Who's active your plane? - the rolling stones

This song was released as a "B" side single in both the States and the UK in Sept., 1966. However, its US title was "Who's Driving My Plane". Vocal Echo: Mick Jagger Piano: Jack Nitzsche Harmonica: Brian Jones Electric Guitars: Keith Richards & Brian Jones Drums: Charlie Watts Bass: Bill Wyman Who's Driving Your Plane? (Jagger/Richards) It was your father who trained you and your mother who brained you To be so useless and shy But I just replaced them and tried not to break them Because you could stand up if you tried And I wanna see your face when your knees and your legs Are just gonna break down and die And, who's driving your plane? Who's driving your plane? Who's driving your plane? Who's driving your plane? Are you in control or is it driving you insane? If I could wave a magic wand, then maybe you'd change Back to bein' a blonde And your skirt would come down, it would cover your feet! If I said, "It's not camp to wear Tiffany lamps" You'd be thrown right out in the street And I wonder who's driving your plane? Who's driving your plane? Who's driving your plane? Who's driving your plane? Are you in control or is it driving you insane? You could stand on your head or maybe sing in bed If I said it was the thing to do If you're in with the faces and their getaway places 'Cause they don't take no notice of you Well, the trendy pace-setters will just called you a pain 'Cause I want to know, who's driving your plane argentina capital stone mundial

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Count Basie - The Count of Piano Jazz

One of the all time greats of jazz is William "Count" Basie. He was an American jazz pianist, bandleader, and composer. Widely regarded as one of the most important jazz bandleaders of his time, Basie led his popular Count Basie Orchestra for almost 50 years.

Count Basie was born William Basie on the 21st of August 1904 in Red Bank, New Jersey. He was formally taught piano in his younger days. A dreamer, he always fantasized about a life on the road always traveling inspired by the carnivals that came to town every now and then. He was no newbie to showbiz. He used to hang around the Palace Theater at his hometown Red Bank and do small chores from where he used to get the money to attend the shows that were held at the venue.

He soon enough learned how to handle the lights for the vaudeville shows held at Palace Theater. On one occasion, when the pianist didn't arrive in time, he filled in. He was soon able to play and improvise and play background music for silent movies.

Basie also had great taken for another instrument - the drums - but was forced to forego the drums for the piano after seeing Sonny Greer play. The two played together in their younger days. He realized that he was no competition to him.

Basie soon got involved in the local music scene playing gigs with pickup groups. One of the many groups that he played for was Harry Richardson's "Kings of Syncopation." At age 20, he moved to Harlem which was the place for a jazz musician to be at that time and was staying just a small distance from the Alhambra Theatre. He was fortunate to meet many of the musicians who were making a name for themselves - Willie "The Lion" Smith, James P Johnson and his drumming nemesis Sony Greer.

He got himself gigs touring and playing with many acts like Katie Krippen and Her Kiddies (who were one of the groups in the Hippity Hop Show), vaudeville organizer Benjamin Franklin Keith's shows, Columbia Burlesque and the Theater Bookers Owners Association's vaudeville shows. He also was accompanist to blues crooners Katie Krippen and Gonzelle White. He travelled extensively trough out America for these tours and met many top jazz musicians of the time including Louis Armstrong while on tour.

Basie became the in house pianist at Leroy's - a joint that was famed for the cutting competitions held there. While serving as pianist at Leroy's, he met Fats Waller, who at the time used to play the organ for silent movies, who taught him how to play the organ. It came useful for Basie when he got a gig playing the organ at Eblon Theater later. Willie Smith helped him out when gigs started to get rare arranging for him to play at house rent parties. He also introduced him to the elite musicians of the time in addition to teaching a few tricks at the keys.

1928 saw his collaboration with another big band - Walter Page and His Blue Devils - whom he saw play. He was invited to join the band as they traveled mainly through out Oklahoma and Texas playing gigs. His stint with Walter Page and His Blue Devils gave him the name "Count" by which the whole world knows him. A stint with Bennie Moten's band moved him to a classier and respected playing style as compared to the blues tendencies of the music that he played with The Blue Devils. Basie took the extra responsibility of being one of the two arrangers of the band. He played four hand piano and at times play dual pianos with band leader Moten.

After Moten was voted out of the band, the band was called Count Basie and his Cherry Blossoms. The band didn't last for long until a while after the death of Moten. Basie started a new outfit with many of his colleagues from his last band in addition to Lester Young who played tenor saxophone. His stint with this group brought forth his signature tune - "One O'Clock Jump." The song was initially written in D Flat but ended up being played in the key of F.

His band, the name of which was changed to Count Basie and His Barons of Rhythm got a elongated gig at Grand Terrace Ballroom, Chicago. The name change was because the rhythm section was the strongest section of the band. He also was the first to use two tenor saxophone players while most bands used only one.

The two tenor saxophonists soon started having a difference of opinion of each other's playing. To sort things out, Basie placed them on either side of the alto players which led to literal duels between the two - something that caught on when other bands started using the split tenor arrangement.

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Piano Made Easy - Play Music by Ear and Enjoy It!

I've always been the type of person to get bored easily. I don't like wasting a lot of time on things that aren't fun. And although some things just have to be done and and sometimes not very enjoyable, why should learning how to play the piano be a chore? I mean I look at the piano as a hobby. Maybe a hobby that requires some knowledge, as most do, but it still a hobby none the less. So with that said, I want to enjoy my hobby. When I first started playing the piano I wanted to do things that my hand just couldn't do. So my parents made me take my first piano lessons. This for me was a very unproductive time for me. I did begin to learn to sight read but to me it was just plain boring. While sight reading is a good skill to have, I was just bored out of my mind. I felt completely stunted creatively. I was learning techniques and scores but I wasn't being taught how to let me come out in my playing. I needed something with more freedom as well as some excitement.

I would always hear about people who played piano music by ear but really thought it was something only the elite piano players could do. I could play a couple notes on the piano but it was nothing special. I only took two months of piano lessons then quit. I obviously needed something that gave me some good information on the piano but wasn't a drag to do. I put my piano away in the closet because I was fed up with the whole thing. I thought maybe it's just not for me. And that point I had to do some thinking. If I was going to play piano, I had to enjoy doing it period.

So one day, while doing a very broad search on how to play the piano, I came across a site that taught piano players how to play music by ear. I had glanced at things like this but never really payed any attention to them. Playing piano by ear was something that intrigued me. So I took a course about playing by ear. For me it was ground breaking. From just one lesson I was able to do things and comprehend thing that I was previously unable to do. Who would have thought that there was actually a technique playing the piano by ear? I found out that just knowing simple patterns on the piano can help you to find even the most complicated songs. And to top it off, I was having fun doing it. And the more I learned, more I wanted to learn. I highly recommend anyone wanting get serious about the piano but still have a good time on the piano, learn to play by ear.

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Learning To Stilt Walk

I have been stilt walking over a decade now. I have performed all over the world at many different venues and events. From TV commercials and casino stages to Indy parades and music festivals. After successfully teaching many people to walk on stilts as apposed to falling, I can say with confidence that my technique works. This is a quicker and easier way to become a self-confident stilt walker than most.

How do I learn to stilt walk

The best and most obvious way to learn how to stilt walk is with a tutor. However this is not always possible in which case here are a few pointers.

What stilts do I use

There are 3 main types of stilts used by stilt walkers today. The most commonly used stilts are "single pole" stilts. These stilts have been used in circuses for centuries. Most people are familiar with these. Another type of stilt commonly used is the "drywall" stilt. These stilts are hinged with a wide base making them more stable. These were primarily developed for use by plasterers. Thirdly, "poweriser" stilts are commonly used. These enable the stilt walker to leap, jump and run.

