concerts-live-aid

Concerts - Live Aid

Writen by Michael Russell

In this article we’re going to review another very popular benefit concert, the one they call Live Aid.

Most people probably had very little clue that The Concert For Bangladesh would start a trend that would continue for many years. Live Aid is another example of some of the world’s greatest musical acts coming together in a common cause to help people in need.

What made Live Aid different from Bangladesh and many other concerts was that this concert was not held in just one place. The concert, held on July 13, 1985 was broadcast live from a number of places, including Wembley Stadium in London, JFK Stadium in Philadelphia, and a few acts performing from Sydney, Australia and Moscow, Russia.

The concert itself was put on in order to try to help raise funds for famine relief in Ethiopia. The concert was billed as sort of a “global jukebox.” The number of people in attendance at just two of the sites totalled over 150,000 people. Live Aid was the largest scale satellite link-up and TV broadcast of all time. It was estimated that about 1.5 billion people saw the broadcast live.

The concert was conceived by master mind Bob Geldorf who had previously put together another gala called “Do They Know It’s Christmas” which was known as Band Aid. That concert went off the previous winter featuring a number of British and Irish acts also for the purpose of raising funds for famine relief in Ethiopia. This is the first time that two concerts had been put on so close together to raise money for the same relief effort.

The initial goals of this concert was to raise about $1.5 million. But as the concert grew in scope and the number of acts increased the final number was estimated at a staggering $254 million earned. Nobody could have ever seen this coming. Because of Geldorf’s efforts and the success of Live Aid, he received an honorary knighthood.

Because there were so many venues and so many performing artists it would be impossible to list every artist who performed and every song done. But there were a few memorable highlights that deserve to be mentioned.

One of the most memorable moments at JFK Stadium was when Bob Dylan was playing and broke a guitar string. Ron Wood then took off his guitar and gave it to Dylan. Wood was then left standing on stage without a guitar. What does he do? He shrugs to the audience and proceeds to play air guitar even imitating Pete Townsend’s windmill motion until a stagehand brought Wood a new guitar.

Over at Wembley Stadium the highlight of the concert there was when Freddie Mercury and Queen got the entire audience in attendance to clap and sing to “Radio Ga-Ga,” “We Will Rock You,” and “We Are The Champions.” It was reported that the sound at that point was almost deafening with over 70,000 people singing and clapping.

Live Aid was an amazing event. It raised millions of dollars and helped feed starving people. No, this wasn’t just a concert.

——————————————————-
Michael Russell
Your Independent guide to Concerts
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how-to-make-30000-with-your-music-before-years-end

How to Make $30,000 with Your Music Before Year’s End

Writen by Kenny Love

As an independent musician and/or recording artist, if you did *NOT* earn $30,000 (or more) with your music alone last year, let’s jump right in and get you started with doing so this year.

Again, bear in mind that the main necessary ingredient is “consistency” of every aspect, and on a weekly basis.

Remember! This is a worst case scenario, in regard to what you should be able to easily earn within each aspect, and you are very likely to earn much more.

The “lead generator(s)” in each aspect reflects the various resources that you will use to obtain results in these areas.

So, here is the financial mathematical layout.

[---GIG EARNINGS---]

Practically any band should be able to market and promote itself well enough to obtain, at least, one gig per week, whether the band is based in a metropolitan or rural setting, and whether it performs on a fulltime or part-time basis.

So, in our worst case scenario, let’s look at getting one gig per week:

1 Gig X 1 Week @ $300 X 4 weeks = $1,200 per month

Lead Generators:

* Contacting venue managers and bookers directly
* Signing on with an area booking agent
* Placing low-cost ads in your area weekly newspapers
* Contacting area performance theaters
* Host your own gig at an area hall or theater
* Contacting high schools for performances
* Contacting college student activities offices for performances
* Low-cost college newspaper ads for possible gigs
* Low-cost college radio ads for possible gigs
* Your website calendar gig notices/tours

Note: Provide your media kit and business card to prospective clients.

[---GIG CD SALES---]

As you are already aware, most gig employers will allow you to sell your music during performances.

So, in our worst case scenario, let’s look at getting sales during gigs, with a minimum of 100 people at each gig, and with 10% (10 sales) of the crowd who, after witnessing your mind-blowing spectacular performance, suddenly realize that life is not worth living, and they simply cannot go on unless they own a copy of your CD:

10 sales X $10.00 (per CD) X 4 weeks = $400 per month

Our monthly sub-total is now $1,600

Lead Generator:

* Your incredible stage performance that left them mesmerized.
* Your website for additional sales

[---TEACHING---]

Right now, in your own area, there are innumerable people who would like to learn to play your instrument, or be able to sing as half as well as you. So, why not teach them how to do so while earning a bit of income doing it as well?

