Apple Ipod Nano – Why Bother?

Writen by Sam Watkins

The Apple Ipod Nano? Not another article about it! Well, fasten your seatbelt, because I’m going to take you on a nice literary roller coaster ride.

Huh? What does a jaunty verbal exposition have to do with the most popular personal electronic in the history of man? Well, before you go to dictionary.com and try to decipher the last sentence, I submit to you the following proposition. Sit tight, relax, and keep your ears peeled for some insightful remarks.

So let’s get started. It all started when I was a little boy…or was I already grown up? Hmm. Now that I think about it, I think I was already in college at that time. Do you remember those times? Were you even born yet, back in the 90’s? If you weren’t even born yet, please click “close” on this browser window, shut down Windows (or Linux if you’re geek-cool), and proceed to expunge the plug of your little computer from the electrical outlet. Because you won’t even begin to understand what the heck I’m about to tell you.

You see, music was completely free way back in pre-historic times (a.k.a. the 90’s). You could turn your computer on (all 10mb of RAM), go to an unmentionable site (with the initials of Napster) and get all the illegally shared music you can swallow in one day, like a fish stuffed silly to the gills with deep fried cheese jalapenoes. By the way, I just watched a documentary on how these things are made on the Food Network, and all I can say is if you’re still eating them, I wouldn’t bet on you if you were the only horse out the gate.

But back to my story. Or should we go back? Hmm…Umm. I think what you’re really waiting for is some new, juicy news about the delightful gadget known as the Apple Ipod Nano. Well guess what. I’ve got some bad news for you junior. And you are junior to me, even if you’re older than me, because I’m from the Napster era.

And the news is: the apple nano is one sleek piece of Apple gadgetry. If you know of where I can get one for free, drop me a line, eh?

Sam Watkins goes to Free Music Downloads when he needs to fill up his Ipod with good tunes. Sammy also recommends Wholesale Electronics for wholesale mp3 players.

More Right-Hand Techniques for Piano Players

Writen by Edward Weiss

Most students new to piano playing really want to know what to do with the left hand. They think the left hand holds the secret to great improvisations and music. While it’s true that the left hand has usually been the captain of the piano ship when it comes to setting arrangements, the right can also join in.

Look, the right hand is where most of us create our melodies. It’s considered easier than the workhorse part the left has to do with creating arpeggios, ostinatos and the like. But, we can also use the right hand to create arpeggios and ostinato patterns.

For example, in the Lesson “April Rain,” the right hand plays closed position seventh chords as arpeggios while the right plays bass notes as melody. This is not a new technique by far but it’s not usually used in New Age piano playing.

And like any other technique, it takes a while before you feel comfortable enough to play a left-hand melody using bass notes. The piano is such a versatile instrument because unlike many other instruments, the notes are all laid out for you. You can switch hands, criss-cross hands, and do many other things with a piano keyboard that you just can’t do with something like a saxophone or even a guitar!

The Axemen of the Legendary Gibson Les Paul Guitar

Writen by Robin Piggott

The Les Paul has become synonymous with not only The Blues but with the Development of many facets of Rock music for well over fifty years! It first saw the light of day in 1952 with the “Gold Top” and has progressed through many incarnations to the present day. There is not a guitarist in the world that would pass up the opportunity to own and play the greatest Guitar of all time! Most players of note have owned a Les Paul at some stage of their careers; some continue to play no other instrument.

The shape of the Les Paul has remained very much the same throughout its long life with just a few variations from time to time in the early years. The double cutaway version of the Les Paul Special was perhaps the only real deviation from the traditional shape. It was a less expensive model and came and went in 1959. Of course when the resurgence of interest in The Gibson Les Paul came about in the early to mid nineteen sixties, Gibson were forced to reintroduce all models and have continued to reissue the most popular instruments to this day.

It would be fair to say that the renaissance of the Gibson Les Paul can be attributed to and traced back to just one Band that saw the light of day in 1962/3 as the British Blues Boom, as it became known, gathered momentum. Who are we talking about? Well none other than the most blueswailing Yardbirds. This Band produced arguably the three best known and most influential Blues and Rock Guitarists to ever play a Les Paul.

They don’t need any introduction because just about everyone on the planet who hasn’t been asleep for the last forty years will have heard their music.

All now in their Sixties, and as legendary as the Guitar they helped to promote Eric, Jeff and Jimmy single-handedly took the sixties by storm, turned it on its head and produced some of the most memorable music that has ever been recorded. While doing all of this they encouraged countless thousands of budding Guitarists to take up the challenge and today we have the most diverse musical scene that couldn’t possibly have been imagined forty years ago!