What's the best

The best kind of stilt to use depends upon the type of activity you want to do. Things to consider are:

o The type of character/job you are playing/doing; and/or

o design/weight of your costume; and/or

o height of costume; and/or

o type of movement you are planing to exercise; and/or

o environment in which they will be used.

Drywall stilts are the easiest to use and easiest to learn on. Using these is the closest to walking with your own legs! However these have disadvantages too. They can be expensive, especially to repair. They have large feet, which makes them less versatile for costuming. They can be noisy too, and often sound like Dr. Strangelove's arm. These really are geared for use by beginners. However, a professional stilt walker will use them in limited circumstances for certain performances. They are excellent for stationary costumes like statues, juggler's and big heavy costumes.

Pole stilts are the most communally used stilts by performers. These are a lot harder to learn on. However pole stilts allow for more graceful movement once you have mastered them. There are many variations of pole stilt, from home made wooden stilts to aluminum stilts. Some have the brace up the back and some up the side. Some stilts use Velcro straps, and some bolt the shoes in. I prefer aluminum stilts with a brace up the side and my shoes bolted in for my performances. Shoes bolted in are more secure as Velcro allows for more movement in the foot, which is generally undesirable. Side braces can often feel more secure for advanced movements.

Finally there are powerised jumping stilts. These have a curved spring loaded pole which uses the down force of your weight to provide lift, much like having a trampoline strapped to your foot. These are great fun and you can get some big air and great speed up on them. Costuming is sometimes restricted with the powerised jumping stilts. These certainly do take some practice. It is harder to become more advanced on these due to the acrobatic nature of the exercises these make possible!

Extra equipment

There are some extra pieces of equipment that I would recommend. Firstly (and MOST importantly), knee pads are required even when you are at a professional level. These can save you from severe injury. Secondly, shin pads are excellent for making your stilts more comfortable. All types of stilts need to be strapped on tight. The shin pads will protect your legs from the straps as they can become quite painful after extended periods of walking/performing. Also for the absolute beginner wrist guards and a helmet will help protect you from most falls. Further, these will help you feal a little safer when starting

Now I have stilts how do I start???

This is the best way of learning stilts I have found yet. Remember when falling always go knees first!!!!!

Firstly, find a friend that is willing to help and able to support your weight. Secondly, find an area that you can fix a rope between two points like two trees or two lamp posts, telegraph poles or even goal posts. To begin stilt walking, it is easier to walk on firm ground as this provides for greater stability. The rope should sit between your waist and arm pit whilst on stilts. You should also have something to sit down on and put on your stilts. A car roof is generally pretty good to sit on. Although anything a bit taller than your stilts makes the transition from a seated position to a standing position easier. Your friend can help guide you from your seat to the rope by providing support much like a walking frame.

Your feet must be about shoulder width apart. Remember to keep your feet straight and toes to the front as though you were walking on your heels. Start by standing upright and facing along the rope with it safely under one arm. This is for you to grab in case you lose your balance. First, practice "marking time" this is the name for walking on the spot. Each leg is lifted so that the stilt leg is about 6inches above the ground and then returned to the spot. This is repeated with the other leg, shifting the weight from one to the other. You can't stand still until you are a master!!! Think of it as like riding a bike. When learning to ride a bike, it is difficult to learn how to be stationary without falling off to the side. Stilt walking is the same, but you could fall in any direction!

After you have become used to the weight of the stilts and can control them, you can now try taking a few small steps. This is just the same as before, except your foot is placed a little further forward. You are now moving! When you reach the end of the rope, turn by pivoting on one foot. This is generally a good time to ask your friend to be on stand by. I tend to find that after about 20mins you pass through a pain barrier. This is your muscles getting used to a different way of walking. It does get easier to walk once you pass this pain barrier - promise.

Once your confidence has built up, get your friend to stand away from the rope and walk towards them. Have them ready to catch you if you fall. Do this every day for a week (or as often as you can). By the end of this time you will be a confident stilt walker. Once you're comfortable walking, then try some new things like running, skipping, pirouettes and managing slopes.

Technique tips

To walk on stilts you need to fall forward, the same as we do to walk normally. However, if you lean too far, you will fall over especially if you don't step forwards.

When falling always fall to your knees. This is what the knee pads are for. If you're falling backwards twist your body to fall to your knees. If you put your hands out you will most likely break your arm. Also you do not want to fall on your back; this is when most severe injuries happen.

Learn to pirouette and step out of it as this will help you in recovering falls. Also you can usually stop yourself from falling if you step out a little further, however, if you step too far, you might end up doing the splits - or worse, straining a kneecap!

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How to Improvise Freely On Piano!

Ah, to sit down and play. One of the joys of being able to play the piano is to know how to play it. But so few can or do. What I mean is this - if you can't walk over to your piano, sit down and just play whatever you feel, you are shortchanging yourself on a wonderful experience. Plus, it's not as difficult to do as many might have you think.

The thing that stops more students from being able to improvise freely is self-doubt. They just don't believe they can do it. And of course, they lock themselves with this belief. I can relate. I had to work long and hard to give up my own set of self-limiting beliefs about what I could or couldn't do on the piano. One of the biggest of these was "I'm not good enough."

This thought in particular will freeze you and keep you stuck. Look at it this way. No one is good enough! That's right! No one will ever be the best at playing piano because there will always be someone better - technically speaking that is. That's why it's very important to free yourself from such inane beliefs. Listen, you are good enough and you are ready to express yourself at the piano. Here's one method that will have you improvising freely in no time.

We'll begin with the piano lesson "Reflections in Water" as an example. It's a free lesson that everyone has access to. The beautiful thing about this lesson in particular is that you are given a way to play the chords that sound modern and you are given the chord progression to play. You are free to create your own melodies to these chords. You see, another thing that students often don't get is that you need a set of limitations to improvise freely. Why? Because there are so many choices!

By giving you a certain Key, chords, and chord progression to play, I'm limiting your choices so you can focus on expressing yourself rather than trying to decide what chord to play. Eventually, when you understand how limitations work, you'll be able to create your own set.

Now, with these parameters in place, we can sit down at the piano and spontaneously create music!

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How To Learn To Play Piano Efficiently And Easily By Mimicking Professional Piano Players

The best way to learn a language is to imitate native speakers. Likewise, the best way to learn the piano is to imitate professional piano players.

When you learn a foreign language, you try to converse with those who speak the language fluently. Hopefully, you'll pick up the right intonation, phrasing, accent, and pronunciation. The more you imitate, the more fluent you become.

Learning the piano is no different. Music is a language. As such, it has intonation, phrasing, dynamics, etc. But the key to mastering the piano, like mastering a verbal language, is to acquire good habits from the start. This is why it's important to learn from someone who has already mastered the language of piano. Many beginning piano students fall into the trap of learning by themselves without the proper guidance to master the fundamentals. The following pointers help to get beginning students into the right track to becoming competent piano players.

o Seek out a good piano teacher who does not hesitate to let you imitate his/her skills. Ask yourself this question "is he/she going to teach me the necessary skills to become a well rounded player or is he/she just going to teach me the same old "Twinkle, Twinkle Little Star" like many other old school teachers do. If you go with self study, make sure you choose a system that emphasizes the imitation technique.

o Learn the fundamentals - take your time to learn the basics. When you first learn a foreign language, you don't try to converse in full sentences right away. You start out with one letter at a time, one syllable at a time. Then you put syllables together to form one word, and then you put words together to form sentences. Before long you're able to communicate with your fellow students. Likewise, when you start out learning the piano, learn one hand at a time, then hands together; one chord structure at a time, then chord progressions. Simply and joyfully.

o Choose a method that de-emphasizes note reading and encourages chord style playing and playing by ear. I'm not saying that you should not learn how to read note, but if you want to start playing hundreds of songs, start learning chord style piano. Chords are much easier to learn and master. With only a few chords you can play many pop songs pretty quickly. And if you are so inclined to learn classical piano later on, you can always focus on pure reading then.

o Have fun or else - just because you are starting out learning the piano, doesn't mean you can't have fun. This is important if you want to keep playing the piano for years down the road. Many students give up early because they don't have fun. Unfortunately, traditional methods that teach rote memory and emphasize on sight reading tend to discourage this important element. Thanks to today's technology and other alternative piano methods that focus on chord style piano playing, students learn to play and have fun from day one. Some online piano methods incorporate audio, video, and computer games to help the beginning students learn better and faster.

