Music Basics Guide for the Beginning Musician

Hello! Welcome to the wonderful world of music. Have you always dreamed of being able to learn to READ MUSIC and play the piano, keyboard, guitar or any other instrument? Well, your dream is just about to come true with this Beginning Music Course.

This is not rocket science but it does take a genuine commitment on your part to read all this Music Course in order to learn the music fundamentals that will apply to any instrument. Be sure to STICK WITH IT!

Did you know that pianos in some form have been around for over 500 years? Some of the first instruments of this kind were called clavichords. They had a very light, metallic sound because the small hand-pounded 'hammers' were made of very light weight metal-like material. These hammers struck strings of varying lengths to create different tones or pitches. The next cousin to the clavichord was the harpsichord invented by Cristofori in Italy around 1450 A.D. This keyboard instrument had a mechanism in it called the plecktrum which 'plucked' the strings and produced a slightly stronger sound than its predecessor.

Whether you are playing an acoustic instrument, which is the closest relative to the history just mentioned, or an electronic keyboard, you are now participating in a centuries old musical art form.

MUSICAL TERMS Let's begin our musical study with a review of the main musical terms you will need to be familiar with to proceed with your music education.

• BAR LINE - A vertical line which separates notes into groups
• DOUBLE BAR LINE - A set of two (2) vertical lines which stand for the end of a piece of music
• REPEAT SIGN - Double bar with two dots at the end of a section or piece of music which indicates that section is to be played twice.
• MEASURE - The distance between two bar lines.
• TREBLE CLEF - The S-shaped symbol which stands for notes played with the right hand.
• BASS CLEF - The reversed C-shaped symbol which stand for notes played with the left hand.
• STAFF - The five lines and four spaces of both the bass and treble clefs.
• QUARTER NOTE - Musical symbol with solid note head and stem which gets one count.
• QUARTER REST - Musical symbol resembling a sideways W which gets one count.
• HALF NOTE - Musical symbol with hollow note head and stem which gets two counts.
• HALF REST - Solid half block sitting on third line of the staff which gets two counts of silence.
• DOTTED HALF NOTE - Musical symbol with hollow note head, dot and stem which gets three counts.
• WHOLE NOTE - Musical symbol resembling a circle on the staff which gets four counts.
• WHOLE REST - Solid half block hanging from the second line on the staff which gets four counts of silence.
• CHORD - Two or more notes played together.
• BLOCKED CHORD - Two or more notes played at the same time
• BROKEN CHORD - Two or more notes from the same chord played in sequence
• INTERVALS - The distance between two notes on the musical staff 

INTRODUCTION TO THE WHITE KEYS 

There are only seven (7) letter names used on the piano:
A B C D E F G
It is interesting to note here that no matter what instrument you play, whether it is piano, tuba or violin, ONLY the seven letter names above are used in the entire realm of music!

There are two very easy ways to visualize and remember the names of the white keys on your piano and keyboard. Remember, the note names on an electronic keyboard are the same as on the acoustic piano.
Since it is not possible to include a graphic in this format, simply remember that the 'CDE' note groups in always located directly underneath the two black note group. The letter name 'D' in the white key always located directly inbetween the two black key note groups. ANY TWO BLACK NOTE GROUP on the piano has the letter name 'D' as the white key located in between them.

Go to your keyboard NOW and start to play all of the C-D-E groups from the lowest (bottom left) to the highest (top right) on your keyboard. Say C - D - E as you play each key.

Now we will learn about the F - G - A - B note groups. Simply located any three black note group on your piano or keyboard and realize that the F-G-A-B white keys are located directly beneath them. Directly outside of the three black note groups are 'F' on the left hand side of the three black note group and 'B' on the right hand side of the three black note group. Just fill in the outer 'F' and 'B' with G and A and you are done!
Go to your piano or keyboard NOW and find all of the F-G-A-G white keys underneath each three black note group. As above, play slowly and evenly saying the letter names as you play the F-G-A-B groups from the bottom of the piano or keyboard (low left hand end) to the top of your piano or keyboard (top right hand end).

Congratulations! You now know ALL of the white key names on the piano!

DYNAMIC MARKINGS
The vehicle for expression in music comes through the context of dynamic markings. Since the Italians were the ones to first write marks of expression in their music as well as print the first music manuscripts on paper, all of the marks of expression or dynamics are from Italian words.

DYNAMIC MARKINGS START WITH SOFT AND GO TO LOUDEST:
Piano - Italian word for soft. symbol used in music: p
Pianissimo - Very soft; symbold used: pp
Mezzo Forte - Medium Loud; symbol used: mf
Forte - Loud; symbol used: f
Fortissimo - Very Loud; symbol used: ff

Now that you have learned the Basics of Music by learning the note names, learning the note values and exploring music dynamics, you are ready to progress to the next level, that of learning to actually READ MUSIC.

