by Jackson White
Pinch Harmonic
“Pinch harmonic” is a typical guitar scream. It is frequently played by the guitar players to rip into the solo and to play one or more notes that just scream and sound amazing. The principles remain the same but this time all the action depends on how you pick the string.
While playing the ‘pinch harmonic’ guitar player not only picks note as normal, but also lets his thumb brush up against the note precisely after he picks it. The thumb is setting up the node of the “harmonic” and forcing the strings to vibrate with the desired harmonic series. If you crank the gain and treble up, after employing the technique in proper way, you will always get a screaming harmonic of some kind.
As with other harmonics you need to fine tune the exact position you are utilizing to strike the melodic point, and you can even exchange between different harmonic types in between notes. Since Pinch Harmonics are performed near the bridge, we are selecting from the higher harmonics, so we find high notes. Some higher harmonics also include inharmonic components, adding to the scream. A lot of the possible actions are here within a small space - we get more because the guitar is artificially sensitive to the higher order harmonics as be having upped the gain a lot.
Tap Harmonic
A “Tap Harmonic” is simply like an “Artificial Harmonic”; the divergence between them is that the “tap harmonic” practices a single action- to do a tap, instead of separately touching and pulling the string. For this you require to tap the string lightly so that it very shortly strikes the fret underneath it and remove your finger very speedily. The tap sets the string in oscillation and at the same time produces the node in the right place - so of course you need to tap the string at the accurate place essential to set the “harmonic” you desire.
Whammy Bar Harmonics
Ultimately, the “Whammy Bar Harmonic” is akin to the “tap harmonic”, the only difference is that while playing “tap harmonic” you select very high order harmonics, and there is no fret beneath the exact point you need to strike, therefore, you require to practice a whipping action to set the string vibrating and deaden it in the accurate spot to set up the desirable node.
That is why; “whammy harmonics” are about the most challenging “harmonic” technique. A good point to do this is on the G string between the 2nd and 3rd frets - depending on the right position you whip. In this way, you can get 3 or 4 different harmonic series. Simply remember that before you whip, push your whammy bar down, and after the tap release it and add a few vibrato - with this technique you can find some crazy screams.
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Posted on August 30th, 2008 by Jackson White with No Comments »
by Martin Harris
Some of the fundamental concepts of guitar playing have been presented in this piece of writing. It describes lot of words and concepts that the beginner guitar player needs to find out, and this is an ideal place to start if you are a beginner. Moreover, it will give you an insight into some of the languages and concepts essential to move onto some of the more complex lessons.
Octaves and Note Naming
Lets start up the process of giving names to notes. Total number of whole notes in the scales is 7. Most of them are split into half notes. We name the whole notes after letters of the alphabet, starting at A and running through to G. At G we circle back around to A once again. The notes sound the same but higher as we have moved through 8 whole notes and got back to where we initiated from. The notes having the identical name are an Octave apart. Notes that are an octave apart are equal in musical function. As A Matter Of Fact, if two notes are an octave apart, the higher note will have twice the frequency of the lower note. There are 8 notes in total, including the equivalent notes called as an octave. The doubling in frequency between Octave apart notes strikes something in our nervous system and we find this relationship sensible and enjoyable to listen. So, we commonly construct our musical scales around this concept.
Tones and Semi-tones, Flats and Sharps
It is said that there are 8 whole notes - it turns out that we also need half notes to play any possible tune. The convention of playing western music includes to put half notes between all of the whole notes except for 2 specific pairs - E,F and B,C. The question is that why do we do this? It all comes from the way that Major scales are constructed, which you can read about in later in this lessons. Musical Scales are constructed from a mixture of half and full notes depending on the scale and employment of 8 whole notes along with some half notes give us the flexibility to do this. The remarkable thing is that music notation has developed over many thousands of years, so to make perfect sense is not essential, but it soon becomes second nature when you start working with it.
The whole notes are called tones while the half notes are called semi-tones. We can name to the semitones through 2 ways. We can figure them by producing a semi-tone from a particular note, which we call a sharp, and we use the ‘#’ sign to denote this. Or, we can figure the note by stepping down a semitone from a higher note - we name this a flat, and use the ‘b’ to denote this. Thus, we can discuss the notes A and B, and the note in between them which we could call A# or Bb.
Observe that certain pairs of notes do not have a semitone between them! Another means to describe all this is that there is no such note as E#, or B#, or employing the flat notation, Fb and Cb do not exist.