The key to learning to play the piano well is not about "suffer first then enjoy later", but to enjoy it now - from day one! It doesn't have to take 6 months before you start having fun. Take all the time you need, but enjoy every moment of it now.

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Piano Covers - How to Measure for a Custom Piano Cover

When submitting an order for a customer made piano cover it is important to measure the instrument correctly so that the piano cover can be made according to the right specifications. I have witnessed people turning in measurements either too big or too small, with smaller measurements being far worse, and not been satisfied with their purchase. Almost always the issue that caused the incorrect measurements to be turned in is a lack of understanding about what and how to measure your piano for the size to make the process a great one for both the customer and the manufacturer.

To begin to take the measurements, it is very important that you understand what the piano cover manufacturer is looking for. Typically the piano cover manufacturer will want to take all measurements around the outside of the piano. Start by taking the measurements from the floor to the keyboard, the keyboard to the base, the base to the crown, and from the beginning of the crown to the rear of the piano. Then measure from the crown to the floor along the back side, since the measurement in the front only took from the keyboard to the floor. It is also important to measure from the keyboard extending upward to the rear of the piano and finally, the width of the piano at the keyboard.

The manufacturer and model number are also important because with that data, the piano cover manufacturer can look up drawings related to that model and double check the figures provided to ensure an accurate measurement has been taken. We often get asked why the measurements should be taken if the model and manufacturer are available. The answer to the question is simple; when you are making anything custom it is much better to measure twice and cut once. With that concept in mind, everyone will be happy with the end product.

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The 50 Million Pound Weight Loss Challenge - Is It Really a Free Weight Loss Challenge?

There are many reasons why diets and exercise programs do not work, but probably the primary reason is that people lack the motivation to keep up with the program. A lot of people quit halfway primarily because there's no support or when their weight loss efforts does not produce the results that their hoping for. Joining a free weight loss challenge may be the answer to this problem.

Free solution?

The "50 Million Pound Weight Loss Challenge" is a free weight loss challenge on the Internet. The goals of this free weight loss challenge is to teach people the importance of healthy eating and living, to unite people to overcome the overweight problem and to teach people more about their body

The program was started by Dr. Ian Smith in partnership with an insurance company. The challenge aims for its participants to collectively lose 50 million pounds and reduce health risks associated with being overweight poses. To keep track of the participants' weight loss, they must indicate their weight when they started at the program's website and record the results at the end. They can also regularly key in their progress as they lose their weight.

Is it right for you?

The program is targeted towards African Americans because they are the ethnic group most affected by the overweight problem. Just look at these facts:

1. Almost 80% of adult women and 67% of adult men are overweight, while

2. Some 20% of African-American teenagers between the ages 12-19 are overweight,
and the numbers continue to rise. However other groups are also welcome to join this free weight loss challenge.

Included in the program is a kit that features a pedometer to help you reach your weight, a booklet and a motivational CD by Dr. Ian Smith.

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II DIVO CARUSO CONCERT AT VIEJAS ARENA AT AZTEC BOWL SAN DIEGO 2009 WITH LYRICS

Caruso : Qui dove il mare luccica e tira forte il vento Su una vecchia terrazza davanti al golfo di Surriento Un uomo abbraccia una ragazza dopo che aveva pianto Poi si schiarisce la voce e ricomincia il canto Te voglio bene assai ma tanto tanto bene sai E una catena ormai che scioglie il sangue dint'e vene sai Vide le luci in mezzo al mare penso alle notti la in America Ma erano solo le lampare e la bianca scia di un'elica Guardo negli occhi la ragazza quegli occhi verdi come il mare Poi all'improvviso usci una lacrima e lui credette di affogare Te voglio bene assai ma tanto tanto bene sai E una catena ormai che scioglie il sangue dint'e vene sai Ma due occhi che ti guardano cosi vicini e veri Ti fan scordare le parole confondono i pensieri Te voglio bene assai ma tanto tanto bene sai E una catena ormai che scioglie il sangue dint'e vene sai Te voglio bene assai ma tanto tanto bene sai E una catena ormai che scioglie il sangue dint'e vene sai Here, where the sea shines and the wind howls, on the old terrace beside the gulf of Sorrento, a man embraces a girl he wept after, then clears his throat and continues the song: I love you very much, very, very much, you know; it is a chain by now that melts the blood inside the veins, you know He saw the lights out on the sea, thought of the nights there in America, but they were only the fishermens lamps and the white wash astern. He felt the pain in the music and stood up from the piano, but when he saw the moon emerging from a ...

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Piano Lesson Study Tips for Memorizing Music Knowledge

Piano students need to learn music theory to tap into all their musical potential. This involves some memorization of facts, however, so that they come easily to mind while playing. Don't let this intimidate your or your piano student at home. This is not hard to do, it just takes a little creativity and planning. Here are three creative memory techniques that work, even for young children.

1. Organizing the material for easier storage and retrieval. Since music theory can all be seen on the piano keyboard, visualization is an important tool or organizing information that will be easily accessible. Scales, for example, should be learned on the keyboard without looking at notes on the staff. Mental keyboard pictures of the scales are much easier to store and retrieve than notes on the page. The same is true for memorizing chords. Start with memorizing the keyboard imagery first, then draw the notes out on the staff and play them.

2. Adding meaning to the material through association. The primary chords of each key can be memorized easily by associating them with acronyms for short ideas which are fun to recall. The primary chords in the key of D are D Major, G Major, and A Major. "Dga, Dga Drum' is the "beat" is use the remember this. Just come up with ideas that are fun for you and memorizing these will be easy

3. Funneling the material. Organizing the material you want to remember from General to specific will also make recall easier. For example, memorize the Circle of Thirds. Then memorize the Seven Keyboard Triads, which are made from the Circle of Thirds. Then Memorize the Major and Minor Chords from the 7 Keyboard Triads.

Follow these examples and create more creative ways of your own to memorize the music facts you want to keep at your fingertips. Remember this - you can memorize all the music knowledge you want to with a logical plan to get it done. Even very young children can use the tecnhiques above because they're so effective.

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Piano Chords For New Age Piano

If you like the beautiful sound of New Age piano you're going to love this.

Listen... most of you know what triads are. These 3 note chords have been the essential building blocks of western music for at least 4 centuries.

One thing about them though.... They're outdated!

Of course they're still used. But there's absolutely no need to start with them. Instead, why not begin your study of piano chords with something called the "open position" chord.

This chord structure gives you the freedom to play with both hands together right away! Plus, it's a modern sounding chord.

The thing that frustrates more students than anything is what they're playing. Usually constrained to ancient textbooks that teach triads and scales, the hapless newbie plunges ahead in the hopes of eventually playing the piano. The catch here is two fold. First when you do eventually get to play music, it's that of other composers.

