Archive for the ‘Sounds + Music’ Category
Why to Go and See Stomp the Music
The phrase stomp at first started with two buskers dazzling the streets of Brighton, UK with audio, their catchy overall performance hooking in bystaders to stop, observe, and listen. Created by Steven McNichols and Luke Cresswell in Brighton, UK, the musical STOMP debuted within the Orpheum Theatre in February 1994. The musical STOMP can also trace a few of its roots to Booth Theatres erected at the Village Fairs in the Middle Ages and Renaissance period- an old custom in that time. As opposed to any other musical, STOMP challenges the idea of what constitutes music. Eight nightly performers play basic and complex rhythms from every day items, for example six foot poles, sand, brooms, lids, litres of water, and aluminum bins. Through dance and audio, the group collaborates with every other to play audio, as well as providing person self-expression. STOMP is really a sensual combination of comedy, percussion, and energetic movements. The musical STOMP is the unique construction of Steven McNichols and Luke Cresswell that captalizes on a ‘less is more’ philosophy. It’s a passionate production, not effortlessly classified into a particular musical or theatrical genre. Through the absence of melodies, the audience listens to audio obtaining broken down into basics as eight chiseled and lively performers pound out rhythms with ordinary objects: poles, drumsticks, match boxes, water, brooms, bins, and lids. Ironically, the common high quality of these objects catapults STOMP to an artistic level unrivalled by other modern theatrical acts. The ease in which the cast manipulates their ‘instruments’ and body expands the imagination into a thrilling reality. The set design is flashy and multi-colored at times; a more elaborate metal construction displays instruments which are struck by performers harnessed from the ceiling. This restriction frees the cast to use their feet, legs, and arms to produce loud group rhythms which shake the rafters and audience with the intense, tribal rhythms. These in-your-face cadences are a potent avenue for person and collective expression, leaving many on the edge of their seats. STOMP’s lack of fancy performer outfits keeps the focus on what really counts: dance moves and music rhythms, which turn out to be more intricate with each subsequent scene. Subtlety is also used to balance these raw rhythms.One scene is structured around performers tapping six foot poles, as they stealthily circle the stage, almost preying on one another with their sly moves and rhythms. Their sense of connection is palpable and sensual, cast eye contact igniting the anticipation, as you almost find yourself questioning who is going to ‘win’ at this musical game. Yet, everybody wins, the audience even invited into the overall performance via a cast member who initiates a clap-and-response session. Roughly two hours in duration, STOMP keeps one’s attention, making you wonder how items usually reserved for math difficulties, cleaning, and construction projects can entertain and produce a powerful music group dynamic. In this age of modern technology, STOMP is a refreshing blend of primal instincts meeting music genious, reminding us of the musical and rhythmic potential right under our noses. Discover much more information about the musical and buyStomp Tickets on the internet
Justin Bieber- New Love Of His Life
Westlife Reveal that Reality TV Singer Annoys them
Westlife singer Kian Egan has admitted that he finds Danyl Johnson annoying when he watches The X Factor”.
The Westlife star revealed that he used to enjoy Johnson’s performances but now feels differently about the schoolteacher, who is part of Simon Cowell’s Over 25s category.
Egan told Sky News: “I was a fan of Danyl but he doesn’t do it for me now. He seems to have lost it, he annoys me now and I want to turn over.”
Westlife have admitted they can’t wait to see the back of 2009 following a year of personal tragedy.
The band endured the deaths of the fathers of Kian Egan and Nicky Byrne this year, and the loss of their friend Stephen Gately.
But they have now thrown themselves back into work to cope with their grief.
“It’s been a crap year,” admitted Byrne. “I think we’re all looking forward to the next year to be honest.”
His father died suddenly last month, but the band returned to performing to promote their 10th album Where We Are.
“There are times when you look back at it and think ‘Should I be enjoying myself?’” Byrne said.