(Side note: In Reality there are some special circumstances in which we talk of E#, B#, Fb and Cb, but these are actually notational devices, and don’t refer to additional notes. We will learn about this later).
Hence you should now see that an octave consists of actually 12 certain semi-tones (normally known as 13 because we count the octave note as well). These are: A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab and back to A again making 13. No other notes than these exist in Western music, and every song written uses a combination of these in several octaves, and so a tune or melody is just a sequence of semi-tones A-G# spaced apart. They are not equal to maintain some feeling of rhythm.
Why the number of semitones remains 12? The simple answer is convention. A long time ago, Western music established on the 8 note scale, and uses half notes as the fundamental basis for all musics. Some cultures employ quarter notes in their scales, but they sound to western ears. Occasionally, on guitar we employ quarter note bends to impart emphasis and phrasing, particularly in blues, but scales can not be built out of them.
Posted on August 29th, 2008 by Martin Harris with No Comments »
by Adam Newman
For a beginner piano student scales are fine but you will soon get tired and loose interest. You need some good piano books and a varied assortment. If you focus on scales alone you will never branch out and enjoy what learning piano is all about.
To keep interested in piano try playing songs that you enjoy. It will be more fun and allot more interesting. It is important to keep your attention and it will show in your music.
Piano learning has many books out there that you can easily get. You don’t have to settle for just classical. Keeping your interest is vital.
Personally, I like to mix it up quite a bit. I buy piano books for all of the great classical pieces, and then learn to play the music, but sometimes I want a change. It is good to be able to play the songs that your friends want to hear. I mean, why be an entertainer if you can not entertain? So, I make sure to buy piano books covering all of the most popular songs so that I can take requests whenever I happen to be entertaining.
Remember to get books of music that you don’t like because others will. You can never tell what the crowds will request and you want to be ready. You could start to like playing Mandy.
Of course, once you have looked through enough piano books and studied enough songs, you start to realize that you do not really need the sheet music for everything anymore. After years of diligent and daily study, that magical moment is likely to occur for you, I know it occurred for me. When you can play anything that your heart desires without trying at all you know you have it.
You will begin hearing music in your head. The sheet music will just appear in your head and you will not need the sheet music to play your interpretation of that music. If you want to reproduce the exact music then you will need the sheet music. Once you have progressed to seeing the music in your head you can trash the piano books.
It will take dedication and practice. It will be worth your effort. Playing your own beautiful music will be your reward.
Posted on August 29th, 2008 by Jerry Martin with No Comments »
by Domen Lombergar
Surrealism is a particularly known as an artistic movement that conquered the world from the 1920s and onward. However, surrealism has been present in a variety of forms such as music, politics, literature and film. Surrealism is not just an art that was made to appeal to our sensory but rather as a philosophy and a revolutionary statement. In many ways, surrealism came to as a response to the Worlds involvement in the First World War and the horror that people experienced and witnessed.
It is said that Andr Breton was the leader of surrealism while the following list of writers and artists were fundamental to the movement of Surrealism: Louis Aragon, Philippe Soupault. Paul luard, Benjamin Pret, Ren Crevel, Robert Desnos, Jacques Baron, Max Morise, Marcel Noll, Pierre Naville, Roger Vitrac, Simone Breton, Gala luard, Max Ernst, Man Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges Limbour, Antonin Artaud, Raymond Queneau, Andr Masson, Joan Mir, Marcel Duchamp, Jacques Prvert and Yves Tanguy.
Surrealism entered into films. Surrealist films that got released were L’ge d’Or from 1930, Un chien andalou from 1929, Entr’acte from 1924, Le sang d’un pote form 1930, La Coquille et le clergyman from 1928.
In order to create an appeal that appears to be more fictional, Surrealism can be portrayed as an element that is more realistic in art. It stands in between the fantasy and reality. It helped in linking the abstract and the real things present in the world. It also plays with the human psyche. Artists who described this art were namely Grgoire Michonze, Valentine Hugo, Giorgio de Chirico, Salvador Dali, Alberto Giacomett, Mret Oppenheim, Luis Buuel, Enrico Donati and Toyen.
Surrealism entered in all parts of the world along with its political philosophy. It spread from Europe to North America, Caribbean, South America, , Central America and in some parts of Asia. Its fame increased in Latin America and became extremely popular. Argentina had a great impact as many surrealists were from the country. In Europe, Surrealism came in the 20s while in America it was a bit late and came into existence in the later part of the 60s. Many art exhibitions were held that brought Surrealism into light and those exhibitions were really noteworthy.
