1) Looking for the top 10 ways to effectively practice piano?
Let us start by admitting piano practice isn't always fun. At times, it can be as grueling a task as mopping the floor or teaching your York Terrier to roll over (even when he hasn't done it for the hundredth time). The key thing about piano practice however, is that it isn't really supposed to fun -- it's supposed to improve your skills. That doesn't mean that practicing the piano **can't** be fun. We've even written an article describing how to **make** it fun. This article however, focuses on how to make practice more effective. And effective practice often accompanies a little thing we like to call, "dedication."
2) Plan your practice time and set goals.
Yup - as with every thing else under the sun, perfection at the piano requires a dedicated set time of practice. So take a look at your schedule and **make** time (don't 'squeeze' time) to practice. Make sure that this time slot is uninterrupted and void of frivolous phone calls or visits from friends and family. Put the terrier in the back yard and unplug the phone. This is how to build "you" time, or more correctly, time to strengthen the love affair between you and your instrument. On such a lovely date, you may want to finally figure out a passage that has been troubling you, or you may want build your basic skills. If it will help, write into your schedule book, the task that you'd like to master on each day that you practice. That way when you look at your planner, you'll remember how even Beethoven started out!
3) Play With Your Metronome.
Don't forget the metronome. Metronomes are designed to strengthen your rhythm skills and if you insist on playing without one, you're destined to produce inconsistent music (no matter how well you can count). Put your trust into the mechanics of a metronome and you'll stay on beat, every time.
4) Get Smooth
After a while, you may notice that your metronome is getting on your nerves. If so, chances are you've either got it turned up too loud, or you've advanced so much, you're ready to concentrate on other aspects of piano music -- like smoothness for example. During this phase of your lessons, your rhythm and timing have obviously improved, and now you're more interested in playing with emotion than following a steady beat. This doesn't mean that the metronome is useless however. It simply means that you can start focusing on letting your music flow. Turn the metronome down to its lowest level and refer to it only when you're nervous about getting off beat.
5) Practice in front of others.
Talk about getting nervous! Failing to regularly play in front of others will only turn you into a master among one: (yourself)! Get used to entertaining small crowds and you'll eventually gain the courage to play for a crowd of a thousand. With just a few more years of experience, you'll soon solo at the symphony!
6) Kill the mistakes.
This is where practicing in front of others really pays off because if you make a mistake, you can be sure you'll hear about it. And as daunting as this may seem, it's actually a good thing. You certainly want to catch and correct mistakes before you solidify them as a permanent fixture in a public performance.
7) Practice Every Day
Yes, even when you're tired, grumpy, or just plain don't feel good, you must practice every day. You don't have to produce a masterpiece every time you sit down to play the piano, but you can at least run through the drills. This will help keep your fingers limber and your pedal-work coordinated with your hands. Of course when you're feeling up to it, go on and rock the house! Just don't skip a day. Not even one. The masters didn't!
8) Work the Right Hand.
Since the right hand often plays the most intricate part of a song, you'll want to exercise it as much as possible. Take it slow if need be and then speed up to the right tempo when you're ready.
9) Speed It Up
There's an interesting theory in the piano community that claims playing faster, increases skills. This is a theory of course that only works after you've mastered a piece at tempo you're comfortable with. And it's idea claims that "speed playing" makes music appear easier to play than it really is.
10) Chill
You'll never master the piano if you continuously play it while tense, angry, or nervous. Certain pieces of music require that its musicians relax. If you never learn how to relax during practice, your tense, angry, or nervous condition will eventually become your personal playing style. And the music that you play will instill the same condition within your audience. Yikes! Learn how to relax your wrist, hands, shoulders and arms. Find a comfortable position and learn how to smile while you're playing. Yes, playing the piano is hard work, but it should never be forced.
Record Yourself.
Strengthen both your playing and listening skills by recording yourself playing the piano. Depending on how good you are, you may be in for a pleasant or terrifying experience. If the former - don't stop improving. If the latter - don't give up. After enough practice, you'll improve on your own without the aid of a tape recorder -- and you'll do so the instant that you press a key.
By: Brian Shelton
Wednesday 25 June 2008
Top 10 ways to make piano lessons fun
Looking for the top 10 ways to make piano lessons fun?
