Ron Eschete was born in 1948 in Houma, Louisiana and not surprisingly his early influences were jazz guitar masters Jim Hall, Howard Roberts, and Wes Montgomery. After receiving his first guitar at the age of 14, Eschete joined a quartet and was working clubs in Louisiana before he had even graduated from high school playing jazz guitar music. He attended Loyola University where he majored in classical guitar and minored in flute. While there he studied with classical guitarist Paul Guma. Shortly after Eschete left Loyola he was tapped to tour with Buddy Greco. While on tour with Greco, Eschete set his sites on the Los Angeles music scene. In 1970 Eschete relocated to California working and recording with vibraphonist Dave Pike. Then in 1975 he joined forces with pianist Gene Harris and quickly establish his reputation as a premier jazz guitar accompanist.

Over the decades Ron Eschete has worked with the greatest artists in jazz including Ella Fitzgerald, Sarah Vaughan, Diana Krall, Dizzy Gillespie, Milt Jackson, Ray Brown, and many more! Eschete has appreared on The Tonight Show with Diana Krall, The Merv Griffin Show with The Mort Lindsey Orchestra, and The Mike Douglas Show with Buddy Greco. He has played nearly every notable jazz venue in the southern California area including The Catalina Bar and Grill, The Jazz Bakery, Steamers, Donte’s, Carmelo’s, The Parisian Room, and The Lighthouse to name but a few. He has toured extensively and has played major venues from New York to San Francisco.

Eschete cites a 1988 gig in San Diego as a critical turning point in his career. There he began to shed his reputation as the quintessential sideman – he stepped to the center of the stage and began exploring original material. Long considered to be one of the finest guitarists in mainstream jazz by musicians and listeners alike, he has now taken over the reins and “innovative leader” might be a better name says preeminent jazz critic Zan Stewart. In 1994 he released his first solo recording for Concord Jazz Records called “A Closer Look”, showcasing his masterful fingerstyle jazz guitar sound and his seven-string Benedetto archtop guitar. In addition to this solo recording Eschete has recorded three CDs with his trio: “Softwinds”, “Rain or Shine”, and “Mo’ Strings Attached”.

While Ron Eschete’s career has been primarily focused on performance, this master jazz guitarist and musician has dedicated nearly twenty five years of his life to teaching music at many colleges and universities including North Texas State University, Utah State University, Loyola University, Louisiana State University at New Orleans, California State Universities at Long Beach and Fullerton, and Musician’s Institute in Hollywood. Ron has been described as a masterful musical chameleon. Switching melodic lines and ideas with cool efficiency and beauty, he transforms from accompanist to soloist and from musical master to musical mentor. Fortunately for aspiring guitarists, Ron has released several instructional jazz guitar tab books which teach his harmonic concepts and chord melody soloing ideas.

Peabody Conservatory trained guitarist Steven Herron helps people succeed at becoming better guitar players. His company ChordMelody.com features an enormous, unique selection of jazz guitar tab as well as guitar books and instructional DVDs by Ron Eschete himself.

 

Learn Blues Guitar – Putting the Rhythm on the Blues

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At the end of the 19th century, one particular style of music emerged from the African-American communities belonging in the Deep South of the United States. It was usually performed by prisoners and slaves.  These were derived from field hollers, work songs, even chants and shouts. This musical style is called Blues. One legend says that William Christopher Handy, a cornet player and bandleader, wrote the first Blues song which was both printed and documented in the year 1912. The song was entitled Yellow Dog Blues.

The Blues musical genre has garnered popularity throughout the years and in different nations around the world, capturing the hearts of many people of all ages, making a lot of music lovers want to try and learn blues guitar. Blues and guitar are like bread and butter to each other.  They work well together.  An acoustic or an electric guitar would be a great instrument to have if you want to play the Blues. Thicker strings may help in getting better tones and sustainability while nylon strings are not recommended.

The majority of Blues songs are played following the 12 bar.  The 12 bar Blues simply means that the song is divided into 12 “bars” or “patterns” with a given chord sequence. If one is really interested in learning blues guitar then one should start by learning this basic beat – which also happens to be the easiest one too. When playing, this form is repeated over and over for every verse of the song until the song ends. While practicing this, it is recommended that it should be started with a single down strum for each beat, until one becomes familiar and comfortable with it before trying to elaborate each strum and trying other variations.