About The Author

Jan Durrant creates music learning resources for new musicians of all ages.
Regardless of your current musical skill level, you will find wonderful multil media music learning resources for the whole family at http://www.MakingMusicNow.com email jan@makingmusicnow.com

Learn to Play Guitar ... Fast Way

by Greg Millican

So, you’ve bought a new guitar! If you are like I was, you’ve been going to barbeques for years, having a couple of beers and watching your mates sitting around with their guitars, playing songs you’ve known for years and would love to play! So you finally spent the money and bought a guitar – now what?

You want to learn fast – so you can join in. For this article, I’m going to assume that you’re a beginner who wants basic proficiency.

I’ve done some research on this, as it was where I was, and I found a connection between people who want to “play fast” and those who already play but just want to play "faster". The connection is quite simple, yet very profound.

Through what I found out, I believe there are two parallels:

1. Study the techniques involved which will make your overall playing faster, and
2. Re-focus your practice sessions onto the basic concepts that beginners learn, which will allow you to become a faster player.

There is a useful acronym that you can use to help focus your practice and improve your playing: M.O.S.T.

M for Memorization

You can have the world's best "ear", but if you don't memorise:

a) the fretboard notes and
b) the major and minor key chords and scales,

it won't matter how good your ear is. The most frustrating thing about learning a new song is finding that chord or note that you know you've learned but just can't remember! It's funny that song writers don't give you time in the middle of their pieces to find that Aminor chord, or work out if a Db minor chord works in a song in B, and then if it does, where it is on the fretboard!

If you are a beginner - LEARN THE FRETBOARD and memorise it!

If you are more advanced - LEARN THE FRETBOARD and memorise it! You might think you already know it, but can you jump from one note or chord to any other instantly without thinking about it?

O for Observation

Human beings work best when all of the senses work in unison. Try plugging your ears with cotton wool and then trying to play a song. Not very good are you. (People like Ray Charles and Beethoven amaze me).

Your senses of sight, sound and touch all interweave to play guitar. When you play a song really well, you can even taste the applause (just kidding). The more you play, the more your fingers put themselves in the right places, your muscles retain a memory of those positions. You begin to see patterns and relationships on the fretboard. You hear yourself play the correct notes and chords and that gives you confidence, which is essential in fast playing.

Memorization is the foundation for observation, and observation is the key to training your mind and hands to work in concert automatically.

S for strength and T for training

This is not weight training! It is really dexterity training (but MODT isn't a word!). However, being dextrous means you have strength in your fingers in order to play the chords you need to play when you need to play them.

Beginners often struggle to hold down chords and play scales with all four fingers. Consistent and correct practice is the only way to build strength, muscle memory and finger dexterity.

The same problem occurs for intermediate players - the most likely culprit for slow play is a deficiency in strength, dexterity and/or correct technique.

Practise your finger exercise and chord making perfectly - don't settle for "that'll do" or "near enough". You want to train your fingers to go to the correct place in the correct way every time! Sloppy exercises will not help.

In conclusion, the key to learning guitar faster - as well as playing it faster - rests in following the M.O.S.T. formula. It really is all about getting the basics right from the start!


About The Author
Greg Millican
http://www.strumandpick.com

For free advice, lessons and downloads on guitar for beginners and intermediate players.

CD Maintenance – Keep your CD in good shape

by: Keith McGregor



As we all know CDs & DVDs are prone to scratching, marking, cracking & breaking.

If you leave discs out near your PC or stereo, dust will settle or the data side will get scratched or marked. Now the best ways to prevent this happening are simple. They may sound straight forward but you’ll be surprised how many times CDs & DVDs are not protected properly. Following these simple steps will ensure you can use your CD's and DVD's for dvd copying and cd copying for years to come.

Keep your CDs in there Jewel Cases. If not there are PVC wallets which act as ample protection or Card Wallets. For you DVDs you must keep them in their DVD boxes or, as previously mentioned, PVC Wallets and Card wallets will do.

If your CD or DVD gets scratched, you may think that it’s damaged forever……..Wrong! The scratching on the surface of the disc simply fools the laser and makes it skip. Or, if you’re player has difficulty in loading the data, it’s due the surface being scratched and unable to read the digital data below.

However, do not panic! There are plenty of repair kits around to eliminate this problem and allow you to perfrom that all important cd copying or dvd copying. If you’ve thought you’ve lost a CD forever due to mark or scratch, think again!

These repair kits are a compound mixture of polish, which are specially designed for plastic (which discs are made up of). The mixture interacts with the polymer and allows the polish to get to work on the scratch. This polish will remove the majority of the disc that has been damaged and restore the music/data back to full playability.

Therefore, you revive your discs using these kits. However, I suggest you look after your CD or DVD by putting them back into their Jewel Case, DVD box, PVC Wallet or Card Wallet. Keep them in a dust-free environment or storage case.
Keep your discs playing longer...

When you remove your discs from their CD Jewel Cases or DVD box then you risk the centre-hub cracking or breaking. This will lead to disc failures. Especially for console playing or DVD films. Having looked around for a remedy to this common problem, we have found a solution...