1. Go With The Flow. Sometimes it's easier to practice piano lessons when they reflect the mood that we're in. If it's a sunny day outside, play some music that complements the weather. If you're excited about a raise at work or a high grade at school, play some music that complements your achievement. Even if you're feeling a bit blue, complementary music may prove to be therapeutic and help you cope with whatever has got you down. On the flip side, much of what's "fun" is creative, so turn the tables and go against the current atmosphere if you dare. Care to brighten up a stormy night outside? Play some of the most cheerful music you can find!
2. Play music for your lover. Many of the songs we have today were written for someone else. In fact, love is the theme among a lot of the music we play even when there aren't any accompanying lyrics. So see how your performance improves by thinking of a lost love, your current lover, or even your fantasy lover while playing. If you don't notice any significant improvement, you'll have to admit it was fun thinking about it!
3. Try different kinds of music. Get out of a rut you're in by playing music you're not familiar with. As challenging as that idea may be, lively pieces can make practice fun as long as you relax with it. Try some pop music from the 50s or some cool R & B tunes from the early 60s. A little 'old school' Diana Ross or Aretha Franklin is often enough to make anything fun!
4. Expose yourself to foreign music. Chances are you'll find some of the most unique pieces of music originating outside of the United States. For whatever reason, there just isn't enough of it infiltrating into mainstream radio. But that just kind of makes it more special, doesn't it? Wrap your ears around some of this stuff and you'll learn how other cultures exploit the unique sounds of the piano. Perhaps you'll pick up a few new techniques along the way.
5. Play something else. See how well you can adapt other instruments into a simulated piano just by pressing specific parts of it. The electronic piano is an obvious choice, but why not get crazy and run your fingers across the keyboard you're sitting behind for example. A windowsill? A coffee table? Your chosen victims may not produce any sound, but it's this very lack of pitch that will focus your thoughts on finger placement. Go figure!
6. Play with a partner. Are two pianists better than one? Well in all honesty, it depends on how well they get along! If you can find a partner who complements your playing style, then congratulations -- the two of you shall make beautiful music together. Literally. If not, consider playing alongside a violinist, tuba player, or someone who can sing really well. Remember that the key behind this strategy is to have fun with everything from choosing music all the way to entertaining a small crowd or two.
7. Play along with the songs that you hear. This strategy could be more challenging than fun, but if approached with the right mindset, you just might find yourself giggling all while you learn new things at the same time. If you're a little bored with your current collection of CD's, try playing along with songs on the radio or TV. You'll find the jingles that accompany TV commercials especially entertaining.
8. Write your own music. This is another challenging way to practice the piano -- but it will at least strengthen your skills. Just don't try to write a masterpiece in one day.
9. Improvise when you've mastered a song. Instead of writing your own music from scratch, try improving the music that already exists with a little improv. Take a somber piece and attempt to liven it with a few interesting runs. Or do the exact opposite with a happy piece. Insert some questionable yet interesting and thought-provoking pauses into a piece where there ought not be any. In other words, have fun!
10. Switch the genre. What would a Chopin piece sound like in a gospel church? How about a Gershwin piece? What if you were to play it with an MC Hammer twist? Try changing the rhythm of a song and see what you get. A lot of the creative pieces we have are the result of mixing different elements of music together into one.
What else can you add to this list of top 10 ways to make piano lessons fun?
By: Brian Shelton
1. Go With The Flow. Sometimes it's easier to practice piano lessons when they reflect the mood that we're in. If it's a sunny day outside, play some music that complements the weather. If you're excited about a raise at work or a high grade at school, play some music that complements your achievement. Even if you're feeling a bit blue, complementary music may prove to be therapeutic and help you cope with whatever has got you down. On the flip side, much of what's "fun" is creative, so turn the tables and go against the current atmosphere if you dare. Care to brighten up a stormy night outside? Play some of the most cheerful music you can find!
2. Play music for your lover. Many of the songs we have today were written for someone else. In fact, love is the theme among a lot of the music we play even when there aren't any accompanying lyrics. So see how your performance improves by thinking of a lost love, your current lover, or even your fantasy lover while playing. If you don't notice any significant improvement, you'll have to admit it was fun thinking about it!
3. Try different kinds of music. Get out of a rut you're in by playing music you're not familiar with. As challenging as that idea may be, lively pieces can make practice fun as long as you relax with it. Try some pop music from the 50s or some cool R & B tunes from the early 60s. A little 'old school' Diana Ross or Aretha Franklin is often enough to make anything fun!