Eric Clapton first started with a Kaye guitar, moving onto a Fender Telecaster before discovering the Les Paul with which he made his reputation. Actually it is just a little over three weeks to the fortieth anniversary of the issue of the Album that started it all.

The 22nd July 1966; the Producer Mike Vernon, the Engineer Gus Dudgeon; the Record Company Decca…the band John Mayall with Eric Clapton; the offering…“Bluesbreakers”.

This album affectionately known to all serious players as the “Beano” album didn’t set the record stores alight but showcased a legend in the making. Actually Eric was something of a legend already at this time with “Clapton is God” graffiti appearing all over London. A few months later a new Rock Monster came into being as Jack Bruce and Ginger Baker teamed up with Eric to form another legendary band that were to set the wheels (and the World) on fire so to speak with … Cream.

Jeff Beck had taken over the Lead Guitar slot in the Yardbirds after the hasty departure of Eric Clapton who had left the band to join John Mayall. Jeff often played a Fender Telecaster and went onto make the Les Paul his favourite guitar for recording purposes. While not reaching quite the broad adulation that E.C. has achieved, Jeff Beck none the less has been a pivotal Guitar playing pioneer who is revered to this day.

Jimmy Page of course became probably the most commercially successful of the threesome with his groundbreaking Led Zeppelin. He was already a very much in- demand session player before he joined Jeff in the Yardbirds.Often he managed 10 sessions per week and all at the tender age of 19! His Custom Les Paul with three pickups and a bigsby tremolo unit, kind of matched his black hair and his persona. The hair incidentally had not yet reached the flowing curly locks of the Led Zepp era…a trade mark which he was to wear for several decades.

Three Giants of Music…

Three Blues Greats…

Three Masters of the Greatest Guitar of all time…

The Gibson Les Paul.

The author, while a Gibson owner and fanatic for over thirty years recently picked up his first Les Paul in one of London’s most famous musical instrument shops in the West End. Macari’s is well worth a visit if you are a guitar freak and the staff there are as good as you will find anywhere!

Robin Piggott is a Driving Instructor in Ireland who brings four decades of experience to his Astral Driving School based in Limerick. His newly refurbed web site due to launch in a few days can be found at http://www.astraldrivingschool.ie Here you can find a treasure trove of everything for the Learner Driver and also pages for the visitor who is contemplating Touring Ireland by Car. In the meantime why don’t you pay a visit to http://www.astralmotoring.ie and pick up a mini course on How to pass your Driving Test First Time.

Composing George Winston Style

Writen by Edward Weiss

If you’re a fan of New Age piano, no doubt you’ve listened to some of George Winston’s music. What I find fascinating about his songs is how he creates them. Most improvisers/composers start with the melody, usually because it’s the easiest way to begin.

What George does is start with the background. He creates an aural canvas over which he improvises the melody. This is an excellent way to create with because once you have the chord changes for the first 8-bars or so, you’ve pretty much finished a section of music.

Now after Winston gets his (A) section, it’s another textural background that will usually make its appearance for the (B) section. The beautiful thing about this method is that it really frees up the right-hand! Once your left hand is playing the background, you are able to create melody easily. It’s like a lead guitar player creating a solo while the band lays down the rhythm and chord changes. In fact, George Winston has referred to his left hand as the rhythm section.

Creating the background first is just another way to compose/improvise. There is absolutely nothing wrong with going with the melody first if that is what inspires you. However, it’s good to know how others are creating so you can learn from them.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!

Marc Antoine Mediterraneo Smooth Jazz CD Review

Writen by Clyde Dennis

The very talented Spanish guitar playing Marc Antoine has once again created some of the worlds most beautiful music with the release of his latest CD, Mediterraneo.

Antoine, now clearly on a roll, has developed himself into one of those rare musicians who upon hearing them gives you the impression that he is in total command of his instrument. Causing it to perform in a way that no one else can, or would dare try to duplicate.

I have myself been a big Marc Antoine fan for a few years now but this is by far the most awesome, creative and inspiring work he has produced.

It is an excellent smooth jazz CD and just about the only thing playing in my CD player these days. Listening to it over and over again, I’m finding there’s always something I failed to hear the first, second, third… tenth time.

Mediterraneo is a gem of a CD in that there are literally no wasted tracks. Each one is a masterpiece.