Sure... the music is good. There's no denying that. But it's not modern. And it's not your creation. Secondly, if you follow these textbooks, all you'll be able to do is read music. You won't be able to create it on your own.

With the open position chord, you can begin creating your own unique music right away. Take the lesson "Reflections in Water" for example.

Here we have 4 open position piano chords along with the order in which they are to played. Once you familiarize yourself with this chord position and get it under your fingers you're ready to explore! These modern piano chords are perfect for the light, airy New Age piano style and will have you playing the piano in no time at all!

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Learning Piano Online - A New Approach in Learning the Piano

Before, piano lessons would mean visiting your piano teacher regularly for the lessons or going to the music class regularly. These days, with the convenience of the internet, you can just turn your computer on and you can avail of online lessons in different forms. With the comforts of your own home, you can actually learn the piano easily and conveniently.

With the many online tools nowadays, learning piano online can be a great way to learn piano fast and, of course, a lot cheaper than enrolling in a piano class or getting a piano teacher. It will also help you chose lessons according to what you want to play or what types of genres you want to play. You will also be exposed to a lot of playing styles online.

Of course, one advantage of learning piano online is that you can get yourself a software that will help learning fun and easy. You can find good software these days that will help you in learning the instrument well and allows you to learn any time you want.

Learning piano online can be done trough videos and live chat, if you have some questions for your teacher - much like having a piano teacher with you. One big advantage too is that, you will be able to listen and replay parts of the lesson that you find it difficult, which is of course, a lot difficult to do when you are listening to your teacher in person. You can practice to perfection by repeating the videos and the instructions and listening to the demo all over again.

If you have difficulty, you can also readily browse the internet for answers and get to talk to your online teacher live as well - depending on your program.

Of course, by learning online, you can also learn to play your favorite songs if you want. Unlike the traditional way of learning the piano that you are to start with those classical pieces that may not be appealing especially for those who are very eager to play their favorite songs on the instrument.

If you don't like going to a music class because you think you are too old or you are learning along with kids in the class, then learning piano online can be a good option. Of course, there is no young and old in piano playing. For as long as you enjoy the hobby and you are willing to learn how to play it, you can actually take lessons, whatever is your age.

Of course, learning online is quicker and faster than the traditional way of learning piano. You can practice on your favorite song, or a song you are familiar with and get the latest techniques on piano playing.

Of course, there are also disadvantages of learning piano online and one major disadvantage is that there is not one who can correct you if you commit mistakes, and it is important that mistakes are corrected as early as possible to avoid it to become a bad playing habit.

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How to Create Your Own Beautiful Piano Compositions

So, you want to create your own music. Something you can put your name on and show off to friends and family. Why not? It's an amazing thing when you think about it. Where there was once nothing, now exists a piece of music authored by you. Let's examine how we might go about creating a complete piece of music.

Your initial idea is an important step. Why? Because the initial idea is the foundation for the entire piece! For example, let's say you get a certain melody in mind. You go to the piano and play it. But then you're stopped cold and don't know how or where to proceed next. What to do? You need to first draw out 8-bars on a piece of paper.

Working with an 8-bar phrase is the best way I know of capturing musical ideas and turning them into full-fledged compositions. You can write out as much of the melody as you can, or you can do what I do - write in the first 2-bars (the initial idea) and then use chords to quickly fill in the entire 8-bars. This example is if you work with melody first.

You can also "compose" working exclusively with chords. That is, you can take a few chords (like you have in the lesson "Reflections in Water") and play around with them creating a few minutes of music. These chordal improvisations are a great way to get your ideas out. If you wanted to develop Reflections in Water or "compose" it, you'd have to put it on a chart and write out the chord symbols on top. Then, you'd have something you could go back to and play again if you wanted. You'd have a complete piece of music.

A long time ago, I read a book on musical composition where the author suggests you must work with either the melody or the chords and not both at once. This is an excellent suggestion because you simply cannot do both at once! It is far easier to either write out the melody for 8-bars or block out a chord arrangement than it is to do both at once.

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Easy Piano Lessons - Fun and Successful

Before beginning easy piano lessons it is a good idea to have all your ducks in order. So to do that lets look at a few things to make sure you are ready to begin. Determining your skill level will be good for you to know in order to determine where you should start. So if you have ever used a piano before you will be ahead of the game, but do not worry if you have not because most easy piano lessons are geared for the beginner. Another thing to think about is your age. Although it seems that the younger you are the easier it is to learn new things, the way the new lessons are set up you can learn fast and well even as an adult. Ok, now lets look at your availability.

The best way to learn is to practice practice practice, so it is found that if you can dedicate 5 days a week 20-30 minutes each time then your chance of success will be high. Lets set some goals. Without goals it is easy to be side tracked and loose focus. Setting goals can make or break you because you want them to be challenging yet able to reach. Just remember that the higher the goal them more time you will probably need in order to hit it. There are so many ways to learn how to play piano as well as finding easy piano lessons to use so lets look at that too.

Yes! Believe it or not it is not that difficult to teach yourself the piano. There are many sources online that you can choose from and you can learn it in the comfort of your won home without an instructor. Also you can learn at your own pace so that is a huge benefit.

Part of the learning process is to understand the music on the sheets. Learning this will open many musical doors to you because you simply open books of music and begin to play them. There are so many fun songs out there for you to enjoy. Also you can learn to play by just listening to music and then play it on the piano. Wow! how cool would that be!

With all the different methods out there to choose from it is proven that learning from online programs are easier and faster so that way you will be playing in hours instead of weeks. They are better than learning from a teacher because they use newer techniques to help you skip the learning curve. Lets face it, the sooner you can play the more fun you are going to have, so learning easy piano lessons from an online source is the best.

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The Many Benefits of Learning Piano Chord Theory

Chances are if you've ever taken piano lessons, you probably spent at least a little bit of time on piano chords. But learning the names of a few basic chords and actually understanding chord theory are two different things. And while it's possible to learn to play the piano without learning chords, there are several benefits to learning theory.

Many piano students complain that music theory is too hard to understand. They quickly give up in favor of simply playing piano by reading a score of written music. Those who take the time to get the basis of chord theory find that chordal theory helps them in several ways.

Learning chord-based theory is something like learning math. You can simply memorize the fact that 2 + 2 = 4, and that may get you by for a few years in school. Or, you can learn and understand why 2 + 2 = 4. Once you do, you'll be able to succeed in math when the formulas become much too hard to simply memorize and regurgitate. The same is true of chord theory. It's one thing to memorize a chord chart. If you don't understand how chords work, your skills won't get you very much further than basic piano playing.

One of the most obvious benefits of learning chords is that you will soon develop the skill of playing piano by ear. Have you every watched a band play, such as those on late-night TV talk shows? The pianists seem to be able to pick up any song, off the cuff, and begin playing it without the advantage of sheet music or having practiced. That's music theory at work. There are few things more thrilling than to sit down at a piano, impromptu, and provide accompaniment for any song.

Those musicians with a bent toward writing original music will find that knowing theory is essential in creating music for lyrics. Even if you don't transcribe the music yourself, chord theory will give you the means of communicating your ideas to the transcriptionist. The final product will be exactly as you envision it.

Once you understand how chords work, you're also in a better position to learn to play other instruments; if not play them yourself, be able to work with other musicians in the setting of a band. For example, another instrument which relies heavily upon chord theory is the guitar. This is why many piano players find it easy to pick up on playing the guitar. In a band, the music relies very heavily upon the lead of the guitar and the piano. A knowledge and understanding of chord theory ensures that the pianist and guitarist are always on the same page, so to speak.