4. Expose yourself to foreign music. Chances are you'll find some of the most unique pieces of music originating outside of the United States. For whatever reason, there just isn't enough of it infiltrating into mainstream radio. But that just kind of makes it more special, doesn't it? Wrap your ears around some of this stuff and you'll learn how other cultures exploit the unique sounds of the piano. Perhaps you'll pick up a few new techniques along the way.
5. Play something else. See how well you can adapt other instruments into a simulated piano just by pressing specific parts of it. The electronic piano is an obvious choice, but why not get crazy and run your fingers across the keyboard you're sitting behind for example. A windowsill? A coffee table? Your chosen victims may not produce any sound, but it's this very lack of pitch that will focus your thoughts on finger placement. Go figure!
6. Play with a partner. Are two pianists better than one? Well in all honesty, it depends on how well they get along! If you can find a partner who complements your playing style, then congratulations -- the two of you shall make beautiful music together. Literally. If not, consider playing alongside a violinist, tuba player, or someone who can sing really well. Remember that the key behind this strategy is to have fun with everything from choosing music all the way to entertaining a small crowd or two.
7. Play along with the songs that you hear. This strategy could be more challenging than fun, but if approached with the right mindset, you just might find yourself giggling all while you learn new things at the same time. If you're a little bored with your current collection of CD's, try playing along with songs on the radio or TV. You'll find the jingles that accompany TV commercials especially entertaining.
8. Write your own music. This is another challenging way to practice the piano -- but it will at least strengthen your skills. Just don't try to write a masterpiece in one day.
9. Improvise when you've mastered a song. Instead of writing your own music from scratch, try improving the music that already exists with a little improv. Take a somber piece and attempt to liven it with a few interesting runs. Or do the exact opposite with a happy piece. Insert some questionable yet interesting and thought-provoking pauses into a piece where there ought not be any. In other words, have fun!
10. Switch the genre. What would a Chopin piece sound like in a gospel church? How about a Gershwin piece? What if you were to play it with an MC Hammer twist? Try changing the rhythm of a song and see what you get. A lot of the creative pieces we have are the result of mixing different elements of music together into one.
What else can you add to this list of top 10 ways to make piano lessons fun?
By: Brian Shelton
Friday 20 June 2008
The Early Rock Music - History And Development Drummers Guide
Rock music in all its variations is arguably the most popular, identifiable, and universal style of music throughout the world. Due to the enormous number of Rock n' Roll composers, musicians, and bands, it is impossible to cite every major influence in this genre.
The names of many 20th century popular music styles were originally slang terms with sexual connotations (e.g. Swing, Jazz, Bop). Rock n' Roll is no exception. In the early 1950s, as jazz became more of a listening music played by small ensembles, audiences sought music which provided an unwavering and obvious pulse for dancing. This factor, as well as the appeal of a lead singer emphasizing lyrics and the advancing development and use of electric instruments (guitar, bass, etc.) played with high energy, and with a heavy drumming backbeat, all contributed to the beginnings of Rock n' Roll. Though Alan Freed, an early 1950s disc jockey from Cleveland, Ohio, is often credited with coining the term "Rock n' Roll", it can be traced back much further, at least as far back as the song written by Richard Whiting in 1934 entitled "Rock and Roll." The style really didn't come into its own, however, until the 1950s. A series of early hits, including "Sixty Minute Man," by the Dominoes, and several by Bill Haley and the Comets (notably "Rock Around the Clock"), grabbed the attention of American youth.
As the new music gained popularity, musicians such as Antoine "Fats" Domino, Little Richard (Richard Penniman), and Chuck Berry emerged as its stars. In addition, with Elvis Presley's phenomenal rise, Rock n' Roll produced its first superstar. The music continued to gain popularity throughout the remainder of the decade with such artists as Sam Cooke, Buddy Holly, Richie Valens and many Rockabilly musicians, such as Carl Perkins, rising to prominence. By the early 1960s, Surf music had become very popular, and by the mid 1960s, Soul Music, and more especially "The Motown Sound", were also very popular. These driving forces of early and mid 1960s pop music firmly established Rock music's signature "straight" feel as opposed to the "swung" feel of the Jazz bands of the 1930s and 1940s and West Coast and Jump Blues, made popular in the 1940s and early 1950s by artists such as T-Bone Walker. By the 1960s, Rock n' Roll had also found a large audience in Britain, inspiring the formation of many British bands and the "British Invasion" of the U.S. music scene.