There is just something about GOOD Spanish guitar that engages your imagination and transports you to new and exotic locations. Not to mention the grand smile that it produces. I guess what I’m saying is it generates happy music.

Overall Mediterraneo is smile producing stuff. What I call, must have music. I give it two thumbs up.

Even the casual smooth jazz fan will appreciate and enjoy Antoine’s very nice chord changes, and good mix of styles.

The standout tunes are Funky Picante [track 2], Mediterraneo [track 3], and Senor Groove [track 7]. My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 9, Lady. Very nice!

Release Notes:

This CD was originally released September 23, 2003 on the Rendezvous record label.

CD track list follows:

1. Cuba Nova
2. Funky Picante
3. Mediterraneo
4. Preludio
5. Castellana Hood
6. Afromenco
7. Senor Groove
8. Gotham
9. Lady
10. Gringo
11. Alejandro’s Lullaby

To hear samples of each song on this CD go to Marc Antoine CD – Mediterraneo [ www.smoothlee.com/music-samples/marc-antoine-mediterraneo.htm ]

Clyde Lee Dennis, a.k.a. “SmoothLee” is an AVID music fan, smooth jazz in particular, and in addition to writing CD Reviews for http://www.ILoveSmoothJazz.com can also be heard during his radio show which airs online daily at Smooth Jazz 24/7

Acoustic Guitar Sound Reflects Craftsmanship

Writen by Ben Franklin

A guitar is made for creating all kinds of music be it classic rock, flamenco, country music. It’s a wonder that same instrument can be used to produce such a wonderful array of music.

Acoustic Guitar: An acoustic guitar is one that is made of dried wood. This is most important thing to note, that wood needs to be dried either naturally or using artificial methods. In all old times the wood was dried up for up to three years without picking up the wood again to make the guitar. Let’s look at various parts of an acoustic guitar.

Bridge Unit: This is most important part of guitar as the sound is generated here only. The bridge picks up the vibrations produced by strings (not the whole unit, but the part where the strings touch) and transmits it to the bridge unit, into the sound chamber. The vibration is then amplified using the chamber arrangement, bounced through the struts (they are fan-shaped for classical and box-shaped for acoustics), then pushed out from the sound hole. In case plastic bridge is used, you must drop that guitar immediately. An ebony bridge works wonders on the guitar. Ebony is dense solid wood. However since ebony is expensive you could consider rosewood and ash. This unit is solidly glued to soundboard. This is why you need to make sure that you are buying a guitar with great bridge.

Body of guitar: If body of the guitar is made form plywood it’s not a good guitar at all. An acoustic guitar is an extremely precise instrument. The front of guitar should be made of maple and the back panel is made form different kind of wood. Even though the wood is different, they should be mirror images of each other. If they are not, the guitar was not made by a good craftsman. The sides are also made from third kind of wood.

Some guitars are kept unvarnished. This is done as some people believe that guitar wood is reshaped over time as you start playing.

End block: The front and back of the guitar is joined using an end block. A dense wooden end block is good for guitar. Inspect guitar well and if the soles guy tell you not to, just walk away. Do not spend several hundred dollars on something that is not precise.

Neck of guitar: Acoustic Guitars have a neck glued to the body. The neck needs to be installed only after the end block has been attached and the glue has been dried. The drying of glue should have happened several months before.

When you are buying a guitar, pay attention to whatever you have in front of you. Do not buy the guitar that’s not made with precession. A good acoustic guitar has all the above characteristics. Acoustic guitar will give great music only if it has been crafted by a master craftsman not just any body.

More Resources

Acoustic guitar. http://www.topguitarlesson.com Electric guitar.

Taking My First Banjo Lesson

Writen by Morgan Hamilton

My first banjo lesson didn’t go so well, actually it was a nightmare. Well, I suppose it wasn’t technically my first banjo lesson. Actually, I had been taking online banjo lessons for a good while, and honestly thought that I knew what I was doing. I found a website with videos of some dude plucking and strumming which you could be downloaded, and tabs which you could pick along to to your lttle hearts content. I had my first banjo lesson online months ago, and although I was a bit of a slacker about the whole thing, mailing it in by only learning those songs and techniques that interested me, and blowing off the rest, still, I thought that I had started to get somewhere.

That first banjo lesson darn near smothered that illusion under layers and layers of disappointment. I got there and tried to show off. When he took a look at me, like a dufus, I missed a chord. This is my first instrument, and the first time I’ve ever played in front of strangers with to boot. I figured that it would be a piece of cake, no worries. I’ve never been all that shy or had any problem speaking publicly to a whole room full of people before, so what should be so hard about one stinking banjo lesson where it was only me and the instructor? The whole thing should have been easy, right? Wrong. It was horrible.