In the 20s, La Peinture Surrealiste exhibition was in France in 1925 and also the Galerie Surraliste was held in 1926. During the 30s, the number of exhibitions that took place increased. They were the the London International Surrealist exhibition in London in 1936, , Dada and Surrealism in New York in 1936, Fantastic Art and the International Surrealist Exhibition in 1938 was in Paris. In the 40s, some of the exhibitions were the First Papers of Surrealism that took place in New York in 1943 and the International Surrealist Exhibition in 1949 was also held in Paris in 1959. The final exhibition was held in New York in the year 1960 which was named to be the Surrealist Intrusion in the Enchanters’ Domain.
Surrealism had its say throughout the world as it not only portrayed the art style but also it also had messages that clearly supported Socialism, Marxism and Communism in the form of art.
Posted on August 28th, 2008 by Domen Lombergar with No Comments »
by Ross Coleman
J Join us now as we examine a few working tips to help you learn and master guitar scales, and the benefits of having a set practice time for learning scales. We will also be talking about the value of practicing guitar backing tracks to help master and perfect our scales and improvisation techniques.
If you wish to become an outstanding guitarist you have to master guitar scales. Without completely mastering guitar scales, it’s unachievable to make lead guitar parts as well as improvising solo leads. Scales are one of the foundational units that are fundamental to attaining a complete mastery of guitar playing.
There are many helpful tips available to help individuals master guitar scales. One tip is to not rush and try to memorize a lot of various scales all right away. It is much easier that pick out one scale, gather knowledge of it, and practice it unless you have perfected it. By practicing them one at a time you can keep what you have learnt. Learning one scale at a time will also boost up your power to be more creative when improvising, rather than sounding mechanical, as if you were playing drills.
Having a program for how you are going to utilize them is another outstanding tip. Building Up a set routine for guitar practice can serve you to make sure that you don’t ignore determining and doing and just skip to playing around. You can receive a guitar chord book from your discount local store, and spend just a short time every single day familiarizing yourself with all the scale names and all the diagrams that are shown.
It may be useful to rise up with a plan that sets aside a certain amount of time each practice to running through all of your scales. This will help you a great deal.
Commence by learning the basic 5 most common keys for guitar C, G, D, A, E these are comfortable open scale positions. Thenceforth, move on to minor a pentatonic scale which is the big daddy of all scales that is often used for improvisations on the guitar.
Once if you have started to perfect your scales, you will be able to know how to utilize them in constructing improvised solos and lead sections. One of the best modes of playing this is to practice improvising along to guitar backing tracks. If you want to know what you’ve learned Guitar backing tracks will serve you.
About scales and how they fit in with chord progressions and key changes. These backing tracks can also facilitate you to improve your timing skills as well as how to play with other musicians.
Guitar backing tracks give you the freedom to write and produce your personal lead parts to already existing bits of music played by master musicians.
Guitar backing tracks are very helpful to improve your practice time as well as assisting you perfecting your style and guitar playing abilities.
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Posted on August 27th, 2008 by Ross Coleman with No Comments »
by Thomas Anderson
Natural Harmonic
The simplest harmonics to produce are probably “Natural Harmonics”. The technique used is to play with an open string. You would pluck the string with the right hand with your pick as usual, and at the same time softly touch your left finger to the string at the proper point and then move out it immediately. Your left finger forces the string to stay still in that point, thus creating a node, while the rest of it resonates. The clarity the ‘harmonic’ relies upon how speedily you remove your finger. The most significant thing about “Natural harmonics” is that where you place your left finger .This is so because it has to match the exact placement of the node of the harmonic series you want to produce.
In most cases you need to place your finger above the fret, not the gap in between them. You can acquire all the “harmonic” effortlessly with a little practice except the 9th fret that is somewhat difficult to get. The 12th fret is simplest and best lace to begin.
Artificial Harmonic
“Natural harmonics” being created on open strings have limited notes which we can easily create. While “Artificial harmonics” include one more step and give a lot more possibilities, although they are much hard to play. Nevertheless, the principle is easy - we have just to shorten the string by fretting it somewhere. For example a 2nd harmonic although still comprising of 2 equal notes split in the middle would sound higher because we have shortened the string by fretting it.
