Saturday, July 5, 2008

Drum Sets Buying Guide

When it comes to buying a drum set, you can spend as little as $200 and as much as $600 on just the basics. Adding accessories and name brands can add hundreds (even thousands) to the price, but no worries: kits are always a great investment. Whether you're playing with your buddies in the garage, getting started with lessons or playing regularly, a great drum kit never collects dust. A basic set will include a snare and bass drum as well as tom (or tom-tom) drums and cymbals. Tom drums usually consist of three drums: a high, mid, and floor drum. Ride, crash and hi-hat cymbals are all common, but an individual can learn on just a ride cymbal along with a snare and bass drum.

Name brands drum sets include:

When buying a drum set, keep in mind the cheaper kits will not be as sturdy or have the same sound quality as more expensive sets. The price of the set can often suggest the longevity of it as well. Ultimately, your price range and needs can be met through discounted kits and online shopping. Keep in mind all sets can be upgraded. Accessorizing your set can include any and all of the following:

One problem beginners might have with their new drum set is knowing where to start. One of the first things you might want to do is get comfortable with your new set. Set some time aside to be surrounded by the set and to get comfortable with gripping your new drumsticks. On television and movies, you might see characters carrying their drumsticks around. Although a stereotype, this practice allows a beginner to become familiar with their new equipment in order to get the best out of one's drumming experience.

While listening to your favorite music and playing along might be a great way to learn for the trained ear and those with inborn rhythmic abilities, don't be afraid to reach out for lessons and experience. Private lessons can be a great way to learn the basics and beyond on your new drum set. The best approach to private lessons is to select material that you enjoy and by providing it for your instructor. Let them know what you are interested in and what you expect. Because it is easy to pick up bad habits from private lessons, consider trying out several teachers and be willing to change up your style while incorporating different techniques.

Instructional videos and DVDs can be great tools as well. You can replay footage and go at your own pace with media sources. They also aren't as expensive as private lessons and you can trade up different video lessons as you please. Online drum lessons afford the same freedom. These lessons provide the basics to proper drumming techniques and give great tips on how to practice effectively.

Anne Clarke writes numerous articles for Web sites on gardening, parenting, fashion, and home decor. Her background also includes teaching, gardening, and fashion. For more of her useful articles on percussion, please visit Drum Sets, supplier of a wide range of drum sets, drum kits, drum heads, stands, and more.


# posted by fdwvsmr944 : 8:45 PM  0 comments

Internet Jams

Todays technology for the recording musician has been getting better and better with each passing month it seems. Software and computer interfaces are getting much less sophisticated and more user friendly for the average Joe. And,let's not forget, less expensive.

Software like Acid Pro 4.0 is what I use to create and upload music to the web. I've been using products from Sonic Foundry
Sony) for 4 years now. Their software products are superb to say the least. I highly recommend this software to build your
music creations.

Acidplanet is where I upload my music and Video for the whole world to see and hear. As a member, you can upload music and video files for free.

Software like Vegas Video (also made by Sonic Foundry-Sony), it is what I use to create music videos.

Now, dont get me wrong this is the software I use and recommend. There are many reliable programs out there to choose from.

I've been doing some online music collaborations as of late myself. This has been a great experience for me. However, as with anything else, there is a learning curve.

So... I thought I'd pass some simple tips that will help anchor you to a basic format you can start with.

These are common sense tips that I'm giving here and they work well if you follow this basic format everytime.

First, you need you find a website that has musicians who have the same interest you do. Yes, "online music collaborations."

"Musician Forum Boards are a great place to start. Here are just a few that will help get you started."

Guitar Noise Forums has recently created a page called, appropriately enough, Online Jams and Collaborations. Its pretty much a bulletin board where you can hook up with others who are interested in putting together an online jam, hosted by
another site. You can join in on a jam or announce one of your own.

GuitarDuel.com is a site for guitarists of all ability levels to display their work. The best part is that it's free to join, but we'll have weekly contests with real prize money," says site creator, Don Harrold.

The appeal of GarageBand.com is the unique way in which it uses the Internet to find talented new groups.

Artistopia is committed to building the ultimate end-all solution for music artists, musicians, songwriters, and industry professionals to develop and do business in one spot. Armed with comprehensive membership plans, industry experts, expert technologist, business management, and solid online presence, Artistopia is leading the frontier in online artist
development.