It's vital to find a good instructor when it comes to chords. It may mean the difference between giving up in frustration and success by becoming proficient. Taking advantage of jam sessions in your area will also help you put chord theory skills into practice in a casual environment. You'll be able to learn from other musicians whose passions are similar. Plus, students who learn chord theory notice a marked improvement in their general piano playing skills.

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The Circular Years

((Shannon O'Day's Youthful Years in Sketches) (1900-1909))

There have been three books written on Shannon O'Day and some independent sketches, this is one of those sketches, for the curious reader who wishes to know more about Shannon's earlier years, especially how he came about for the liking of his most precious substance - booze!

Sketch One

The World According to Shannon O' Day

The world, which grownups call civilization, or the city or county or country, is composed of a hazy, perhaps never-ending flow of thoughts, and to an eight-year old boy, I could say any boy, with a vast accumulation of energy, but in this case, that is, in particular, Shannon O'Day's case, he fits the bill quite well.

They, Shannon's nuclear family, consisted of his brother, mother and father, and they lived in the upper apartments, near the Capitol, of the inner city of St. Paul, Minnesota, between 1900 and 1909.

They only had one lamp for light, sloping crossways, giving light circular throughout the one big room they had. Although the kitchen was sectioned off, the bathroom was in the hallway, on each of the three floors. The building was old-even in 1900-an old wooden structure, perhaps built in the late 1870s.

Like all boys of his age, at his time and place in history, he wanted to travel, journey in search of adventure, perhaps to a war, yet his eyes could scarcely decipher what life was all about. He saw his father almost from birth-with his drinking daily, preparing to die daily, that is to say, coughing up blood, and hangovers, and bloodshot eyes, and reeking with booze out of his pores. Once out of madness, he nearly hurled him over the banister, from their third floor apartment. He wasn't corrupt, just kind of disband, melted down you might say, with the winds of booze, which often swept his mind, engendered, stimulated his second self, his death's second self, the one waiting for him, with his demons.

But Shannon, of Irish stock, had that intuition (or learned it mighty quick), that near second insight I might say, perhaps that the Druids had or Celts had; he also had that mental book, cyclical book of the devil's, that he could see into-per near read, so Shannon knew when his father was possessed and when he wasn't. This would suffice for his survival through those trying years.

These were the circular years for him, because he seemed to be going always in circles, especial with his father, things seldom changed, that is to say, he got drunk, they ate very little, except when their mother brought home groceries because she did some sewing for a neighbor, or cleaned a house, and so forth.

No reasonable mind can doubt this truth, whose instantaneous result would show up in the future-hence, thereafter, time without end-the curse of the world would befall him; and the theory holds true I believe, that when a boy is weaned on milk, he will grow strong boned, when he is weaned on milk and booze, he will perhaps grow strong, but also acquire a taste, a liking for the cursed substance called booze. He will-in time, have a body-chemistry change over, or if his genetic structure is likened to his father from day one, this imperfect substance, maliciously will take a voyage throughout his system, and seat itself at the helm of his being-near his soul, and forevermore, make him want more, make him come back for more, and Shannon's father, was the organic ladder for Shannon's demise with alcoholism, as well as his own, and the weakening of the heart of Shannon's older brother Gus, I do believe.

It is enough to compare a drunk with a drunk, the rude unsteady hands of Shannon's father would bring-or better put-permitted the formulation of Shannon's future addiction to alcohol, where there would be no satisfactory resolution for him to stop its usage. This formless substance, with its chaotic nature made his father insensitive at times, and thus, would form a faithful, and catalogued character, and friend to and for Shannon.

No: 455 (8-25-2009)

The Circular Years

((Shannon O'Day's Youthful Years in Sketches) (1900-1909))

Sketch Two

"Implacable Death"

I went to my bed, flopped down on top of my iron framed bed-I had already closed the curtains around the bed, nobody was home, just me. And there I lay on my back. The never changing world circled around me, as did the room. Everything was hazy, it was near twilight, the sun in the sky appeared to be hung onto a rope like a shadow, or perhaps it was like a cloud, it was by and large, an incredible day, a day without end, many omens, and I felt my pitiless death surround me. In spite of having been a child of eight-years old, my grandfather had died of alcoholism, and my father was on his way to such a death, and now me, at eight-years old, I was in the symmetrical gardens of the dying, or so I felt, my father allowed me enter without cost, perhaps more at coheres me to enter, to drink four-shots of 140-proof vodka-was his way of saying: welcome to the family curse.

"Was I to die now?" I asked myself.

I looked in the window behind me, it was likened to a mirror, I saw my reflection, in the midst of it all, I hated looking at myself, nearly in terror-I had a long looking horse-face.

"How does one put an end to these wandering illusions?" I asked myself, but of course, in simpler terms. Then got thinking, my father lived with these on a daily bases-by gosh, what a life.

I knew the fast moving thoughts and visions I was having were doubtless due to the alcohol, four shots in a row-it per near poisoned my system, saturated my blood stream. A bird flew across the window, unthinkingly I turned my head and waited for it to return, it never did. I had even noticed as I tried to talk to myself, my human voice weakened. I had tried to tell dad "No more...!" but he said, "Grow up you little twerp!"

And so I had two more shots, four all together. Back then, back when I was just a youngster, nothing I said reached the ear of my father; a man who is sitting in his own infinitely senseless, silence-somewhere I would expect, wanting, waiting but not getting another drink of booze, cause he's long gone.

The Lamp and a Timorous Boy

The lamp lit the room, and after I sobered up I got thinking, no more faces remained or shadows. They had all gone a good distance away, without waiting for my head to produce questions and answers, there I laid in bed thinking....

I was a timorous boy, to say the least. I can say it now, but wouldn't have back then, now that I have entered-and seem to be in the middle of (looking back), entered I say, into carrying out a life of drinking, that alcohol had degraded me by making me become shy. Furthermore, it made me an over unassuming man-, as a boy, I took leave of myself, went looking around for pa's booze, sneaked it, quiet like, even took a few dollars out of his pocket when he was passed-out, and bought corn whiskey with it. The truth is that, I felt too often, and perhaps most often, too visible and vulnerable. But vainly, I kept my drinking under some kind of control during those youthful years.

At age ten, I had already told myself happiness had ended for my youth, no accident of fate. Somehow I thought in my head, or foresaw, that humanity had two regions that he could dwell in happily, one being a soldier, the other a bandit. On the other hand, a lifetime job seemed to me, whosoever would undertake it that is-it would impose upon him a future as atrocious as trying to find your way through a labyrinth. So I hoped and prayed there would be a big war, and there was, they called it, The Great War, and I told myself that was my cup of tea. For as I grew older, I drank more, and the more I drank the more the eyes of men looked dead to me. Anyhow, so war was my forte for when I'd grow up.

A Blurred Young Soldier's Vision

Under the trees of our apartment building's backyard, I meditated on this loss of youth I felt surrounded me one summer afternoon when I was ten-years old, ready to go and move in with our Uncle Hawk, and perhaps try to figure out the plan mankind had for an extended life for a human being, for a labyrinth that produced an everyday job for every solid citizen, in the country. I imagined it was under the control of some secret society, on top of some far-off mountain, and that they could escape if need be by some underground tunnel beneath the mountain that lead into the sea, and came up and out, somewhere else right out of a river, what a thought, and want a maze, growing out of a ten-year old mind. Yes I was lost in these imaginary illusions, for an undetermined period of time, youthful time.