So, in our worst case scenario, let’s say you teach only one day each week, with only two students, at one hour each, while charging $10 per student, per lesson:

1 day X 2 students X $10.00 (per student) X 4 weeks = $80 per month

Our monthly sub-total is now $1,680

Note: If you decide to devote an entire day of the week to teaching, say 8 students/8 hours, your income increases to $80 per day/$320 per month.

You can also consider contacting area community colleges that will likely be receptive to your classes within their “Continuing Education” program, which can even pay a bit more money. And, if time allows, why not get the best of both worlds, so to speak, by teaching both independently, as well as within the college system?

Lead Generators:

* Placing low-cost ads in your area weekly newspapers
* Contacting high schools to post notices/fliers
* Low-cost college newspaper ads
* Low-cost college radio ads
* News releases to area radio and print papers
* Feature interviews on area radio and in newspapers
* Your website with your class notices

Note: Provide your credentials to student prospects in the forms of a resume and/or portfolio.

[---ONLINE SALES---]

Just a few noted sites include:

CD Baby ( http://www.cdbaby.com )
The Orchard ( http://www.theorchard.com )
Amazon.com ( http://www.amazon.com )
New Artist Direct ( http://www.newartistdirect.com )

With fairly decent online promotion, at the least, you ought to be able to realize an average of 3 sales per week from each of these sites. While all may not produce those 3 sales individually each week, some of them are likely to produce more than 3 sales, dependent upon your promotional efforts, of which should still average out to 3 sales each.

However and again, let’s review a worst case scenario:

4 sites X 3 sales each X $7.00 = $84 X 4 weeks = $336

Our monthly sub-total is now $2,016

Lead Generators:

* Peripheral online sales from gig audiences
* Low-cost ads in area weekly newspapers
* Low-cost college newspaper ads
* Low-cost college radio ads
* Internet marketing and promotion on music message boards, music forums, and within discussion list signature files
* News releases to area radio and print papers
* Feature interviews on area radio and newspapers
* Your website sales

[---WEDDINGS---]

Though weddings occur within every month of the year, the biggest and most traditional month for weddings is June. And, right now, in your own area, there are quite a few being planned for this summer. Weddings are one of the most lucrative income generators for musicians, because families generally are very liberal in spending on them, and go all out, so to speak, for this special day for their daughters.

So, in our worst case scenario, let’s say you can get, at least, one wedding gig per month, at $1,000 per gig (more wedding gig opportunities are likely during summer months especially):

$1,000 X 9 months = $9,000

Our monthly sub-total is now $3,016

Lead Generators:

* Caterers & Catering Services
* Placing low-cost ads in your area weekly newspapers
* Your website notices of your availability for weddings
* Providing your business card to area upscale restaurants
that cater wedding receptions and banquets
* Your business card left with flower shops
* Your business card left with jewelry stores
* Your business card left with bridal shops
* Your business card left with tuxedo shops
* Your business card left with bridal services

Note: You should also provide your business card to wedding attendants who inquire about your services for upcoming functions that they may be hosting in the future.

[---WEDDING CD SALES---]

You may also be able to sell your CD at weddings, however, ASK FIRST when coordinating your performance arrangements. Attendants usually interact with the band, as it is a happy occasion.

If you are allowed to sell your recordings at weddings, you should do so passively by having your CDs placed near the performance area in a conspicuous position.

However, I would not “hard sell” (repeatedly mention) the CD from the stage, unless of course, a wedding coordinator decides to do so, or states that you may do so.

So, in our worst case scenario, let’s say, at least, 100 people attend each wedding (more are likely to attend many weddings), with 10% of them purchasing your CD:

10 sales X $10.00 (per CD) X 1 month = $100

Our monthly sub-total is now $3,116

Lead Generator:

* Your performance
* Your website notice

[---RETAIL STORE CONSIGNMENT SALES---]

Since stores won’t be laying out cash in advance for your music, you should have very little problem consigning your music to retailers.

A word of advice is for you to not consign more than five copies per per store, per 30-day period, at any time. Limiting copies to stores will allow for sufficient time in your product moving off retailer shelves.

Consider getting your product consigned with, at least, five area retailers. However, if there are not enough music stores in your area, consider consigning it with other retailers such as; bookstores, flower shops, jewelry stores, and any other such retailer that gets quite a bit of traffic and might be interested in carrying your music.

You will, generally, be required to present retailers with your own consignment form, and I have created one that you can freely download and customize for your own use at: http://www.MuBiz.com/CnsnmtFrm.html

Just be sure to duplicate it so that both you and the retailer have copies.