"Beatlemania" and the Beatles' continuing success were perhaps the best indications of Rock n' Roll's universal appeal and lasting popularity. "The British Invasion" also coincided with an emphasis on bands rather than individual musicians. But, paradoxically, some of the more famous names in drumming history came to prominence in this period: Ringo Starr (The Beatles), Charlie Watts (The Rolling Stones), Mick Avory (The Kinks), and Keith Moon (The Who). The mid to late 1960s saw a proliferation of Rock bands with prominent drummers, including Cream (Ginger Baker), The Doors (John Densmore), Jimi Hendrix (Mitch Mitchell and later Buddy Miles), and The Grateful Dead (Mickey Hart and Bill Kreutzmann). By this time, Rock drumming began to deviate from a simple and recognizable beat to include more challenging rhythms and fills requiring greater technical skill, with the "concert drum solo" becoming a common feature of Rock performances. By the beginning of the 1970s, several bands had become well established: Led Zeppelin (with prominent drummer John Bonham), Deep Purple, and Black Sabbath-that are considered founders of the Heavy Metal style. Another category that had attained wide popularity by the early 1970s was Progressive Rock, a style of music and drumming characterized by lengthier compositions, odd time signatures, and an even higher level of musicianship.
By: Eric Starr
The names of many 20th century popular music styles were originally slang terms with sexual connotations (e.g. Swing, Jazz, Bop). Rock n' Roll is no exception. In the early 1950s, as jazz became more of a listening music played by small ensembles, audiences sought music which provided an unwavering and obvious pulse for dancing. This factor, as well as the appeal of a lead singer emphasizing lyrics and the advancing development and use of electric instruments (guitar, bass, etc.) played with high energy, and with a heavy drumming backbeat, all contributed to the beginnings of Rock n' Roll. Though Alan Freed, an early 1950s disc jockey from Cleveland, Ohio, is often credited with coining the term "Rock n' Roll", it can be traced back much further, at least as far back as the song written by Richard Whiting in 1934 entitled "Rock and Roll." The style really didn't come into its own, however, until the 1950s. A series of early hits, including "Sixty Minute Man," by the Dominoes, and several by Bill Haley and the Comets (notably "Rock Around the Clock"), grabbed the attention of American youth.
As the new music gained popularity, musicians such as Antoine "Fats" Domino, Little Richard (Richard Penniman), and Chuck Berry emerged as its stars. In addition, with Elvis Presley's phenomenal rise, Rock n' Roll produced its first superstar. The music continued to gain popularity throughout the remainder of the decade with such artists as Sam Cooke, Buddy Holly, Richie Valens and many Rockabilly musicians, such as Carl Perkins, rising to prominence. By the early 1960s, Surf music had become very popular, and by the mid 1960s, Soul Music, and more especially "The Motown Sound", were also very popular. These driving forces of early and mid 1960s pop music firmly established Rock music's signature "straight" feel as opposed to the "swung" feel of the Jazz bands of the 1930s and 1940s and West Coast and Jump Blues, made popular in the 1940s and early 1950s by artists such as T-Bone Walker. By the 1960s, Rock n' Roll had also found a large audience in Britain, inspiring the formation of many British bands and the "British Invasion" of the U.S. music scene.
"Beatlemania" and the Beatles' continuing success were perhaps the best indications of Rock n' Roll's universal appeal and lasting popularity. "The British Invasion" also coincided with an emphasis on bands rather than individual musicians. But, paradoxically, some of the more famous names in drumming history came to prominence in this period: Ringo Starr (The Beatles), Charlie Watts (The Rolling Stones), Mick Avory (The Kinks), and Keith Moon (The Who). The mid to late 1960s saw a proliferation of Rock bands with prominent drummers, including Cream (Ginger Baker), The Doors (John Densmore), Jimi Hendrix (Mitch Mitchell and later Buddy Miles), and The Grateful Dead (Mickey Hart and Bill Kreutzmann). By this time, Rock drumming began to deviate from a simple and recognizable beat to include more challenging rhythms and fills requiring greater technical skill, with the "concert drum solo" becoming a common feature of Rock performances. By the beginning of the 1970s, several bands had become well established: Led Zeppelin (with prominent drummer John Bonham), Deep Purple, and Black Sabbath-that are considered founders of the Heavy Metal style. Another category that had attained wide popularity by the early 1970s was Progressive Rock, a style of music and drumming characterized by lengthier compositions, odd time signatures, and an even higher level of musicianship.