By observing my father, I got the impression men might be enemies of other men, depending on the simple differing of opinions they shared. But all men seemed to share the same understanding, and loyalty to the one country they lived in, perhaps that is why I figured being a soldier inspired me-filled my mediating days back then. I could see an avenue of escape, a strange destiny and course. Now looking back, I know the blood and tears that are required for a war, the madness, the shapeless mass of contradictory words that float across oceans and continents and other large land masses.

No: 456 (8-25-2009)

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What Happened to R&B Male Vocal Groups?

R&B has always been the softer side of urban music, dealing with love and emotion, where hip-hop has always focused on political and street commentary. While the message of R&B has remained the same, the style of it has changed drastically over the last ten years.

Today, R&B makes extensive use of AutoTune, a technology that fits perfect pitch on artist vocals and allows vocal distortion. Going further, the ballad, which used to be the dominant form for R&B tracks, has been replaced by the club joint, popularized by artists like Chris Brown.

And the most drastic change? There are no more R&B groups! Since its beginning, R&B has been defined by its vocal groups. The 1950s were packed with the street corner singing of Doo Wop groups like the Platters and the Flamingos. The banner was then taken up by The Temptations and The Four Tops in the 1960s and The O'Jays and The Spinners in the 1970s. The 1980s kept the sounds of groups alive with a wide variety of successes including The Tyme, Full Force, The Deele and The Force M.Ds.

The 1990s were defined by these groups, young men coming together for the love of the music. Just off the top of my head, I can quickly name: Riff, Guy, After 7, Entouch, Jodeci, Dru Hill, Playa, Profyle, Boyz II Men, All 4 One, Shai, Troop, Silk, H-Town, U.N.V., Hi-Five, Az Yet, Another Bad Creation, Bel Biv DeVoe, Mint Condition, Tony! Toni! Tone! And that's without even looking at artists that didn't dominate the charts.

If I did this same thing today, I would have Day 26, a group formed on a reality TV show, and Pretty Ricky.

So I ask you, what happened to the R&B male vocal groups? Have young men and women forgotten what it means to sing together? In hopes of getting a better understanding of the question, I set out to ask the very artists for their opinions.

When asked about the group scene today, Anthony Fuller of Riff said,

"Yea, we want to be able to give them singing and entertainment. A lot of things that's done now is basically entertainment. Even in the studios, a lot of things are programmed to where you sing one note and let the studio do the rest."

Following up, group mate Dwayne Jones said,

"And you know, right now that's all you're hearing. Songs with the voice box and stuff like that, again, nothing wrong with that and that's cool. But what's actually missing is that nice three, four, five part harmony. Nice deep down soul in your gut type singing, you know we don't hear anybody begging anymore."

Both placed blame on the homogenizing sound of R&B caused by the AutoTune technology, and when you listen to the active groups today, you can see the presence. The sound of old features group harmonies, belting, pure singing. Today, it is hidden behind voice modifications and synthesizers.

Seeking to find the blame for this change in music, I began to look for groups of old and find out their reasoning for taking time off or for breaking up.

According to Keith Mitchell of After 7,

"It got frustrating pouring your heart and soul into a project and your record label drops the ball on records. So we lost confidence in the label and asked to be released. We didn't lose our record deal for all the public they should know that because it's a pretty unique situation and not many artists choose to walk away from labels but at the time, we did."

Expressing similar feelings, J.Poww of the group Universal Nubian Voices said,

"Well after the second album, we were very disappointed with how the record was handled, as far as what singles were chosen, even the overall direction of the record. Had it been my choice there would have been a few more up-tempo, mid-tempo things and there would have been some other things that would have transpired as far as what would have been the first single. We left Maverick in 96 because of that. We weren't dropped."

From the various artists' opinions, it seems that the common thread was the labels. Artists find themselves forced into a niche or abused to the point where there music lost its soul. Their artistic expression is dictated by labels and the cause of these groups creation, the love of the music, is lost.

However, these blames can't be put entirely on the labels. In the end, the labels are in the business to make money. Today, they see AutoTune based R&B music selling, and so they downplay the groups in order to sell more records. The consumers are causing the silence of R&B vocal groups as much as the labels. Until there's a proper demand for R&B groups, there won't be any interest from the labels in producing this kind of music again.

However, this leaves an interesting hole in the market. As Dwayne Jones from Riff said,

"Growing up, we can go back a decade and say you know, Force MDs, Full Force. And then they can say, the Marvin Gayes and the Stevie Wonders, but coming up now in this century, that music is missing right now... there's a gap in between there. Because now, the kids, the only people who they actually know now is probably Chris Brown."

Today's market lacks the sound of real vocals to inspire another generation of kids to pursue music careers. While we as listeners can survive the dearth of R&B vocal groups today, can the industry survive it?

Looking towards the future, R&B singer Case leaves us with an optimistic view,

"Because I think music just goes around in a big circle. So I'm pretty sure it'll be back around to where it was. There were so many groups back then, and then it changed back to the solo artist and I figure it'll be back."

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Piano Benches For Sale - 3 Tips For Buying a Piano Bench

Many piano benches for sale are offered online, if your looking for tips to avoid some frustration in the process, this article may help. The simple steps you can incorporate in your search will help you purchase the right bench for your purposes:

A. Are you looking to purchase a fixed height bench, or do you prefer adjustable height? adjustable benches allow the bench seat to be variable to the preferred height, many teacher recommend adjustable benches to younger students and adjustable benches are usually preferred by harpists and guitarist as well. Duet style benches are fixed height benches that are manufactured to the standard piano height, and are usually similar to the original bench styling for acoustic pianos.

B. Determine the size of piano bench that will meet your demands, traditional duet piano benches for sale usually have a wide bench area and will comfortably accommodate a child or adult piano player, Adjustable models are available in single or double bench widths, Double bench style benches are ideal for four hand piano repertoire or for accompanying a student.

C. Regarding color, ebony black, walnut and mahogany are the most popular colors, if you have an older piano a satin or unpolished finish may be most appropriate for your needs. If you have a unique finished piano, it may be necessary to buy an unfinished piano bench to exactly meet your finish requirement. Piano benches for sale that meet your requirement for decor will always be the most satisfiable purchase you can make.

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Hugh Laurie - Gifted Actor and Piano Player

The next time you're watching TV and Gregory House sits down by the piano at the end of an episode, watch his fingers carefully. The British actor that plays Dr. House, Hugh Laurie, is both an accomplished actor and a professional musician.

If you ask Hugh Laurie about his musical skills, he'll likely give you a humble and self-effacing answer. For instance, Laurie often describes himself as a "frustrated musician" and says that he "trifles" with the piano and guitar.

Since the early days of his acting career on British programs like A Bit of Fry and Laurie and Poor White Trash and Wooster, Hugh Laurie has been composing and recording original music. In fact, Laurie stated that his life's secret dream is to play in a jazz trio in the lounge of a small hotel. He quips that the group would be called the Hugh Laurie Five, even though there would only be three musicians.

Laurie has played music with two noteworthy musical groups. In the late 1990's, Laurie played in a band called Poor White Trash with Lenny Henry and Ben Elton's wife Sophie. Another well-known English actor, Adrian Edmondson from The Young Ones, was also a member of the group for a time. The group played soul and blues with a touch of funk.

More recently, Hugh Laurie plays with the Los Angeles charity group called Band from TV. The band was formed when Greg Grunberg realized that a tremendous amount of interest was generated when celebrities got together to jam. He saw an opportunity to play fundraisers for charity with fellow celebrities. So, when he guest starred on an episode of House, he asked Hugh Laurie to play with the group. The group made its debut at the TV Guide after party for the 58th annual Primetime Emmy Awards in 2006.