Blues, in most cases, is major in chord structure but there are also different scales that can be used in order to create or add a colorful tone associated with Blues.  Some of these scales are major pentatonic, minor pentatonic, dorian, and mixolydian.  These can be used individually or in combination with each other.

To better learn blues guitar, it is essential to practice the three (3) rhythm feels that are used in Blues, namely, straight feel, shuffle feel, and twelve/eight feel.

In the straight feel, the eighth note rhythm is usually used and are spaced equally apart while the shuffle feel follow a long-short scheme (the second note is placed in every pair of eighth notes.)  The twelve/eight rhythm has twelve beats per bar and each eighth note obtains one beat.

Techniques are also vital in playing Blues on the guitar and one of these is the Vibrato.  It is a musical effect that is created when the pitch of a note is slightly changed to a higher pitch and then back to its original pitch by changing the tension of the string.

In order to fill the chords with melodic figures, turnarounds, intros, and endings – riffs are used.  Turnarounds are usually played on the last two bars, making the solo complete and points the song back to its beginning.  Some turnarounds even make wonderful and interesting intros and endings of songs.

To fully learn blues guitar, there is no one trick, way, method or procedure to master it.  Learning the Blues takes constant and accurate practice.  No matter what the sellers of books, ebooks, and videos promise, nothing beats perseverance and dedication.

 

Find more information to learn how to play blues guitar.

 

How To Learn Guitar Frets

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The problem is that most that would love to be able to do so are also not interested in what is needed to achieve that.

What does that mean?

For a start, before you can play guitar really fast you must understand your instrument and be able to choose the best strings for yourself. Also choose the best type of guitar pick, even if that is just a thumb pick, or one finger pick. Some players can play phenomenally fast with four finger picks, yet most people will stick with one, or even claim that none are necessary.

All of this is a matter of opinion, so here are some of that factors that will allow you to play fast, irrespective of your genre.

Scales

If you learn scales you can play melodic notes that sound good, even if they don’t make a real tune. Many of the so-called great guitar solos (Bohemian Rhapsody, Hotel California, Freebird, Eruption) are no more than pentatonic scales played on various parts of the fretboard. Learn pentatonic scales, and you can play them as fast as you like anywhere on your guitar and they will sound great.

Fingerpicking

Fingerpicking allows you to play a number of notes in a very short time, and if you can time your picking right you can play at a breathtaking speed. You must learn how to master the upstrokes and downstrokes, and also master alternate picking that can considerably speed up your playing.

If you practice enough you might be able to achieve the rudiments of sweep picking that takes an awful lot of practice and experience to master. With sweep picking, you use a pick and drag it over three strings or more to play each note individually as part of a tune, or lick. If you string lots of these together you can imagine the apparent speed you can achieve doing that. Kirk Hammett’s “Creeping Death” solo is an ideal example of sweep picking.

String Skipping

If you are to learn to play guitar with blazing speed, you will have to learn how to handle rapid string skipping. Switching your picking between non-adjacent strings takes a lot of practice to perfect with speed, but it can be done, particularly if you keep practicing your minor pentatonic. A good example of string skipping can be heard in Radiohead’s Street Spirit (Fade Out), which shows you the level you have to reach.

Hammer Ons and Pull offs

Hammer ons and pull offs are essentials for anybody that wants to learn to play guitar with speed. It’s difficult to explain these in words, but very simple on video, so if you have found a good online video site that offers guitar teaching and includes these techniques, then you are made.

A hammer on is when you play two notes from one pick, by rapidly hammer your finger onto the next note while the string is still vibrating. A pull of is re-vibrating the string as you pull your finger off it.

You can’t go wrong if you can perfect these, and if you have practiced your scales, as recommended above, you will find it easier to achieve a blazing speed using these techniques. The reason is that most scales have three notes on each string in a given position, and you can hammer on from one to the next and then to the next with sequential hammer ons and corresponding pull offs when descending. Hence the importance of learning your scales!