So, in our worst case scenario, let’s look at your area retail possibilities:

5 Stores X 5 copies X $8 (your take) = $200 per month

Our monthly sub-total is now $3,316

Lead Generators:

* Low-cost classified or display ads in area newspapers
* Low-cost radio ads
* Low-cost cable television ads
* News releases to all forms of media
* Feature interviews at local television, radio stations and print media
* Music reviews in your area print media
* Your website listing area stores carrying your music

Note: Provide your media kit and business card to retailers in order to further influence their decision in consigning your product.

[---PRODUCTION---]

Did you produce your own CD? If you did, and if people are raving about how great it is, why not consider producing other area bands as well for some extra cash?

Between now and the end of this year, you should be able to produce, at least, two acts for, at least, a $1,000 fee each.

Lead Generators:

* Word of mouth and fellow musicians you know
* Placing low-cost ads in your area weekly newspapers
* Low-cost college newspaper ads
* Low-cost college radio ads
* Your website notice of your production skills
* Fliers in music instrument stores

Note: Provide your media kit and business card to contacts.

As our monthly sub-total is $3,316, providing a grand sub-total of $29,844, when you add on your $2,000 production fees for both bands that you produce, your minimum grand year-end total comes to $31,844.

As I stated at the beginning of this article, each of these aspects contain ‘bare bones’ minimum figures in respect to what your earning potential is within them.

* Special Note: In each of these areas, it is very likely that you will experience repeat business, as well as word of mouth promotion, which will further add to your annual income this year, thus, creating the potential for doubling or even tripling your income.

Kenny Love is president of http://www.MuBiz.com, a radio promotion and media publicity firm that also provides business and career services to musicians.

how-to-look-after-your-guitar

How to Look After Your Guitar

Writen by Ian G Williamson

It is no big secret that proper care of your guitar will give you a more consistent quality of sound and an extended for the guitar . If you are at alls erious about playing guitar you will want to get some accessories that are essential for the care of the guitar. A guitar player is only as good as the sound and the quality of the guitar that they are playing.

The first item on th elist would be a hard shell case for transporting the guitar. Many people use what they call soft or cloth “gig bag” which zip up and protect the exterior surface of the guitar. A major problem with this type of case is that the tuning nuts on the end of the neck of the guitar get out of tune almost every time you transport it as there is nothing to protect them from being knocked which causes them to turn and get out of tune. Also, if there is any kind of impact while loading and unloading the guitar, this could cause cracks or actual punctures in the body of the guitar. A hard shell case prevents these things from happening as there is space between the neck and body of the guitar and the actual case. The case is designed to take impact while holding the guitar securely on the inside protecting the actual body and neck of the guitar and keeping it in tune. It is a bit more of an investment than a gig bag but in the long run it will help to make your guitar last much longer.

Another item that should be considered for care of the guitar is a guitar stand. You need this to put the guitar on while you are not playing it. Many people lean the guitar against a wall or couch or some other stationary object when they are not playing it. There are a couple of reasons why this is not a good practice. The first would be that if you do not lean the guitar in the correct manner you can very easily warp the neck of the guitar which makes it much more difficult to play. Warping of the neck increases the distance between the strings and the neck which causes you to have to apply more force on the strings while playing. This can make for some very sore and blistered fingers! Also, leaving the guitar laying around makes it much more available for accidents to happen. Having a stand keeps the guitar in the same location when you are done with it and also supports the neck close to the body of the guitar which totally prevents warping of the neck - a small investment solving some big problems.

The last item that should be considered is an actual tuning device for the guitar. You will find that the longer you play the guitar the better you will become at tuning it by just using your ear. But for starting out, you will want to use something that gives you the exact sound and gives the guitar an accurate tune up. There are many devices that you can get that are very easy to use which will give you the exact tuning you need. When your guitar is not tuned correctly this can be very embarrassing - especially if you are singing along with the guitar!

Ian Williamson is the owner of the learn to play guitar comparison site - Play Guitar at http://guitar.you-can-learn.info.

vishudha-kali-quotunfinished-devastation-narrativequot-faria-records-music-review

Vishudha Kali "Unfinished Devastation Narrative" Faria Records - Music Review

Writen by Kiva Boyd

The story of music and popular culture is sprinkled with examples of outsider and visionary geniuses. There are souls who are so overcome with a singular and original perspective that they rarely make a dent in the mainstream consciousness, much less the pop charts.

Occasionally one or two will find some niche existence and within that subculture, achieve a measure of success. A few who come to mind are Captain Beefheart, Daniel Johnson and Jandek. A broader list might include such touched luminaries as Sun Ra, Eden Abez and Syd Barrett.