Other celebrities that have played with Band from TV include Teri Hatcher, James Denton, Bonnie Somerville, Bob Guiney, Jesse Spencer, Chris Kelley, Barry Sarna, Bryan McCann, Jon Sarna, Brad Savage, Chris Mostert and David Anders.

The band covered the Rolling Stones' hit "You Can't Always Get What You Want" for the House M.D. Original Television Soundtrack, and they frequently play charity events to benefit various causes. They released an album entitled Hoggin' All the Covers in 2007.

Laurie also makes music a family affair. He plays guitar and piano, while his two sons play saxophone and drums. His daughter joins in on clarinet, and the family plays together. Clearly, the kids get their musical talent from their father.

Hugh Laurie has showcased his musical talent on shows like Saturday Night Live and Inside the Actor's Studio. In addition to playing and recording music, Hugh Laurie enjoys piloting private planes, driving motorcycles and skydiving.

So, the next time you see an old episode of House MD and you catch Hugh Laurie playing "What a Friend We Have In Jesus" during the episode, now you'll know the good doctor really can tickle the ivories. Hopefully, future episodes of the hit show will highlight Laurie's talent for music, since Dr. House's character is all the more soulful while he's playing his piano.

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How to Arrange Music for Piano

So, how does one go about arranging piano music? That's a good question. And one that can get confusing for most students. They sometimes confuse composing with arranging and with good reason - they're closely connected. Let's look at how to arrange a piece of music for piano. Specifically, we'll look at the lesson piece "Fall Sunrise."

Fall Sunrise is a contemporary/new age piano piece I wrote to illustrate how ABA form works. The first section is comprised of 4-bars which is repeated twice. The next section (B) is an 8-bar phrase repeated twice and then we come back to our (A) section, which again is repeated twice. So, if we were to "arrange" this so we can see what it would look like we'd end up with something like this:

2A2B2A

This is a shorthand way of seeing the arrangement. It simply tells us how many times to repeat a section. Now, this arrangement by itself is sufficient for about 3-4 minutes of music, however, if we wanted to, we could add another section and lengthen it even more. The reason why we need another section (if we wanted more music) is that if we keep repeating this, it gets monotonous and boring.

We introduce a new section for contrast purposes. The ear hears this new music and is refreshed. But before we introduce a new section, we need something to lead us into it. We need what is called a transitionary phrase. Two bars is usually enough to accomplish this. The transition prepares the listener to receive something new. It's a connective device that bridges the sections. After the transition is introduced, we can bring in a new section of music and call it C.

Now, if we were to write out what this might look like we can come up with something like this:

2A2B2ATCA

Where T= transition and C= a new section of music. By adding in a new section, we can now repeat the other sections more because we've introduced contrast into the mix.

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uncertain smile the the

Peeling the skin back from my eyes I felt suprised that the time on the clock was the time I usually retired to the place where I cleared my head of you but just for today i think I'll lie here and dream of you I've got you under my skin where the rain can't get in but if the sweat pours out just shout I'll try to swim and pull you out A howling wind blows the litter as the rain flows As street lamps pour orange colored shapes through your windows a broken soul stares from a pair of watering eyes uncertain emotions force an uncertain smile I've got you under my skin where the rain can't get in but if the sweat pours out just shout I'll try to swim and pull you out

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Writing Tips - Finding A Place To Write

You've just plopped yourself down on the living room couch to continue working on your new novel. Suddenly, the cat runs across your lap because it's being chased by the dog who just happens to knock your Kool-Aid all over your 100 page manuscript, ruining the whole thing. What's that you say? You don't have a back up copy on computer? Have to start all over and can't remember a thing you've written because your blood pressure has just hit critical mass?

Time for a change in writing location.

While the above situation may be a little far fetched, the truth is, you really do need to find a place to write where you can work alone and undisturbed. This may not always be possible based on where you are living. If you're sharing a studio apartment or even a dorm with a roomy, you're not going to have a lot of privacy. In these cases you may want to take a ride, or a walk, to the local library. At least there you can work in peace.

If, however, you are fortunate enough to live in a big home, you still should find a room where you can be alone and undisturbed by family and friends. And even at that, there are certain things you should keep in mind when doing your writing that will greatly affect your choice of location.

For example. Let's say you are a songwriter. Unless you write your compositions entirely on manuscript paper, you're going to want to do your writing in the vicinity of some kind of recording equipment and even a piano or some kind of keyboard. If you play the guitar, that's fine too. The reason you want to do this is because unless you can totally hear the music that you are writing in your head, something few people can do, you are going to want to be able to hear what it actually sounds like. By writing near a keyboard or guitar you can walk over to your instrument of choice and plunk out the tune if just to get a feel for how it is coming. You may want to make some changes that you wouldn't have made had you not actually heard what the piece sounded like.

If you're writing a novel, fiction or non fiction, you probably want to write in an area that has reference materials close by, such as a dictionary, encyclopaedia, thesaurus, and even a rhyming dictionary if you are writing poetry.

While this next tip may seem obvious, you want to pick a location to write in that is well lit. Trying to write in the dark is bad for your eyes. If you're doing a lot of writing, eventually this will catch up to you. If you don't have a room with sufficient light then buy a special lamp. You only get one set of eyes.

If you've been writing in a specific place for a while and find that you're starting to get stale writing there, find a new place. Maybe if it's a nice summer day, sit out on your front porch and write in the sunlight. You might get some real inspiration with a change of location.

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Learn the Piano - Paint Colours Through Your Fingertips on the Piano Keys

When you learn the piano you will have access to an entire paint palette. The sound of the piano keys range from dark purples to bright oranges and yellows. The sound you produce is only limited by your imagination.

Sit at the centre of your piano and play a note in the middle. The sound is like the middle of the colour spectrum - like a mid blue. Press 3 adjacent notes down together. This gives a murky, muddy sound.

Now play a white key, miss a key and then play the next white key. Play these 2 piano notes together. Notice that the sound is bright and clear. This harmony is like 2 compatible colours, complementing each other. This music interval or distance is called a 3rd. A 3rd can be formed between any 2 alternate keys, for example C and E, or G and B.

Play 3rds in different parts of the piano. Notice the sound and its colour. On the right hand side as you move up the piano the sound gets higher and the colour appears to get brighter. At the top end of the piano, these are like bright yellow and white sounds. At the bottom end, the sound becomes dark and mysterious.

Experiment with the sounds of the piano. Play 2 notes together and see whether they sound harmonious or discordant. In the bottom section of the piano, the sounds need to be played on their own. Because the sound is very dark it tends to clash with other low notes. A very low note sounds more harmonious with a high note. Their colours again become complementary.

Experimenting with sound is a great way to start playing the piano. See what works and what sounds like a scalded cat!

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Runs & Fills: How To Add Real Excitement To Your Piano Playing!

We've all heard pianists who make us drool with musical jealousy when they play, using a tool box full of lighting-fast runs and clever fills that have us clamoring for more. I well recall hearing Errol Garner play "I'll Remember April" when I was about 14. I had no idea a piano could be played like that, and I was absolutely fascinated by all the interesting and exciting runs and fills he added to his improvisation of those standards.

If you're anything like me, you would love to learn how to "fill up the empty spaces" with scale fragments, chords, broken chords, and so on. Techniques such as 8th note runs , 16th note runs, 32nd note runs, triplet fills, and many combinations thereof -- some so fast you can't even see which notes are being played. Techniques such as "cascading waterfall runs", the fabulous "pro straddles", the exciting "tremolo-fired runs" and lots more. Learning how to "fill it up" with runs and fills would certainly take your piano playing to the next level.