“That’s part and parcel of it. Its certainly better than sitting and home and doing nothing but crying, because I’ve done all my crying, I just can’t cry anymore.
“Having such a good album has been positive.”
The fact that the band members were friends before they hit the big time more than 10 years ago seems to have helped them cope.
“As a band we’ve got closer in the last three or four months” said Shane Filan.
“We’re closer than we’ve ever been. When something is taken away from you, or someone like Steven that was looking forward to his next album, and you know he can’t do that now.
“It kind of puts things into perspective a lot.”
Staying positive and sticking together has been the way through the last few months in Westlife world.
Best Piano Practice Tips for Young Students
Parents often don’t realize how much progress their young child in piano lessons can make. Some parents don’t even take their young children in piano lessons seriously! It’s hard to believe but I’ve even heard parents say things like, “Well she’s only 6 years old, you can’t expect her to really play piano!” The problem with this thinking is where does it end? “She’s only 7…..” “He’s only 8…..” She’s only 9….” This is a defense parents sometimes use because they’re afraid their children will fail in piano. It’s understandable, but it sends their child in piano the message that their effort doesn’t matter. How sad!
The truth is that children are very capable so don’t underestimate your child’s intelligence. Here are three practice strategies for young piano students that matter! Encourage your child in piano lessons to use these Best Piano Practice Tips and I guarantee it will make a huge difference in their success.
1. Keep your eyes on the music – don’t look down at your hands.
2. Sing the note names as you play them.
3. Keep a rounded hand position over the keys and stretch your fingertips down to the keys from the top knuckles.
4. Sit back on the piano bench and reach your arms out to the piano.
5. Swing your arms away from your sides so the tips of your elbows point in a horizontal direction.
Without effective piano practice habits it won’t matter how long your child practices. However, by helping your young student stay focused during home practice with these effective learning tips, they will achieve more and enjoy playing more, because they’re so successful.
For great home piano activities parents can use to help children ages 5 to 11 develop their musical talent, visit Piano Adventure Bears Music Education Resources You’ll find a treasure box filled with piano resources to create an exciting musical adventure for your child – right in your own home! Visit their website and subscribe to their f’ree internet newsletter so you can download f’ree piano sheet music and mp3s of original piano compositions.
These exciting stories, games, piano lessons, and inspirational gifts feature the Piano Adventure Bears, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Young students follow along with Albeart to learn what piano lessons are all about in a fun way that kids readily understand appreciate. Click here to visit PianoAdventureBears.com For a wealth of information about piano lessons, visit tallypiano.com
Modal Theory for Guitar Players – Part 2
Playing the Modes
When I used to use this pack with students, I provided them with a CD which contained a backing track for each of the modes. This enabled them to practive getting the sounds and shapes under their fingers. In this version you will be provided with the harmonised scale for each mode, and from this you can construct your own grooves and backing tracks to do the same thing. I am assuming that you know, or can easily work out the names of the notes on the neck so the scale maps you will be presented are not anchored in any one place on the neck. Once you know where the root note is for each scale you can then move that note to suit whatever scale you want to play. Please note that some of the modes are for different scales, but this is only so that you don’t learn everything in C, but do try to get used to using other root notes.
The Ionian Mode
As we have already discussed, the Ionian mode is the major scale, so anything that you know about the major scale, you know about the Ionian mode. We have looked at the structure of the scale, which hopefully was familiar, and the next thing we’ll consider is what chords you can build on the major scale. I am going to assume that this is something you know and that it won’t come as a surprise that if we take the C Ionian scale, and build 7th chords on each scale degree, we will get the following chords
C Major 7
D Minor 7
E Minor 7
F Major 7
G Dominant 7
A Minor 7
B Minor 7 flat 5
These chords are constructed from the notes contained within the C Ionian scale, so the C Ionian will fit over any of these chords. Now, this is technically true, but as you will know from your playing, some notes work better than others, and for some people’s ears. You can also play the arpeggios of these chords.