While none of these artists have almost anything in common musically, they all share the distinction of having created highly personal universes of sound. They also have in common that they made art that exhibits a unique stamp of revealed or self-created mythology.

Captain Beefheart with his surreal, Beatnik/Greaser/Biological Form limericks and Sun Ra with his complex Afro-centric re-envisioning of the cosmos. These flights of imagination are a testament to the power of creative will and are but a few examples of the hidden and mirror image parallel universe that operates simultaneous to the “legit” music culture. From the same slipstream of obscure visionary brilliance that gave us artists such as Apache Inca and the Father Yod Collective comes Vishudha Kali with his cracked and amazing disc, “Unfinished Devastation Narrative” (Faria Records).

This disc came to me as a happy accident. I was thumbing through the stacks of new releases at my favorite local music shop Lou’s Records when the artwork for this disc caught my eye. It appeared to be a collection of postcards with religious symbols on them. The imagery and song titles intrigued me and I decided to buy it on those clues alone. This is something I’m going to recommend to all of you readers out there. Occasionally take a chance on something you’re unfamiliar with. Yeah, you’ll probably have the occasional disappointment but that being said, you’ll also be opening yourself up to some potentially wonderful stuff. That is the case with this CD.

The musician behind the Vishudha Kali name is one Andrei Bulin. Other than the fact that he is from Saint Petersbourg, Russia I couldn’t find out much him. The instruments he plays are a wonderful variety of tone producers such as the accordionella, singing bowls, organs and vintage synthesizers.

The music produced is stream of consciousness drone. While some drone can lull one to sleep that is far from the case here. There is a creepy and ominous edge to the music that keeps you on your toes. You get the impression that you are witnessing the aural report of another person’s voyage to the Ether. Heavily processed voices fade in and out of the mix with snippets of prayer and admonition pouring forth. This is highly spiritual music. Spirituality of what variety is hard to say. It is vaguely Eastern and at times has the overwhelming nature of a Raga.

The artwork is a series of postcards bearing the artistic compliment to the music. They are emotionally direct and technically naive renderings of various spiritual scenes. The back of the cards comprises a jigsaw puzzle that when assembled reveals a portrait of a man (presumably Bulin himself) staring at a huge body of water. The whole experience is one of revealing. We gain slow and gauzy access to another person’s point of view. This is creative music of an intensely spiritual and psychedelic nature. It is a more than welcome addition to the pantheon of rare gems and is more than deserving of our effort to find and engage with.

how-to-start-an-independent-record-label-advice-from-music-vets

How To Start An Independent Record Label: Advice From Music Vets

Writen by Emma Drosy

Are you are an artist? Are you in love with the idea of producing your own music? Do you know of a singer or songwriter who needs your help? If so, you probably will need to learn how to start an independent record label. It may be worthy to note at this point that independent labels contribute a huge part of the $48 billion global music industry.

Let me help you understand how to start an independent record label by understanding what an indie label or independent label is.

What is an independent record label?

An independent record label is a record label that is not funded or under the umbrella of a major record labels i.e., EMI, Universal or SonyBMG.

However, the learning of how to start an independent record label may also be in the minds of big name artists who want to introduce fresh talents in the music industry. This venture of established artists may be in partnership with major record labels as well.

How to start your own record label?

• It may be good to know that if you are the artist of your own record label, it may be quite difficult for you to manage your business and your performance as well.
• If you are however the producer, the knowledge of how to start your own record label may need some serious understanding, because you will need to learn how to deal with your talents, their managers, distribute their music and manage your business.

I did not say that to start your own record label is bordering on the impossible. Why then do you think that many indie record labels thrive? This is merely to say that there is no overnight success in starting your own record label.

Having said this let me tell you some of the basic requirements of starting your own record label:

• Recognize great music.
• Basic business understanding such as marketing, bookkeeping product, development and business negotiation
• Patience and a lot of it.

How to start an independent record label is a learning you will need to understand deeper. This is if you truly want to succeed in producing your own labels.

all-about-eminem

All About Eminem

Writen by Barry Hynes

Marshall Mathers, was born October 17, 72, and could be by far the most notorious and recognised rap music musicians of this age, having the alias Slimshady. Slim Shady is perhaps best known for being one of the very few influencial white rappers in the hip hop industry, and not only one of the most critically acclaimed.

Marshall Mathers is in addition infamous for the controversy with respect to lots of slim shadys controversal lyrics, that has been stated by the critics to be racist, angry and dangerous.

First discovered by the legend Dr.Dre, then the long awaited release of the Infinate, his up-to-date set on Shady Aftermath Records, already had leading fans of hip hop excited about Slim Shady. Jam packed of amazing lyrical hits that delve deep into the outlook of a pervertly distorted but super special rap artist, the hits carries alot of the most unbelievable and scary hurtfull lyrics ever put down.