After listening to countless pianists in all genres, I compiled a list of six types of runs and fills that they often use:

1. "Cocktail" runs --The lightning fast runs used by the great "show" pianists. One hand runs, two hand runs, open-octave runs, tremolo-blasted runs, cascading waterfall runs and more. Made famous by such names as Eddy Duchin, Carman Caballero, Liberace, etc., but also used tastefully by many others, such as Roger Williams and many "pop" piano players.

2. Embellishments -- Mordents, inverted mordents, trills, turns, tremolos, grace notes, glissandos, etc. These are the "finesse" techniques that give your piano playing class and grace. Virtually NO amateur piano players use these, so the pianist that learns these is putting herself or himself in a class usually reserved for professional pianists.

3. Piano tricks -- How to make your piano sound oriental, or make it sound like a drum or a music box? A bell? Latin? Country?

4. Evangelistic runs -- These are the octave runs and fillers used by the great gospel pianists of past and present such as Rudy Atwood and other evangelistic piano players.

5. Jazz & blues runs -- Using the "blues scale" up and down the keyboard, blue note-crunches, slides, etc. These runs are very useful not only in jazz and R & B, but also in "black gospel" (I hate to use that term because it sounds racist, but people use it to describe a certain type of gospel music, so I reluctantly use the term...but only in that sense of the word), fusion, and many rock-pop songs.
6. Fillers galore -- Filling up an empty measure with a counter-melody; creating an intro; creating an ending; developing "turnarounds", plus chromatic fillers, fillers based on the Dorian and Lydian scales and other "church mode" scales used by contemporary jazz and fusion artists.

It is exciting for any pianist to picture himself or herself playing those LIGHTNING FAST runs up the keyboard and back down in time for the next chord, or playing CASCADING RUNS down the keyboard for a WATERFALL of wonderful sounds, to say nothing of using mordents, inverted mordents, trills, turns, tremolos, grace notes, glissandos, fillers galore, cocktail-piano runs, plus gospel-style runs as well as "blues runs" based on the blues scale!

Is it worth the effort to learn some or all of these techniques? It certainly has been for me, but every pianist will have to make that judgment for himself or herself.

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A Digital Piano Review

Today digital pianos range in difference by size, weight, and quality. Many digital pianos have weighted key action, and their advantages over traditional pianos is in their portability and the fact they never need to be tuned. This digital piano review gives some general information about digital pianos that I have played with and provides a link for recommend sites to buy these and other great digital pianos online from trusted sites.

Yamaha P120 Review

The Yamaha P120 is a very good replica of an acoustic grand piano, and the key-weight is very close to the real thing. You have options to change the touch of the keys to soft, medium, and hard. This digital piano will weigh a little over 40-45 pounds. The Yamaha P120 have impressively realistic sounds, especially the two settings for Grand Piano. The other incredible sounds that you will like would also be the organ and harpsichord which are also very realistic. A downfall though is that there are few bells or whistles for this digital piano.

Roland HP137 Review

The Roland HP137 is realistic enough for practicing on, but this piano in my opinion is best for beginners. The keys are a bit light and not so realistic, and would be fine for non-professional players, or players in the early stages of learning how to play a piano. The piano can play the sound of a grand piano, electric piano, harpsichord, pipes, and also come with a demo of eight songs. The piano do not take up much space and also have two headphones jacks so when you play, only you can hear the sound.

Casio CPS-85 Review

The Casio CPS-85 is a very good portable piano that is not too heavy. This digital piano have the feelings of a upright piano, which is good for practicing piano lessons but the keys are a bit light. There is a option for piano 1, (which is higher in sound), and piano 2 (which is more relaxed). The choice of different voices such as the harpsichord and vibraphone will provide enjoyment while playing and practicing your favorite pieces.

Kawai MP9000 Review

The weighted-keys are actually wooden with the "bounce back" action as an acoustic grand piano. The hammers are on top and below the keys, and this is what creates the bounce back key action. The piano is a bit heavy and weighs about 100 pounds. This digital piano is good for pianists interested in jazz and classical music. The Kawai MP9000 is limited in that there are just 16 sounds (plus the changes you can make) but they are good quality sounds.

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Kia Ceed Part 3

The 'new look' Kia cee'd has been thoroughly restyled in order to keep the brand's best-selling model in Europe 'fresh' and maintain its strong appeal to consumers. Working under the direction of Chief Design Officer, Peter Schreyer, Kia's European design team have made a number of changes to the exterior of the five-door hatchback and wagon models, to give both cars a more distinctive road presence while incorporating the company's evolving design DNA and retaining the original Kia cee'd family styling connection. Briefed to enhance the original models' 'sporty and strong' appearance, the cee'd team at Kia's Frankfurt-based Design Centre Europe, headed by Chief Designer, Gregory Guillaume, set out to make the new model's 'face' appear more striking and impactful, while refreshing the whole car. Ultimately, the only new metal panels are a new bonnet and new front wings on models where the repeat turn indicators are moved to the door mirrors. New look Kia cee'd adopts the company's signature grille, also featured (with small variations), on the all-new Sorento SUV and all-new Venga MPV being unveiled at the Frankfurt Show. On new Kia cee'd, the grille stretches the full width between the front headlights, which combined with the new trapezoidal lower air intake and completely redesigned lower front bumper, makes the car seem wider, lower and more purposeful. Completing the changes at the front end are redesigned, projection-type head lamps and square fog lamps which give a ...

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Silent Night

My instrumental version of the Christmas Carol. Made in 2007

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Casio Privia PX100 Digital Piano Review

The Privia PX100 digital piano is a discontinued Casio model. It has been upgraded in the newer models of PX110 and PX120. However, if you can find a used one for a good price (and in good condition) this can be a great way to get a digital piano on the cheap.

Let's look at what is generally considered the two most important features of any digital piano: keyboard action and sound.

The Casio Privia PX100 digital piano uses scaled hammer action on its 88-key keyboard. This recreates the acoustic grand piano feel with the lower notes being slightly heavier than the higher notes. So the PX100 would be good for a beginner or hobbyist pianist that wants a cheap digital piano that emulates the feel of an acoustic. The later Privia models improved upon the keyboard action. So the PX110 and PX120 models will feel even more like an acoustic piano.

But remember, our goal with the PX100 is to get a cheap alternative that is still a good quality digital piano. So don't let that turn you off from this digital piano. You could pay thousands of dollars for an even better keyboard feel, but price is a factor in everyone's decision. And remember, keyboard action is very subjective. You can read reviews of people that say the PX100 perfectly recreates the acoustic piano feel, while others say it doesn't. The rule of thumb is try it out for yourself.

The sound quality of the PX100 is very good. It emulates the sound of a grand piano using Casio's Sound Source technology. Realistic sound is vitally important. Poor sound recreation can lead a digital piano to dust collecting status.

One big feature that doesn't need to be overlooked is that the PX100 is very light and good for portability. This lightness, coupled with the fact that it has weighted keys that emulate an acoustic piano feel, give you the best of both worlds: acoustic feel and portability. It only weighs 27 pounds. So it's easy to carry, but I'd suggest you get a bag or case to protect it during transportation.

Some other features you can expect include 10 tones, 30-song built-in library, reverb, chorus, 32-note polyphony, 20 built in rhythms, metronome, and more.

In conclusion, if you can find this discontinued model in good condition for a cheaper price than a new PX110 or PX120, then the Casio Privia PX100 digital piano could be worth the investment. Read some online reviews about it. Some people absolutely swear by this digital piano, while others say "Just go with newer technology." But when you're working on a budget the PX100 can be a good choice.

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