It also signifies that we have to move the point that we create the node up by half the distance we have moved up the fret board (so that we are yet striking the accurate center of the part of the string that is free to move). Since we figure the positioning of the nodes as a division of the part of the string that is able to resonate, all of the nodes will be closer at hand, and will move on the string slightly. To actually perform the “harmonic”, since your left hand is busy in fretting the string, you must place a finger from your right hand on the appropriate point, and use another finger on the same hand to actually pluck the string - this is not easy - fairly difficult to perform but with practice you can meet the task.
To produce “artificial harmonics”, apply the exact same rules , just remember that you have to adjust for the amount you have moved up the neck.Entire complex melodies can be played by practicing artificial harmonics , but if you are moving your fret hand up the string even to play sequential notes, you also need to modify the place to match the “harmonic “you are producing.
Both the techniques mentioned above are equally at home on a classical or electric guitar.
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Posted on August 27th, 2008 by Eugene Walker with No Comments »
by Sun Chun Pak
There is much written about tai chi chuan and its positive impact on increasing a person’s health, but some still remain marginally skeptical as to the benefits that this old (several thousand years old to be exact) Chinese system of martial arts has to offer in terms of the health benefits associated with it.
It is totally acceptable that people still doubt the martial arts.
Hopefully, this little essay will point out a few of the basic health benefits that the system offers and will hopefully clear up a number of the misconceptions.
Now, in order to understand the positives that tai chi has to offer one must examine the relationship between the art and its emphasis on increased oxygen capacity.
Much emphasis is placed on the breathing control in Tai Chi.
Usually, the breathing exercises involve a great deal of deep and long breathing combined with arm movements that help open up the lung so that complete capacity of the lungs will be reached and they will be allowed to fill up with air.
Now, some may not see the value of deep breathing, but the value there are a host of effects that impact the body when oxygen enters it because oxygen does a great deal for the body that many people do not realize.
Do you know that oxygen helps to burn fat? Though it does not mean doing Tai Chi can help weight loss, but it can help burn calories.
And by expanding the amount of oxygen intake, the ability for the lungs to expand their cardiovascular conditioning will greatly increase.
This is no different than sprinting to improve cardio conditioning.
But they are very different, one is easy with the body and the other is high impact.
In short, tai chi has a multitude of benefits and if one opts to explore them the positive results will slowly reveal themselves.
Posted on August 27th, 2008 by Sun Chun Pak with No Comments »
by Rachel Branston
Playing different things with right and left hands is one of the most difficult skills the beginner pianist has to learn. Still, this is the core of piano playing and so it is something to be mastered at an early stage.
I have known very intelligent adults despair to their piano teacher that they’ll ever get anywhere and I’ve known tiny little tots take to it like a duck to water. It’s one of those totally unfair situations when some brains seem to be set up right whilst others have the wiring right for most things but askew for piano playing!
Don’t despair though. By following the advice below anyone can benefit from their piano lessons. some will take longer than others and may feel they are getting nowhere for a while but there is always some improvement through practice.
Consider these three steps to success.
First, make sure that the piece you’re attempting to play isn’t too difficult. If you’re trying to run before you can walk, you’ll get nowhere fast! As adults, we all tend to look at first pieces in a book and think we can achieve something much harder.
With the piano keyboard your brain has to contend with many unfamiliar commands and learn new motor skills. When you think of the story of the hare and the tortoise you can realise that with playing the piano, slow and steady to the finishing line really is the best policy.
Second, make sure you are confident about playing each hand separately. So well in fact that you would not be put off playing by any minor distractions.
A powerful practice technique is to learn to play the left hand accompaniment whilst singing the melody of the right hand. This helps to train your hands to be independent of your conscious thoughts as well as helping you to hear how right and left hands fit together before you can actually play both.
Third, just take it slowly. I mean slow the tempo right down and play the piano notes regularly in tempo but slowly. You’ll naturally have to play more slowly hands together than you do hands separately at first.
As soon as you start to put the hands together just cut your speed in half. Then be very precise. If you play too quickly to be accurate then you are actually learning to memorise these inaccuracies. You can always speed up when you are more proficient.
Follow these simple steps and you will be able to learn piano quite rapidly. Some folk will just get it almost right away whereas you may have to persevere with the right piano notes more slowly. Stay with it ‘though and you will certainly get there in the end.