And the real grounds for the immense profits of Marshall Bruce Mathers III. Marshall Bruce Mathers III perchance sums eminems white hiphop artist label better by announcing “Every now and again 1 motherf***er comes along and guess what that happens to be me.”

It remains to be seen for how long Slimshady will be about, but slim shadys potential for certain overstepped the man marshall Mathers is more freqently likened with, Ice. However he is not slim shadys only opposition in the hip hop cosmos. Vanilla Ice told Vibe Magazine of late that Eminem “raps like a school girl” adding “I merely dont like that tiny squealing voice.”

Marshall Bruce Mathers III also separates himself from the Ice man by going on the attack against most everybody in his lyrics.

Barry Hynes
For more Eminem info.

how-piano-lessons-benefit-young-children

How Piano Lessons Benefit Young Children

Writen by Cynthia VanLandingham

Piano lessons provide a wide range of benefits to young children. Here are my “Top Five.”

1. Piano lessons help preserve and develop children’s natural creative abilities.

The best analogy of how children learn through music that I’ve found is from Donald Kroodsma’s book “The Singing Life of Birds.” Every songbird can be identified by the unique song it sings, but a baby bird has to be taught by its parents to sing the family song. Baby birds, like humans, just ‘babble’ at first. Mother birds sing the family song over and over to the baby birds as they try to repeat it back. At first, the baby birds are only able to sing back one or two notes, but they gradually learn to sing the whole song. And birds with two voice boxes even learn to sing their own harmony parts! Once baby birds learn the family song, they can start developing their very own songs. Similarly, I encourage students to compose their own music after developing needed skills. In my experience, young children in piano are a lot like baby songbirds!

2. Piano lessons help children perfect their natural learning processes.

Music is a language, and children are programmed to absorb languages. Studies have shown that kids can most easily learn new languages when they start at a young age. Piano lessons help children develop the very same skills needed to accomplish language arts, like reading. In piano, students learn how to follow directions, scan written materials, think critically, create solutions and translate writing into action. For example, students must look at each note, measure and phrase and decide how to play each note to make the music come to life. Many children (including my own sons) have become much better readers after starting piano lessons. Further, piano lessons involves an interplay of both right and left brain activity that stimulates neural development.

3. Piano lessons help children learn how to stay focused and achieve goals.

Piano lessons help children set specific goals and then work towards reaching these goals. Each new piece of music a student learns requires a specific set of skills and playing habits. To achieve these goals students must learn to stay focused and study each note, measure and phrase to understand how to play the song. In doing this students learn to think critically and creatively as they decide how to make the music come to life. Staying focused over time develops good study habits that become natural. This is important because learning to practice good habits that match their goals shows children how to make their dreams come to life!

4. Piano lessons help children develop courage.

It takes courage to face challenges without letting our anxiety and worries get the best of us. Piano lessons help students learn to accept challenges such as learning a difficult song, as well as to perform pieces in front of teachers, friends, and families at recitals. Lessons also help kids learn the importance of keeping a positive perspective despite difficulties. Learning to handle uncertainty and stress in a way that minimizes anxiety and maximizes creativity is a valuable life tool. We all need practice at this!

5. Piano lessons teach children to persevere.

A key part of accomplishing anything difficult is not to give up easily. As children grow, piano lessons teach kids to try and then try again if they don’t initially succeed. However, as Yoda explained to Luke Skywalker, the objective isn’t just trying itself, but accomplishing the desired goal — “Do or do not, there is no try!” Piano lessons teach students how to adjust their expectations if they can’t initially master a tough song or skills, and to tackle these big goals by taking small incremental steps. In the end, just like the baby songbirds that eventually learn to sing, students learn that they can accomplish great things and reach their dreams through careful and consistent effort.

For great home piano activities parents can use to help children ages 5 to 11 develop their musical talent, visit Piano Adventure Bears Music Education Resources You’ll find a treasure box filled with piano resources to create an exciting musical adventure for your child - right in your own home! Visit their website and subscribe to their f’ree internet newsletter so you can download f’ree piano sheet music and mp3s of original piano compositions.