What I don’t understand is how I am ever going to learn anything from my banjo lessons if I can’t even muster up the courage to perform in front of my teacher. I mean, I guess he is kind and understanding, and besides that a gifted banjo player. He showed me some great exercise during my lessons which I could use and practice for my next banjo lesson, and that was very beneficial, it definitely helped. Not to mention how much you gain just from having the chance to closely observe and study under a gifted musician. But really, will I sound any different, or see any improvement during my next banjo lesson?

If I can’t perform half way decent in front of him, how will he even know if I’m making any progress or just spinning my wheels. For that matter, how will I even know if I’ve learned anything from one banjo lesson to the next. Am I making progress or just spinning my wheels? I mean, it’s pretty difficult to get feedback if I can’t play in front of my teacher. I’ve decided to start recording my own playing to play back to him. Initially, it might be difficult to play, knowing that I’m doing it to show progress at my next banjo lesson, but eventually it will get easier… I hope.

Morgan Hamilton offers his findings and insights regarding the world of Fine Arts. You can get interesting and informative information here at My First Banjo Lesson

"Romantic Composers" Takes on a Whole New Meaning

Writen by Rhiannon Schmitt

While Wolfgang Mozart showed an amazing aptitude for music very early in life, he also displayed an absolute affinity for women. His charm was alluring, earning him the title, “The Most Kissed Boy in Europe.”

Unfortunately, his adorable charm began to fade when, at age seven, he proposed to the future queen of France, Marie Antoinette, and was rejected. Things got worse when his girlfriend and the love of his life forgot him after his absence during a musical tour of Europe. She didn’t even recognize him when he entered the room. Ouch.

Imagine, were he alive today, young Mozart could have tried courting 21st Century-style with a date at the movies. This teen was the type of courter who, eager to scoop a handful of bosom in the dark theatre, would employ the “stretch and clutch” maneuver.

This is a smooth and delicate movement where the suave pubescent pretends his arms need a stretch. After slowly lifting his limb closest to his target, he reaches around to her furthest shoulder and casually rests his hand there. Little by little he begins to feel the overwhelming force of earth’s gravity as his hand creeps down.

This tactic sometimes backfires, leaving a buttery hand print across the attacker’s doleful face and an angry phone call from the girl’s father. In the event his device failed, he would have simply pursued her sister. It worked for him back in the 1700’s!

Well, sort of.

His wife, the sister of the first “forgetful” girl, was described by him as “not ugly, but in no means a beauty.” He went on to write, “She is not witty but has enough sound common sense to enable her to fulfill her duties as a wife and mother.” Again, ouch!

Enough of Wolfgang. One fellow who never had any romantic charm to begin with was Franz Schubert, nicknamed “Little Mushroom” for his chubby stature, little round glasses, and shy, geeky nature. A crummy catch for most girls , he was a poor composer who couldn’t even afford his own piano and composed his piano works on a cheap guitar.

At one point he thought the best way to woo a potential sweetheart was to write her a love song. Unfortunately, he couldn’t sing to save his life ever since his voice broke at age 16. He devised a scheme where his friend, Schober, a handsome tenor, sang the tune to the girl with Schubert’s piano accompaniment. Much to the mushroom’s dismay, when the song was finished, the girl embraced Schober!

If only he were born in the mid-1900’s, Schubert would have been much more successful in catching girls with his music. All he would have to do was holler out the song himself, strum a few chords on his Fender and gaze at her through his groovy, John Lennon-style glasses. The guy would have been a babe magnet, and I’d still love his music, be it changed.

Peter Tchaikovsky had disastrous relationships. His first marriage lasted only 9 weeks, which resulted in him trying to kill himself. Other affairs didn’t get much better. He finally met a wealthy 46-year-old widow, but their relationship never went past writing letters for 14 years. They met once by pure accident and were so embarrassed that they ran in opposite directions.

Peter would have done very well had he the chance to date on the Internet. Thousands of on-line dating and matchmaker services offer a highly selective process in which the seekers specify the personality, physical appearance , income bracket and other details of themselves and their potential mates. Peter was a handsome lawyer who dressed very well and had expensive taste. This successful and famous musician was also sensitive guy who wasn’t afraid to cry. This hunk would have cleaned house on www.composerdate.com.