By: Eric Starr
Classical Guitar: How to improve your Right Hand Playing
Right hand technique is often the most overlooked part of a classical guitarist’s skill yet it is the most important. Improving your right hand will transform your playing from mechanical to brilliant and expressive. Here are some tips and techniques that will help you improve.
Your left hand determines the note and your right hand determines just about everything else from tone, to timbre, volume, texture and all the subtleties of the sound that comes from your classical guitar. Yet it is often overlooked when it comes to practice. If you want to really improve your classical guitar playing you need to start focusing on right hand technique. Here are some tips and tricks on how to do it.
Practice the types of strokes
A lot of beginner guitarists don’t realize that there are two different types of right hand strokes you can perform. The first stroke (and most common) is the free stroke where the finger doesn’t contact anything after plucking the string. The second type of stroke is the rest stroke where the finger comes to rest on the next string down after plucking. Practice your scales and arpeggios using both types of strokes.
Walking across the strings
You can set up your own exercises that will dramatically improve your right hand play and I recommend you do walking exercises at the beginning of every practice session.
Walking exercises are simply exercises where you play across all six strings in varying finger patterns. You can do this without stopping any of the strings with your left hand (open) or you can do scales.
Heres how to do it: Simply pluck down then up the six strings alternating between your index and middle fingers. Easy enough right? You started out with your index finger plucking the bass E string right? Now change that up and start your plucking by using your middle finger on the bass E string! It feels quite a bit different doesn't it? Now do a three-finger pattern using index, middle and ring finger. And of course mix that pattern up by starting with a finger other than your index. This will probably feel a little awkward at first but keep at it. With a simple practice exercise like this your classical guitar playing will improve dramatically.
Free pdf written by a master
There is a series of studies called 120 right hand exercises for classical guitar. Matteo Carcassi wrote these studies and they are in the free public domain. The exercises vary in difficulty so are appropriate for beginners to advanced. You can slowly work your way through them over time. Using these studies is a great way to improve right hand play and also improve sight-reading skills.
A Recommended Book
If you are looking for more guidance on improving your play I recommend you get a book by Scott Tennant called “Pumping Nylon”. I own it and have made it a part of my regular practice sessions. It has a lot of practical exercises for both the right and left hand. In 2006 a new version of this book aimed at beginners was published. There is also a nice DVD version available if you are a visual style learner.
Because the left hand is closer to your eyes, and because most people are right handed focusing on improvement of the right hand is often overlooked. But if you really want to take your classical guitar playing to the next level you should make a conscious effort to improve your right hand technique. Your speed of playing, clarity, and ability to express with the instrument will be greatly enhanced.
By: Will Kalif
Your left hand determines the note and your right hand determines just about everything else from tone, to timbre, volume, texture and all the subtleties of the sound that comes from your classical guitar. Yet it is often overlooked when it comes to practice. If you want to really improve your classical guitar playing you need to start focusing on right hand technique. Here are some tips and tricks on how to do it.
Practice the types of strokes
A lot of beginner guitarists don’t realize that there are two different types of right hand strokes you can perform. The first stroke (and most common) is the free stroke where the finger doesn’t contact anything after plucking the string. The second type of stroke is the rest stroke where the finger comes to rest on the next string down after plucking. Practice your scales and arpeggios using both types of strokes.
Walking across the strings
You can set up your own exercises that will dramatically improve your right hand play and I recommend you do walking exercises at the beginning of every practice session.
Walking exercises are simply exercises where you play across all six strings in varying finger patterns. You can do this without stopping any of the strings with your left hand (open) or you can do scales.
Heres how to do it: Simply pluck down then up the six strings alternating between your index and middle fingers. Easy enough right? You started out with your index finger plucking the bass E string right? Now change that up and start your plucking by using your middle finger on the bass E string! It feels quite a bit different doesn't it? Now do a three-finger pattern using index, middle and ring finger. And of course mix that pattern up by starting with a finger other than your index. This will probably feel a little awkward at first but keep at it. With a simple practice exercise like this your classical guitar playing will improve dramatically.
Free pdf written by a master
There is a series of studies called 120 right hand exercises for classical guitar. Matteo Carcassi wrote these studies and they are in the free public domain. The exercises vary in difficulty so are appropriate for beginners to advanced. You can slowly work your way through them over time. Using these studies is a great way to improve right hand play and also improve sight-reading skills.