These exciting stories, games, piano lessons, and inspirational gifts feature the Piano Adventure Bears, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Young students follow along with Albeart to learn what piano lessons are all about in a fun way that kids readily understand appreciate. Click here to visit PianoAdventureBears.com For a wealth of information about piano lessons, visit tallypiano.com

music-mini-course-learn-the-basics-of-reading-music-on-a-keyboard-instrument

Music Mini Course: Learn The Basics Of Reading Music On A Keyboard Instrument

Writen by Jan Durrant

Welcome to the wonderful world of music. As you begin reading this Music Mini Course it is fun to realize that you are also participating in a very important cultural aspect from around the world which has been going on for centuries. Did you know that pianos in some form have been around for over 500 years? Some of the first instruments of this kind were created in the late Medieval Period and were called clavichords. They had a very light, metallic sound because the small hand-pounded ‘hammers’ were made of very light weight metal-like material. These hammers struck strings of varying lengths to create different tones or pitches. The next cousin to the clavichord was the harpsichord invented by Cristofori in Italy around 1450 A.D. This keyboard instrument had a mechanism in it called the plecktrum which ‘plucked’ the strings and produced a slightly stronger sound than its predecessor. Whether you are playing an acoustic instrument, which is the closest relative to the history just mentioned, or an electronic keyboard, you are now participating in a centuries old musical art form.

SOME PRACTICAL CONSIDERATIONS: PIANO OR KEYBOARD?

Does it matter if you apply the information in this course to a keyboard or a piano? Certainly not. The only real difference is that a full size piano has 88 keys (counting both the white and black keys). Keyboards come in several different sizes. Some have 60 keys, some even less. There are also 88 key electronic keyboards and digital pianos that produce very realistic acoustic sounds. Whatever size your instrument may be, remember that the ARRANGEMENT of the keys and the ORDER of the KEY NAMES is the same on both instruments. Rest assured that your basic knowledge of the fundamentals of music can be done very effectively either on a keyboard or a piano.

Musical Terms

Begin your musical study by becoming familiar with these very important musical terms:

BAR LINE - A vertical line which separates notes into groups

DOUBLE BAR LINE - A set of two (2) vertical lines which stand for the end of a piece of music

REPEAT SIGN - Double bar with two dots at the end of a section or piece of music which indicates that section will be played twice.

MEASURE - The distance between two bar lines.

TREBLE CLEF - The S-shaped symbol which stands for notes played with the right hand. This is also referred to as the G cleff since this inner curve of the symbol rests on the G line.

BASS CLEF - The reversed C-shaped symbol which stand for notes played with the left hand. This clef is also referred to as the F cleff since the two dots beside the clef surround the F line.

STAFF - The five lines and four spaces of both the bass and treble clefs.

QUARTER NOTE - Musical symbol with solid note head and stem which gets one count of sound.

QUARTER REST - Musical symbol resembling a sideways W which gets one count of silence.

HALF NOTE - Musical symbol with hollow note head and stem which gets two counts of sound.

HALF REST - Solid half block sitting on third line of the staff which gets two counts of silence.

DOTTED HALF NOTE - Musical symbol with hollow note head, dot and stem which gets three counts of sound.

WHOLE NOTE - Musical symbol resembling a circle on the staff which gets four counts of sound.

WHOLE REST - Solid half block hanging from the second line on the staff which gets four counts of silence.

CHORD - Two or more notes played at the same time.

BLOCKED CHORD - Two or more notes from the same chord played at the same time.

BROKEN CHORD - Two or more notes from the same chord played in sequence.

INTERVAL - The distance between two notes on the musical staff.

FINGERING - Refers to which finger number is used to play a particular note (See Chapter Two: Fingering)

CURVED FINGER - Refers to playing with a rounded finger and on the tip of each finger. This is the best position of the fingers for playing piano or keyboard because it develops finger strength and independence.

INTRODUCTION TO THE WHITE KEYS

There are only seven (7) letter names used on the piano: A B C D E F G. It is interesting to note here that no matter what instrument you play, whether it is piano, tuba or violin, ONLY the seven letter names above are used in the entire realm of music! There are two very easy ways to visualize and remember the names of the white keys on your piano and keyboard. Remember, the note names on an electronic keyboard are the same as on the acoustic piano.

C D E F G A B C D E F G A B C D E F G A B C D E F G A B

Understand that the ‘CDE’ note groups are always located directly underneath the two black note group. The letter name ‘D’ in the white key always located directly in between the two black key note groups. ANY TWO BLACK NOTE GROUP on the piano has the letter name ‘D’ as the white key located in between them.

KEYBOARD EXERCISE:

Go to your keyboard NOW and start to play all of the C-D-E groups from the lowest (bottom left) to the highest (top right) on your keyboard. Say C - D - E as you play each key. The F - G - A - B note groups above are located directely beneath each three black note group on any piano or keyboard. Simply locate any three black note group on your piano or keyboard and realize that the F-G-A-B white keys are located directly beneath them. Directly outside of the three black note groups are ‘F’ on the left hand side of the three black note group and ‘B’ on the right hand side of the three black note group. Just fill in the outer ‘F’ and ‘B’ with G and A and you are done!