Whenever a site such as these have a Forum Board, use them to find other artist that have the same taste as you. I usually
introduce myself right away after signing up. It doesn't take long until you find some really cool musicians that are more
than willing for an online collaboration. Acidplanet.com is where I upload my tunes.

Once I get on the Forum Board, I'll look for topics of discussions. Songwriting Topics, Recording Topics etc. This is where you'll find folks to collaborate with.

A great why to start is by taking a consensus. Throw the idea out there with some guidelines established. Remember, it's all
in the approach. Then, folks need to hear what you are working on first, just to find out if it's something they can get into...

My first "collabs" were done by posting backing tracks for others to download and do their own thing with..

Some of the top players on AP really had a good time with that, and it grew into something way beyond what I intended. Very
cool

You can do the same thing by building the backing track, and listing the lyrics you want in the song description.

You'll probably get a lot more folks involved if you let them post the songs on their own pages too...

To collaborate with others takes time. Just being vague and asking for a collaboration will probably not get very many
responses. Having your ideas laid out before hand would probably get more responses. Most good musicians I know are looking to be challenged a little when it comes to making music. Remember, it's got be worth while I'm sure.

Any "collaboration" is a community effort between people, with equal input and participation throughout the project.

A great approach would be to post a subject idea for a group project, discuss ideas posted by participating members on that subject, and come to a consensus on:

1. What the outline of the song should be (genre, instrumentation, time signature, tempo, key, section layout of verses/choruses/bridges/solos).

2. Which people will contribute what parts and instruments

3. Where the finished parts of each collaborator will be uploaded to

4. Who is responsible for collecting/mixing/mastering the parts

5. A timeline for when parts need to be done to keep the project moving smoothly

6. What profile the song will be uploaded to

7. A "project head" to oversee the entire process and make sure things are running smoothly, communication is consistent and
informative, and every participant is included equally in the project.

"Hope these tips and guidelines help you get you on the right track."

Internet Jams By Scott Thomas

Scott Thomas
Managing Editor
Guitarz Forever.com


# posted by fdwvsmr944 : 5:31 PM  0 comments

Indiana Jones and the Kingdom of the Crystal Skull Movie Review

BOTTOM LINE: Indiana Jones is back with style with a strong central concept, great character moments and entertaining sequences that we've come to know and love, despite not quite hitting all the marks (and in fact missing some completely) that the previous films did.

THE GOOD: The single biggest question mark hanging over this new installment in the Indiana Jones series was whether or not Harrison Ford could still play the role at his age without any mobility assistance; I'm glad to say that he's most definitely up to it and for much of the running time you can believe that no time has passed at all, save some scenes where they make his age a blatant issue. It's great to see Ford back in action and in a strong, dignified role after a string of woeful and forgettable films ("Hollywood Homicide" any one?). Story-wise, this film has a lot going for it, least of all being the Crystal Skull itself and it's tie in with an alien civilisation that helped teach early humans to build technologies more advanced than they were capable of at the time. Whenever the story moves toward the Skull itself, there is a certain spookiness about it, especially its ability to communicate telepathically with people and is best exemplified in the finale when it is returned to its altar and combined with the other alien skeletons in a spectacular finale.

As this object revolves around an alien artifact there's a visit at the outset from the film to Area 51 where our main villain played by Cate Blanchett wants to steal the body recovered from the Roswell crash in 1947; all nice touches. Continuing the theme from "The Last Crusade" of Indy's family, we're introduced to Indy's son played by Shia LaBeouf who does an amicable job of exhibiting his father's traits, and Karen Allen returns as Marion and it was nice to see the feisty relationship between Marion and Indy back on screen. The action is probably on par with the previous films, and Spielberg and Co. manage to make these quite entertaining and at times funny (harkening back to the old Saturday afternoon serials which these films are based upon). There are quite a few references to Indy's age in this film, but they're worked in organically and after a few scenes you don't really notice his age as your swept up in the story. What works well in this film is that it still has many of the elements that made the previous films so good, so when you walk out of the cinema, you feel as if you've watched another Indiana Jones film and not some tired cash in which is a shadow of its former self.