Even if he chose to continue his relationship with the widow on-line, it would’ve saved him oodles in postage stamps and would have been much quicker than mail delivery in 1880’s Russia. Maybe he could’ve gone a step further and picked up the phone, or even hopped on a plane to take a visit! It’s these modern-day miracles in technology that could have bridged an awkward gap in poor Tchaikovsky’s love life.

As I write this I think of what my love life would have been like if I lived in the time of the great composers. Chances are, I would’ve married for money, or worse, against my will, and life as a woman would have meant serving my husband and fifteen-plus children. At least my corset would’ve had me too breathless to complain…

Even though life seems to be more complicated in the 21st Century than ever before, I’m blessed to have a relatively simple life with endless opportunities and to have found love. It’s not romantic, but it’s simple, it’s real and it’s mine.

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years.

She currently writes columns for two Canadian publications and Australia’s “Music Teacher Magazine.” Writing allows her to teach people that the world of music is as fun as you spin it to be!

Rhiannon’s business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her commitment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca

Rhiannon is also Founding President of the Shuswap Violin Society which promotes violin & fiddle music and helps young musicians in need: http://www.violinsociety.ca

Trancing Out with Ombilikal Web Radio – A Review

Writen by Stefan Smith

Internet radio is booming, providing a way for listeners to enjoy just about any genre of music that strikes their fancy or matches their personal tastes. Internet radio would seem to be especially well suited for the high-tech beats associated with today’s club and rave scenes.

Indeed, club (or dance) audio streams can be found in abundance on the Web. One of the best sites for sampling and enjoying this “trance-out” music in all its manifestations is Ombilikal.org, home of Ombilikal Radio. Ombilikal Radio broadcasts a steady stream of drum ‘n’ bass, jungle, electro (or electronica), breakbeat, hip hop, dub, ragga, roots, nujazz and downtempo music.

I’m familiar with some of these genres and subgenres, but others leave me scratching my head. As I definitely need to bring myself up to speed on what’s trendy in the clubs these days, I can’t think of a better way to do that than listening to Ombilikal.

The Ombilikal Web site has an appropriate industrial look to it. It also offers more than just streaming radio. There are forum areas, news and review sections, an events calendar and more–all of it oriented to club-type music.

One drawback to the Ombilikal Web site–at least for us English speakers–is the fact that its native language is French. Its creators have thoughtfully provided instant-translation buttons so non-French speakers can re-render its pages in English, Spanish, German or Italian. The results, though, are pretty rough. For example, here is the “English” version of an announcement of an upcoming event:

Indeed, has the invitation of the Festival Osheaga, Montreal Eclectique Groove takes possession of a scene external in full heart of the Park Jean Drapeau. Beginning of the afternoon until the tombee of the night, within a framework favourable with the relaxation – between lakes and success of greenery – this go from now on impossible to circumvent invites each one has a weekend rich in musical discoveries.

Oh, well, the main draw of Ombilikal is the audio stream, and for that you don’t really need a translation–especially when you can sit or lie back and just let yourself trance out to the insistent electronic beat.

Music Management Jobs In Nashville Require Hands-On Experience

Writen by Joe Taylor

It’s not just aspiring singers and songwriters that travel to Nashville seeking fame and fortune in the music business. A new generation of aspiring music management professionals are moving to Music City for a crack at the kinds of music management jobs that can lead them to lucrative careers.

Like most behind the scenes jobs in the music business, music management jobs require a lot of hard work, a passion for entertainment, and powerful people skills. Although a growing number of music business degree programs have popped up – most notably, at Nashville’s Vanderbilt University – experienced music managers can tell you that music management jobs require the kind of real world experience that you can’t find in a classroom.

Music management jobs in Nashville require a willingness to work hard and the courage to use whatever connections you have to get in on the ground floor. Entry level music management jobs require long hours, handling routine chores like handling fan correspondence and monitoring online bulletin boards and blogs for fan activity. Few music management jobs in Nashville are ever posted publicly – most music management companies fill open positions by recruiting from their pools of eager interns.

You don’t have to wait for a music management job in Nashville to open up for you to build experience in the music business, however. Most of the music industry’s most influential managers had little or no direct experience with the entertainment business before working with acts that would become superstars. Working directly with a client can give you the specific experience you need to grow your own music management career.

Whether you build your own music management agency on the foundation of your work with a young and hungry client, or you prefer to punch the clock at a larger, established agency as an intern, direct experience is the path to the very best music management jobs in Nashville.