KEYBOARD EXERCISE:

Go to your piano or keyboard NOW and find all of the F-G-A-G white keys underneath each three black note group. As above, play slowly and evenly saying the letter names as you play the F-G-A-B groups from the bottom of the piano or keyboard (low left hand end) to the top of your piano or keyboard (top right hand end). Congratulations! You now know ALL of the white key names on the piano!

TREBLE AND BASS CLEF NOTE NAMES

Both the Treble and Bass clefs each have five lines and four spaces. Learning the actual note names of each line and space (the spaces between each line) is very simple. Please memorize the sentences below for the Treble Clef Line and Space Notes: Treble Clef Line Notes (starting from the bottom line and moving up) E G B D F Every Good Boy Does Fine (the first letter of each word helps you remember the order of the notes)

Treble Clef Space Notes (starting from the first space and going up): F A C E Just remember that the treble clef spaces spell the word ‘FACE’.

Bass Clef Line and Space Notes are as follows: Bass Clef Line Notes: G B D F A Great Big Dogs Fight Animals Bass Clef Space Notes: A C E G All Cars Eat Gas

Now you know all the names of the white keys on your piano or keyboard. You have also learned the actual letter names of each line and space on both the treble and bass clefs. You are now on your way to the next level of piano education. Be sure to memorize the information above and you will be ready to begin to learn to read music notation on the piano or keyboard.

Jan Durrant, Publisher and Music Teacher
http://www.MakingMusicNow.com
muz@MakingMusicNow.com

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Piano Lesson for Sale - Buy One Get One Free

Writen by Cynthia VanLandingham

To achieve musical goals, as with anything else, our attitudes and habits need to support these goals. In other words how we take care of things matters. For example I wouldn’t take care of my cactus plant the same way I care for my cat. My cat needs water and also to be petted. Obviously I couldn’t apply those same habits of care to my cactus without killing the cactus or myself! Similarly many children in piano lessons are not getting the proper care and feeding every piano student needs to benefit from their lessons.

The dream of learning to play piano is a valuable one for children, but it can’t be achieved without appropriate guidelines and good habits that will support this goal. Piano lessons provide so many benefits to children such as improved math skills,improved reading skills, and improved overall educational progress. It is sad, however, that many children in after school programs offering piano lessons fail to learn because their parents see all after school activity as simply babysitting.

Parents who view after school programs this way are basically digging holes for their children to fall into whenever they allow their children to volunteer for activities that not only require commitment and dedication from their child, but also demand parental commitment and support.

Children need boundaries to protect them in an environment where they can learn from their mistakes within limits. In this way failure is not an option. Children who are not afforded appropriate boundaries throughout their educational experience repeatedly fail and often wonder why? Instead of building on a history of success and positive experience, they are left with a history of failures to guide them.

Not all parents who have their children in afterschool music programs, however, view it as babysitting. Many parents who have their children in after school keyboard classes also enroll their children in private and group piano lesson programs outside of school. Why? Because when they see other children who are unsupported in their child’s after school piano program they assume the piano teacher isn’t giving “real” piano lessons. The truth is they are real piano lessons. The problem is they weren’t supported by a community of music values shared by all. This may not be surprising to you and you may be thinking that you really can’t do anything about this. But let me tell something else that may surprise you, which you can do something about!

Many school principals do not view their after school programs as a part of “real school!” This attitude is very prevalent in our public schools and is a contributing factor for why children in after school programs may not be getting the care they deserve. For example, all real children benefit from real piano or keyboard lessons in a real community of support. But no child really benefits in a educational community of indifference.

Make sure the principal at your elementary school knows you care about the quality of your child’s after school activities. For example, ask your school principal what boundaries they have personally put in place to ensure reasonable student success rates in their afterschool music activites. Such boundaries for piano programs would involve rules and guidelines for students and parents to follow that are appropriate for this activity and that preserve its integrity for all children. These might include such things as

Children who sign up for piano lessons need to:

1. Come to their lessons regularly.
2. Bring their music books to class with them.
3. Play in the school’s piano program recital to earn an award certificate or trophy
4. Show good citizenship

These are not difficult rules to enforce and would go a long way toward protecting children in after school music programs and improving their overall educational achievement.

For great home piano activities parents can use to help children ages 5 to 11 develop their musical talent, visit Piano Adventure Bears Music Education Resources You’ll find a treasure box filled with piano resources to create an exciting musical adventure for your child - right in your own home! Visit their website and subscribe to their f’ree internet newsletter so you can download f’ree piano sheet music and mp3s of original piano compositions.