THE BAD: Despite being a good Indy film, there's something missing from this installment. It has the usual components that made the old films work, such as character, action and a fascinating archaeological object in the Crystal Skull. And it is an entertaining adventure film with some excellent action. However, one of the strongest elements of the previous films in the series involved the mysticism surrounding the object that Indy was chasing and in this film, despite an excellent finale where we finally get the power of the skull emerging for all to see, we don't really get a sense of the mystical aspect to the story. Spielberg and Co. are too focused on including too many scenes which function as explanations for why this film should exist (ie backstory: what happened to Indy's father and Marcus Brody, what happened to Indy in the years between this film and the last, poking fun at and/or acknowledging Indy's advancing years). As a result, not as much emphasis is placed on the Crystal Skull itself and its power which is a shame because it was perhaps one of the strongest concepts in all of the movies (definitely better than the Grail from "The Last Crusade").

Cate Blanchett, despite putting in as strong a performance as possible in a film like this, isn't really as nasty a villain as those from the previous films, and the lack of any other villainous characters (there was usually more than one in the previous films) leave this area of the film a little flat. Another thing that felt a bit off was the lack of pre-story sequence where we see Indy in a mini-adventure that has nothing to do with the rest of the film (as with the previous films). Instead, right from the beginning we're right in to the main story; this might also have been a symptom of Spielberg and Co. wanting to devote more screen time to explaining the existence of this installment. And Indy's main music theme doesn't actually appear in the soundtrack all that often. It's a shame because these types of things do detract from the film leaving you feeling with a "that was good but it lacked something..." feeling when you walk out of the cinema.

For the original review, follow this link: http://www.allaboutmovies.net/filmreviewindianajonesandthekingdomofthecrystalskull.htm

Todd Murphy is a staff reviewer at the film/DVD review web site, http://www.allaboutmovies.net - for all the latest reviews on the newest releases.


# posted by fdwvsmr944 : 2:18 PM  0 comments

Piano Recital Checklist - 12 Secrets For A Successful Performance

When it comes to taking piano lessons most students perform in recitals at one time or another.

Whether you are a seasonal recital performer or are facing your debut appearance, you probably have questions, concerns and a few butterflies too.

Whether you plan to take center stage or simply want to feel a sense of satisfaction for song playing success, you will need to develop a strategy.

In his book, Eat That Frog! 21 Ways to Overcome Procrastination and Get More Done in Less Time, Brian Tracy refers to the six "P" formula which says:

Proper Prior Planning Prevents Poor Performance.

But how can you do this? Where do you begin? Feeling confused or even stuck?

By using the following checklist, you can unlock the door to a great recital performance.

Here is your Piano Recital Checklist:

12 secrets to help you make your performance a huge success

  1. Start preparing early.
    1. Think of the fable of the tortoise and the hare, and remember the moral of the story: slow steady progress wins the race every time.
    2. Find the balance between getting started too early (which can cause boredom) and last minute cramming (which never works).

  2. Select your music carefully - use many factors to decide.
    1. Do you really like and enjoy playing your recital piece?
    2. Have you already spent time learning the music?
    3. Can you discuss your choices with your teacher?
    4. Do you feel comfortable with the level of difficulty?

      Follow this rule of thumb: select something easier than your current learning level so that you can "master" the piece rather than "stretching your limits" just to get through it.

  3. Study the musical details of your recital piece(s).

    1. Look at the form and structure of the song to help you feel more confident as you play with continuity from beginning to end.
    2. Pay attention to the dynamics, articulation and musical expression marks. These guides will help you present a more powerful and moving performance.
    3. Take note of the tempo and meter so that you can learn to play your piece evenly and smoothly at the proper speed.

  4. Set up your practice time-table.

    1. Start with the performance date and plan backwards.
    2. Take difficult sections of your piece(s) and work on them early and consistently.
    3. Set some target dates for reaching certain short term playing goals so that by the time the recital arrives, you've mastered the complete piece(s).

  5. Make sure your practice spot propels your progress.

    1. Carefully assess the place where you practice to make sure that feels inviting to you. This one factor can encourage or discourage you tremendously.
    2. Make sure your piano is in tune and that you have the proper lighting.
    3. Be sure that it is free of distractions such as TV, video games and computers.

  6. Organize your recital music as soon as possible.

    1. Photocopy and put all of your recital pieces into a loose-leaf to be used just for your recital performance
    2. If you use piano books, open your books to the correct pages and place one behind the other. Note: Doing this will make it easier to focus on your most important and time-sensitive goal: getting ready for your recital.

  7. Practice all of your recital pieces every single day

    1. Always practice the selections in the order that you will be playing them in the recital.
    2. Practice each piece several times before going on to the next one (including extra practice on problem areas).