The Dorian Mode
As you will know from the previous discussion of theory, C Dorian differs from C Ionian by having the third and seventh of the scale flattened, thus, C Dorian consists of:
C D Eb F G A Bb
The seventh chords built upon these notes are as follows;
C Minor 7
D Mionr 7
Eb Major 7
F Dominant 7
G Minor 7
A Minor 7 flat 5
Bb Minor 7
To play something a little more familiar you can also use the C Minor pentatonic as this is using notes which are in the C Dorian scale, namely,
C, Eb, F, G, A, and Bb.
The Phrygian Mode
You can use the previous theoretical discussion to work out how the G Phrygian differs from G Ionian. Just to recap, G Ionian consists of the notes G, A, B, C, D, E, and F#. The Phrygian mode differs from the Ionian by the second, third, sixth, and seventh degrees of the Ionian scale being flattened. So, G Phrygian consists of:
G Ab Bb C D Eb F
The seventh chords built upon these notes are as follows:
G Minor 7
Ab Major 7
Bb Dominant 7
C Minor 7
D Minor 7 flat 5
Eb Major 7
F Minor 7
Along with these you can interweave the arpeggios and the G Minor pentatonic is made up of notes from the G Phrygian scale, so you can use that too.
The Lydian Mode
You should be able to work out how G Lydian will differ from G Ionian. Remember that the Lydian has a 4th degree which is sharpened, and the 4th degree of G Ionian is C, thus, G Lydian consists of the following notes.
G A B C# D E F#
The seventh chords built upon this scale are:
G Major 7
A Dominant 7
B Minor 7
C# Minor 7 flat 5
D Major 7
E Minor 7
F# Minor 7
You can also use the various arpeggios and the G Major pentatonic in this situation.
The Mixolydian Mode
You should be able to work out how G Mixolydian will differ from G Ionian. Remember that the Mixolydian has a 7th degree which is flattened, and the 7th degree of G Ionian is F#, thus, G Mixolydian consists of the following notes.
G A B C D E F
The seventh chords built upon this scale are:
G Dominant 7
A Minor 7
B Minor 7 flat 5
C Major 7
D Minor 7
E Minor 7
F Major 7
You can also use the various arpeggios and the G Major pentatonic in this situation.
The Aeolian Mode
You should be able to work out how B Aeolian will differ from B Ionian. Remember that the Aeolian has third, sixth and 7th degrees which are flattened, and the third, sixth and 7th degrees of B Ionian are D#, G#, and A# thus, B Aeolian consists of the following notes.
B C# D E F# G A
The seventh chords built upon this scale are:
B Minor 7
C# Minor 7 flat 5
D Major 7
E Minor 7
F# Minor 7
G Major 7
A Dominant 7
You can also use the various arpeggios and the B Minor pentatonic in this situation.
The Locrian Mode
You should be able to work out how B Locrian will differ from B Ionian. Remember that the Locrian has third, sixth and 7th degrees which are flattened, and the second, third, fifth, sixth and 7th degrees of B Ionian are C#, D#, F#, G#, and A# thus, B Locrian consists of the following notes.
B C D E F G A
The Locrian is interesting because it is actually a half-diminished scale.
The seventh chords built upon this scale are:
B Minor 7 flat 5
C Major 7
D Minor 7
E Minor 7
F Major 7
G Dominant 7
A Minor 7
You can also use the various arpeggios and the G Major pentatonic in this situation.
Epilogue
The study of the guitar is a lifetime’s work, and even then you won’t know everything, won’t be able to play everything, and still have skills that you could develop further. There’s nothing wrong with that as you don’t need to have a perfect understanding of anything to be able to be creative and skilled. Part of the enjoyment is the journey, the process of learning. Hopefully this handbook has provided you with the tools to start your exploration of the modes, and with the knowledge contained herein you can go off and build further tools which let you express yourself as you want to. Good luck.
Simon duff