That’s enough for you to digest for the moment, but it demonstrates two things. First, how important it is that you learn your scales because a lot of fingerpicking and high speed hammer ons and pull offs depend upon the various scales and moving rapidly between string positions. Secondly, that you definitely need somebody to teach you, whether live or by video.

 

 

Learn To Play The Blues Guitar

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The blues genre has become very popular with people of all ages and in many countries in the world. That’s why more and more people want to learn to play this distinct style of music. An acoustic or electric guitar is the best tool if you want to play because their thicker strings can help you get better tones.

Blues songs are played after the bar 12 which means that the track is divided into 12 “bars” or “patterns” with a given chord sequence. The basic beat is repeated again and again for each verse of the song until the song ends. While practicing, one should begin with a single strum down for each shot, until you become familiar and comfortable with it.

Blues has important major chord structure but there are different scales that can be used to create or add a color tone associated with it. Some of these scales are pentatonic major pentatonic minor, Dorian, and Mixolydian. These can be used individually or in combination with each other.

It is essential to the practice three rhythm feels that are used in the Blues, they are: straight feel, shuffle feel, and twelve/eight feel. Straight feel is when the eighth note rhythm is generally used and equally spaced apart, while the shuffle feel follow a long-short. The twelve/eight feel has twelve strokes per bar and each eighth note gets one beat.

The techniques are also vital in the performance of blues on guitar and one of them is the vibrato. This is a musical effect is created when one note is a bit changed to a higher pitch and then back to its original tone, changing the tension of the string. To cover the chords with melodic figures, turns, intros and endings – riffs are used. Delivery times are usually played in the last two bars, so the only the complete solo and the track points back to its beginning.

To fully learn guitar blues, there is no easy way to master it. Learning the Blues requires constant practice no matter what you read in books or see in videos.

 

Information like this will teach you to Play Guitar and learn the Blues Guitar

 

Learn Piano Music Lessons for Beginners

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Music teaching can really be fun, exciting, rewarding and challenging at the same time. The teachers themselves need to possess maximum levels of motivation, passion and determination in order to set a god example to students. While piano lessons give us all a chance to learn how to bring beautiful music to life through the keys, they offer us a great deal more as well. The piano offers you a chance to achieve something truly special, regardless of whether you are young or old. There are a host of benefits beyond the music that will last for the rest of your life, and make every practice session and frustrating lesson well worth it.

Piano lessons give us all a chance to really look inside ourselves and find out what we are made of. Whether we are tackling classical piano, blues piano, contemporary piano, or we want to learn to play the keyboard, the skill and dedication that it takes over a period of years is no small commitment. Really, just about anyone can learn how to play the piano. The one thing that stops those who are not successful is the level of commitment that they weren’t prepared for.

When learning piano for beginners, it’s important to choose the best instructor by considering his/her experience, educational background and accomplishments. Essentially the most frequently sought instructors will have some type of music degree or an equivalent amount of musical experience. A potential instructor should be interviewed regarding their history in music, fee specifications, length of classes, policy on skipped sessions, etc. If the learner’s schedule is especially hectic, he/she might want to enlist the help of a private tutor as opposed to a group instructor. Music lessons offered in a group will be scheduled by the instructor and will be much less flexible toward each individual learner’s schedule. This is not to say that group lessons aren’t an excellent way to learn piano for beginners because they are. Simply put, private tutors are much better for anyone with a hectic or unpredictable schedule.

Further, having a refined skill can be highly beneficial to the self esteem; even if no one ever hears you play. This is because you don’t need the recognition of others. You already have the knowledge for yourself. Thus, you tend to feel better about you knowing that you have capabilities that even you haven’t realized.

Piano lessons are definitely wonderful for learning how to play the music that you love. Regardless of whether you have a specific genre or you like to play a little of everything, the music is powerful. You are powerful when you play and you know it. As you feel the music flow through you and out onto the keys you can be transformed and it feels wonderful. Anyone can grab the best that the piano has to offer. They just need to commit to all it asks of you in return.

 

The Author is Bar Grannmen CEO of Scottdale Piano Teachers and  related  music,piano,information. This site provide Music content of “>Music Classes in Scottdale,Violin Teachers Denver it’s very good and excellent site.