  8. Listen to recordings of your pieces by top professionals.

    1. You will become inspired, motivated, energized and enthusiastic every time you hear how terrific your song can sound like when played with expertise.
    2. Take your MP3 player or iPod with you and make your songs your companions.
    3. Download a variety of versions of your piece(s), because each performance will offer you something special.

  9. Record yourself playing your pieces and listen to them.

    1. Record and listen to your run-throughs a couple of times per week.
    2. Save the recordings and listen to the previous ones so you can hear your progress.

  10. Play your recital pieces for family and friends.

    1. Take the opportunity to "perform" as often as possible.
    2. Play your pieces on as many different pianos and keyboards as possible. This will help you to adjust your touch quickly as well as build your confidence.

  11. Read inspirational material and/or listen to podcasts by motivational speakers.

    1. Sometimes you just need to be reminded of the potential that you have within you. By reading or listening to uplifting and inspiring messages you'll stay motivated to keep going when the going gets rough.

  12. Spend some time every day visualizing yourself performing your recital selections beautifully, effortlessly and enthusiastically.

    1. By imagining yourself in positive way on a regular basis, your piano playing performance will be more powerful.
    2. The greatest Olympic athletes use this technique to help them win the Gold. So can you!


Action Exercises

Here are three things you can do immediately to put these ideas into action.

First, get ready immediately, avoid procrastination and follow these checklist items:

(1) start by preparing early, (2)select your pieces carefully, (3) study the details of each musical selection and (4) set up your practice time-table.

Second, move into action by (5) making your practice spot a place of inspiration (6) organizing your musical materials so that they can save you valuable time and energy and (7) committing to practicing your recital pieces every single day (even if you only have five minutes to invest).

Third, follow the example of the pros by (8) listening to great performances of your songs,

(9) recording and reviewing your run-throughs a couple of times per week, (10) performing
"mini-recitals" for family and friends, (11) reading inspirational material and (12) visualizing your actual recital performance until you can "see" and "hear" your piano playing success.

When you apply the 12 Secrets of the Piano Recital Checklist, you'll be amazed by your successful recital performance.

Copyright 2008 by Ed Mascari All Rights Reserved

Ed Mascari has been teaching piano privately to children and adults for three decades.He combines his extensive experience to guide students in a variety of styles as he helps them achieve their unique potential.

To find out all about piano lessons, visit: http://www.edmascari.com/

To learn more about how music works visit: http://www.edmascari.com/musictheory/index.htm You can listen to, view, download and print Ed's free Music Theory Lessons as well as sheet music for "Six Simple Songs to Make You Smile". Look for Ed's helpful article "The Key Is to Get to the Keys: How to Set Up and Maintain a Successful Practice Routine" on the Lessons page as well.

Ed Mascari is a seasoned performer (pianist/ jazz organist) of show tunes, jazz and popular music as well as a published classical composer and church musician. For more info, go to: http://www.myspace.com/edmascari


# posted by fdwvsmr944 : 11:01 AM  0 comments

Renting New Video Releases On The Internet

What kind of entertainment do you prefer? Are you the kind who prefer TV serials and like the anticipation of waiting for the next episode to find out what happens next or would you rather have all the lows and crescendos in a two hour flick and know the entire story?

If you are the kind of person who would prefer to avoid TV serials, then it is advisable to stay clear of them right from the very start. If you fall for the promotions and sneak previews that you are exposed to and catch the first episode, you are likely to be stuck to them like a moron till the end of the season at least. A break in watching them may make you see some sense and hopefully you may decide not to go back to them in the next season.

Movies offer a choice of topics that is far higher than those that are discussed on TV shows and serials and you can see a plot or story from start to finish within a 2-hour period. And watching movies and new video releases without leaving the comfort of your home has become even easier.

You can rent the new video releases from the Internet. There are various sites that allow for this. Blockbuster and Hollywood Video are two such sites that will allow you to choose the kind of subscription that you are looking at. The issue with these sites is peculiar. The difficulty that one has is in finding the new video release that is popular and being able to rent it. One option is to buy the new release that proving to be evasive and you can do that by visiting Best Buy or Wal Mart or any store that offers a good price for a CD for a new release. But this option is obviously a more expensive option that renting it out.

Alternately, to avoid this problem, you could log onto to Netflix and choose a list of movies that you may like to watch and prioritize them online. The site ensures that you get the CD's in the particular order that you have chosen. The best aspect of this order that you provide the site is that you can actually choose to put a movie that has not been released on the list ensuring that it is delivered to you almost as soon as it is released. And to top it all, the mail does not take days to come and you shall find a package waiting for you within a working day of the order.