It’s in the form of a metal reinforced centre-hub. It’s easy to attach and will reduce the stress that is normally applied when removing CDs or DVDs from Jewel Cases or DVD Boxes. This will prevent the discs from cracking at the centre. “Hurray!” I hear you say.



About The Author
Keith McGregor is a partner of Strawberrysoup, a web design agency with offices in Chichester and Bournemouth. Strawberrysoup specialise in creative web design, content managed websites, search engine optimisation, search engine marketing and graphic design

http://www.strawberrysoup.co.uk/

How to Step Up Stereo For Your Guitar System

by Matthew Kepnes*

Playing your guitar in stereo gives your music a much larger and 'wider' sound. It makes your sound feel like it is taking up the room and coming from every direction. Pretty much all recorded guitar sounds are produced in stereo to give it a full "presence" in the room and a bigger sound. You can hear this effect when you listen to music on your headphones. Here are a few tips for running your guitar in stereo First,use a stereo amplifier such as a fender Princeton chorus or another digital modeling amp in which line 6 is stereo.
Secondly, use a modern digital guitar processor. Use any modern digital guitar processor. These devices usually have two outputs (left/right). Run the two leads to the two channels of a mixing desk or mixer/amp unit as long as the PA system is running in stereo. It's very important that the PA is in stereo. When you are finished, hard pan each channel to each of the left and right outputs.
Some mixing boards have both stereo channels where you can attach both outputs of your processor into one channel. If you wish to hear your guitar separately from the other instruments, you will still need to "monitor" your sound through some type of amp that is not part of the PA system. Most bands these days choose to run everything into a PA system and have no stage amps at all.
Furthermore, you should use two amplifiers and use an effect processor or any effect, chorus, or delay unit that has two outputs. One output goes to one amp and the other leads to the second amp. You can produce stereo sound using this method without having a PA system.
However, this method takes up a lot of time, requires double rigging, and lots of equipment. It is a lot of work, however, the result is remarkably different from playing through a single mono amplifier. The stereo sound quality is amazing.
Most "intelligent" harmony machines or pitch shifters will only sound good in a stereo configuration when you do complex harmonies. To make sure you are getting the best sound, you need to set up one of these systems.
Do not be under the false impression that running two speaker cabinets out of two outputs of one amp is stereo, this is not stereo. It is just adding another speaker to give extra spread of sound. It does not add any actual power or create a stereo signal.
Stereo ensures your guitar sound better and helps fill the room. It gives the listener more complete music experience and should be used all the time.

---

* Matt knows a lot about sound and stereo and has been mixing music for over a decade. For more information about stereo and sound, visit his site about used guitars and check out the guitar articles.

Jazz guitarists, Here's Amp-ology 101 for You

by Michael Biller*

Jazz guitarists are an interesting bunch. We pine over exquisite and costly guitars. Wonderful, but so acoustically inefficient that to play in an ensemble with other musicians we often require the assistance of another instrument: an amplifier. What does this mean? That a guitar can sound no better than the voice its amplifier will deliver. So how do we go about selecting the right amp?

Be true to your guitar
Many iconic Jazz guitarists developed their unique musical concept around a particular type of guitar. It's not just a matter of tone, it's that their musical conception and technique are linked to the way their instrument of choice responds and sounds. Understanding the sonic scope of your guitar and the music you chose to play is integral to defining the correct amplifier for your needs. Your guitar already knows what it wants... listen to it…best unplugged.

Any ideas where to start?
Guitarists who prefer playing an acoustic oriented guitar may want to audition full-range systems. Often fitted with multiple drivers, their broad frequency spectrum and inert cabinetry provide a neutral mirror of your instrument's inherent voice.
Should an electric type guitar fit your musical world, you may be more attracted to single speaker systems housed within a voiced resonant cabinet. These have more narrowly focused frequency windows and are tuned to enhance a specific frequency range.
Still, you may wish to experiment and improvise... after all, this is Jazz!

Misconceptions: tube vs. solid state electronics.
The electronic industry has proved it can engineer coveted "warm-yet-clear" sounding amplifiers for the Jazz guitarist in both tube/valve and solid-state formats, from digital and analog technologies, and through speakers with different magnet metallurgies. There is no one simple answer.

Other considerations.
You may have practical needs. If you use several guitars or play and sing, then a two-channel amplifier voiced for Jazz guitar may prove useful. You might prefer amplifiers with multiple controls to modulate sound or value simplicity and only want a volume knob. You know yourself... be honest.

Where can I get more information?
Start with your ears: plug in! Read. Speak with fellow Jazz guitarists. Most importantly, contact a reputable dealer with hands-on knowledge of Jazz guitar amps... luckily there are a few good ones around and several are players too.

---

*Michael Biller is the owner-guitarist of SOUND ISLAND MUSIC, a Seattle WA USA based retail store representing many of the world's leading amplifiers for Jazz and acoustic string instruments. He can also provide you with more information about jazz guitar amp, acoustic guitar amp or even acoustic bass amp.