These exciting stories, games, piano lessons, and inspirational gifts feature the Piano Adventure Bears, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Young students follow along with Albeart to learn what piano lessons are all about in a fun way that kids readily understand appreciate. Click here to visit PianoAdventureBears.com For a wealth of information about piano lessons, visit tallypiano.com

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Della Griffin: Jazz and R&B Pioneer (Part 2)

Writen by William Sutherland

~Continued from Part 1~

There was also another story behind Della Griffin’s longevity at the Blue Book club. For some reason her integrity was tested when a sizeable sum of cash was left in the women’s bathroom that she used before and/or after performances. She did not take it. Afterwards, having earned the highest level of trust, she was welcome to stay as long as she wanted, which turned out to be more than a decade. Ultimately with mutual feelings of respect and love, the Blue Book became one of Della’s all-time favorite venues.

Following the dissolution of her second marriage, Della Griffin, married unsuccessfully one last time (Jimmy Walker whose name she refused to take feeling that it was not worth the time) and resumed her career, which lasted into the 21st century.

After opening at Harlem’s Blue Book club in 1973, Della Griffin performed there for the next 14 years, until 1987 when she was seriously injured after being hit by a car in Mt. Vernon, NY. In addition, starting in the 1980s, Della resumed working with Etta Jones and joined with Irene Reid. Their efforts led to two albums - “I’ll Get By” and “Travlin’ Light,” both produced by Houston Person (b.1934) and Muse Records. When Muse Records folded, Della Griffin “followed many of” its performers “to [the] newly-formed HighNote-Savant” label where Person produced “The Very Thought of You” which came out in 1998. Shortly afterwards, due to her high level of achievement, Della “Griffin was invited to Finland to appear at one of that country’s major jazz festivals.”[1]

Following her recovery, Della Griffin along with Frances Kelly and Shirley “Bunny” Foy appeared on “Dan Romanello’s Rhythm & Blues Group Harmony Review” on Fordham University’s WFUV-FM show in New York in 1994 after being “rediscovered by group harmony enthusiast Louie Silvani.”[2] After taking inquiries about the Enchanters and Dell-Tones, Della Griffin put another “Dell-Tones” group together, consisting of Frances Kelly, Annette St. John and Gwen Michael, the latter two new members. They then made numerous appearances including at “The Heroines of R&B” concert in October 1995, which also included the famed Chantels, The Jewels and Vikki Burgess, who just missed being selected to replace Sherry Gary of the Dell-Tones forty years earlier, among others.

In addition to her performances for the new Dell-Tones and recording acts for Muse Records and HighNote-Savant, Della Griffin took part in many solo acts in clubs across the tri-state region during the 1990s. Some of these performances include:

Della Griffin and “her All-Stars” in Croton Falls and Yonkers, NY in May and June 1992, respectively; a solo performance at Blue Note Jazz Club and Restaurant at 131 West 3rd Street in New York City in April 1991, solo New Year’s Eve performances at DeFemio’s Restaurant in Yonkers, NY in December 1992, 1993, 1994, and 1997, a December 1994 performance “A Very Merry Holiday Jazz Party” with Etta Jones and Houston Person at the Schoolhouse in Croton Falls, a show titled “Standards & Blues by Della Griffin” in Scarsdale, NY in June 1998, and a performance at the White Plains Public Library in White Plains, NY in March 1999, among others. She was also a frequent performer at Scottie’s club in Yonkers, NY, a member of the Jimmy Hill Quartet (with jazz musicians Jimmy Hill (1928-2004), Joe Puma (1927-2000), and Etta Jones) that “frequented jazz haunts through the [New York metro] region,”[3] a member of Fred Smith’s “Harlem Renaissance Swing Band (performing at Hartford, CT’s Bushnell Park in July 1999), and a drummer for The Melba Joyce Group in a 1998 Nicki Mathis “The Many Colors of a Woman”[4] concert also in Hartford, CT, as well as a participant in benefit concerts for musicians in need. She also performed in Hartford CT’s Bushnell Park in July 1995 and 1996 as “one of the most valuable showstoppers” singing “‘Tain’t Nobody’s Business” and “All of Me,”[5] and at Rich Forum in Stamford, CT in February 1998. During the July 1995 concert, it was written, “Singer Della Griffin, decked out in shades, a hot pink sweat suit and matching hat, almost stole the show when she scurried to the front of the stage and began singing ‘All of Me’ in a wonderfully grainy, lived-in kind of voice”[6]

Della Griffin continued her music career into the 21st century making appearances in New York City, Westchester County, and Newark, NJ, one of which included a 3 hour-long performance at the Renaissance Jazz Caf