The home computer has definitely made entertainment more easily accessible and the various sites that allow you to rent CD's and DVD's online have further helped the cause of being able to enjoy a movie sitting in the comfort of your home.

To find more tips about video rentals online and new releases visit http://witty-video.com


# posted by fdwvsmr944 : 7:15 AM  0 comments

Transposition and Modulation: How To Transpose To a Different Key & Modulate Between Keys

How do transposition and modulation relate? Are they the same? In this article we're going to take a look at both of them and see what makes them tick.

I am sure that you have had the experience sometime in your piano-playing life when someone asks you to play a song -- but in a different key than in which it is written. It might be a singer wanting you to lower the song a step so he/she doesn't screech. It might be a song leader wanting you to play a song in a more comfortable keys for a congregation or group. It might be a trumpet player looking over your shoulder and wanting to play along with you -- but when he/she plays the same note you are playing, it sure doesn't sound the same!

So....it's your job, as pianist, to get that song moved to a different key. That's transposition -- playing or writing a song in a different key than in which it was originally written.

Modulation is similar but different -- modulation means the process of getting from the old key to the new key. In other words, if I'm playing in the key of C, and then want to play in the key of Eb, I have to learn to modulate -- move smoothly from one key to another without being too abrupt and jarring.

There are basically 3 ways to transpose:

1. by intervals

2. by scale degrees

3. by solfege -- the moveable "do" system.

But since solfege applies mostly to singers, we will ignore that possibility and just take up the first two:

1. Intervals: If the new key is an interval of a minor 3rd above the old key, then all notes in the song will also be an interval of a minor 3rd higher. In other words, if you are transposing from the key of C to the key of Eb, which is a minor 3rd higher (or major 6th lower -- whichever way you want to look at it), then all melody notes will also be a minor 3rd higher:

"G" in the key of C would become "Bb" in the key of Eb. "E" in the key of C would become ":G" in the new key of Eb. "A" would become "C", "B" would become "D", and so on. All chords would also move a minor 3rd higher. The "C chord" would become the "Eb chord", the "F chord" would become the "Ab chord", and so on.

2. Scale degrees: Each key you play in has it's own scale degrees. In the key of C the scale degrees are: C=1, D=2, E=3, F=4, G=5, A=6, B=7, C=8. In the key of Eb, however, Eb=1, F=2, G=3, Ab=4, Bb=5, C=6, D=7, Eb=8. So if I want to transpose Silent Night, for example, from the key of C to the key of Eb, I need to notice what scale degrees I am using in the key of C, and then use those same scale degrees in the key of Eb. For example, Silent Night starts on the 5th degree of the scale, goes up to the 6th, back to the 5th, then down to the 3rd. In the key of C that is: G-A-G-E. But in the key of Eb it is Bb-C-Bb-G. Why? Because the scale degrees 5-6-5-3 are constant -- we just need to apply them in each key. What about chords? Same idea. If the chord progression on Silent Night is the I chord followed by the V chord, followed by the I chord, followed by the IV chord, etc. -- then in the key of C that means C-G-C-F-etc., but in the key of Eb it means Eb-Bb-Eb-Ab-etc.

Modulation means getting between keys, so let's say you are playing in the key of C, but you want to get to the key of Eb smoothly, without jarring the nerves of the listeners. There are lots of ways to do it, but the main point is that you have to get to the V7 chord of the new key. So from the key of C to the key of Eb, that means getting to Bb7. How do we do that smoothly? We look for chords with common notes. Since the V of the V of the new key would be Fm7, we have C as a common note. So we hold the C in the C chord, and move the rest of the C chord to Fm7, then Bb7, then Eb, and presto -- we are there!

Hope this has helped you understand both the process and the difference between transposing and modulating. Just remember this: Transposition means to play a song in a different key, while modulation is the process of getting from key to key.

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, chord charts, musical software, and piano lesson instructional courses for adults. A free lesson on transposition & modulation is available: "Transposition & Modulation: What's the Difference?"Duane holds advanced degrees from Southern Oregon University. You can sign up for his free 101-week online e-mail newsletter titled Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions" which now has over 70,000 current subscribers worldwide.


# posted by fdwvsmr944 : 3:31 AM  0 comments

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