About the Author:
Rachel Branston has designed an effective dvd course to teach piano to all ages. Pick up her free introductory piano lessons for beginners and find everything you need to know about
learning to play piano at http://www.playyourpiano.com .
Posted on August 26th, 2008 by Rachel Branston with No Comments »
by William Brown
Here is a review of 50Blues backing tracks based on an experienced blues guitarist of 20 years
I have been looking for good blues backing tracks for the longest time.
Finally, I have found the ones that I know will better my guitar playing at least twofold. I can’t believe how great the sound quality really is, I feel like I’m actually jamming with a professional blues backing band
Normally you get a bunch of timeworn MIDI tracks which are just arranged digital instrument sounds that are worse than TV game sounds from the 60s!
50Blues has an amazing deal where you get 50 blues backing tracks that are Instantaneously accessible after purchasing them. You can also get the 2 CDs physically shipped to your door
They have everything from slow blues ballads, shuffles, fast, funk, jazzy blues and much much more. Now, with a click of a play button I can apply my guitar riffs and licks over a professional band that remains in tempo and knows how to support a lead guitarist.
Any real blues musician will tell you that practice is what makes the difference. That is real hands on jamming sessions by playing with a live band Of course playing live is always the best because you can practice performing in front of people as well as playing along with the band.
But with blues backing tracks from 50Blues you are THAT MUCH CLOSER to the real deal. My lead guitar playing has already improved by at least twice since I have been playing along with these backing tracks.
If you are just starting out with blues guitar or if you are looking to improve your current soloing skills I highly recommend this product to you. I give it two thumbs up and 5 stars!
The only bad thing about it is that you can’t practice in front of people like you can when playing with a real live professional band at a club or event or gig.
But hey…this is the next best thing and you might like it better being able to practice on your own before letting loose your skills to the rest of the world!
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Posted on August 26th, 2008 by William Brown with No Comments »
by Reese Lanter
Most cultures, including our own, would consider tattoo for women designs as great. A lot of women also get enticed into getting a tattoo because of the various designs for women. Many women would certainly consider getting inked because of the great many designs available. As with every decision though, there are common questions that you might wan to ask first before you do get a tattoo. Here are the top three questions to ask.
What are the best, sexiest or cutest designs?
Most girls are likely to ask this question. Go to any girl tattoo forum and you will surely encounter girls who want to know the answer to this. The truth is that there is no single answer for it. Everything depends on what you personally like and what fits you. There are however a couple of enduring design categories that women favor. You might want to consider some of them.
Design of Flowers - Floral designs have always been on top of the list. Flowers, vines and leaves simply convey femininity. Strategic placements can also send out the message of sexiness. Be careful with your choice of flower though. Not all kinds of flowers have positive symbolic meanings.
Tribal and Indigenous - Tribal designs were once only for men. Women however, can actually look just as good. This is especially when the design is placed in appropriate places. You can have one on your wrist, hip, lower back or arm. Make sure to research on the particular tribal meaning of your design.
Winged Designs - Winged creatures are also popular tattoo for women designs. You would look feminine but strong with a butterfly or an angel. Winged fantasy creatures are also an option. You can go for fairies or winged unicorns.
What are the best places to place a tattoo on?
This is one of the first questions on tattoo you should ask. A lot of people would actually counsel you to pick a spot that you like. Nobody should have to dictate where you want your tattoo. On second thought, there are some practical considerations for tattoo placement.
Personality and Work - Your personality and work can determine tattoo placement. If you are reserved or if you have a job with strict dress code rules, then you should think twice about placing a tattoo in a prominent spot. You might want to consider a spot that can be partially hidden.
Bad Spots - Some spots are not good areas to place tattoos on. A well-done tattoo on your foot for example may seem great. The ink on foot tattoos however can easily smear. Foot tattooing and after care can also be painful and inconvenient. Areas in a woman’s body that are prone to flabbiness and sagging are also not good spots.
Best Areas - There are a couple of popular tattoo areas. One of the most popular is the lower back. This area is obviously a sexy spot to have a tattoo on. Many people however now view this spot as unoriginal.
What do men or people think of women with tattoos?
Some women still worry about what other people think. This shouldn’t matter to you if you it is your personal decision to get a tattoo. You should know though that there are still a couple of people and men who think tattoos are tramp stamps. If you aren’t a tramp at all, then there is no reason for you to get overly affected by such labels.
Posted on August 26th, 2008 by Reese Lanter with No Comments »