A Recommended Book
If you are looking for more guidance on improving your play I recommend you get a book by Scott Tennant called “Pumping Nylon”. I own it and have made it a part of my regular practice sessions. It has a lot of practical exercises for both the right and left hand. In 2006 a new version of this book aimed at beginners was published. There is also a nice DVD version available if you are a visual style learner.
Because the left hand is closer to your eyes, and because most people are right handed focusing on improvement of the right hand is often overlooked. But if you really want to take your classical guitar playing to the next level you should make a conscious effort to improve your right hand technique. Your speed of playing, clarity, and ability to express with the instrument will be greatly enhanced.
By: Will Kalif
Wednesday 18 June 2008
How To Create A Sound Effect Library: Step One, Recording Sound Effects
In order to record sound effects for a personal or professional sound effect library one needs two things: sound itself and an object with which to record sound. The former should not be a problem finding as sound permeates existence. The later is easily available in a variety of formats and forms, though a basic handheld digital unit with a T shaped stereo microphone is the simplest and most efficient. Personally I’ve tried all sorts of pricey gear and mics throughout my sonic adventures only to discover that a solid $150 to $400 handheld digital recorder no larger than an old-school cassette tape box suffices to create sounds good enough for placement in any film, tv, and media project. In addition, these units run on battery power and the recorded files can generally be dragged onto your desktop via USB.
Be aware, however, that any device you use must record up to at least a 48k sample rate. Always record at the highest bit and sample rate possible because video uses audio with a 48k sample rate, not 44.1k. Any 44.1k samples you have will have to be upconverted to be used in a video production and this process always runs the risk of audio damage. Because of these potential problems with lower quality files, 48k sound effects are generally valued more by video editors and thus command a higher sale price should you choose to sell your sounds online.
There are two basic types of sound effects that you will be recording: “hits” and “ambiences.” Hits are single short sonic events such as a slap, gun-shot, or dog bark. Ambiences are longer background elements such as ocean waves, restaurant environments, or playground noises. In creating a library it is most valuable to have many of both types as they are both used in sound design. You will find that ambiences are the easiest to obtain as you merely have to go to a new location such as a supermarket or post office and just stand there and record. Hits need a little more forethought and preparation such as collecting the items you’d like to record or stalking the neighbor’s dog for that perfect dog bark.
The basics of recording a sound effect is literally as simple as hitting the record button. However, there are several tips to keep in mind in order to get the best recordings possible. First, make sure that you record as “hot” as possible, meaning with the loudest signal that does not clip or overload the microphone. If you notice a red LED light blinking when recording it means that your incoming signal is too hot and you will want to pull back your mic a bit from the source. You want the loudest signal without distortion. Related to this, it would also be wise to purchase a 10dB pad that fits between your mic and digital recorder will enable you to record sounds with high decibel levels, such as jet engines or weapons. The pad lowers the incoming signal by 10dB and can be found online for $20.
Second, try to keep background noises at a minimum. However, don’t be too obsessive over a “pure” recording because these background sounds can often afford surprising results such as an unexpected car honk, bird call or human noise. Also, much of the background noise can be filtered out when editing your recordings to create the sound effect product. The point here is to keep unwanted noise to a minimum but not so much that you might lose the opportunity for some unique recordings and slow yourself down being overly strict about the “perfect” recording environment.
Third, wind will ruin any recording so protect the mic with a windscreen or simply keep your recorder out of the wind by using physical barriers such as trees, walls, or even your jacket. Sometimes wind noise can be cut out during editing with a high pass filter and cutting frequencies below 200-500 khz but for the most part wind will destroy your recording efforts. Finally, your efforts can also be compromised if you have inadvertently recorded music in the background, such as the music played in a restaurant. This music is copyrighted and if it appears in your ambience recordings you will be violating copyright law and such recordings are essentially unusable.
These tips are simple and meant to point an aspiring sound effect artist in the right direction toward the creation of a sound effect library for use or for sale online. Future articles will discuss the process of editing, categorizing, and marketing these raw recordings.
By: SFXsource
Be aware, however, that any device you use must record up to at least a 48k sample rate. Always record at the highest bit and sample rate possible because video uses audio with a 48k sample rate, not 44.1k. Any 44.1k samples you have will have to be upconverted to be used in a video production and this process always runs the risk of audio damage. Because of these potential problems with lower quality files, 48k sound effects are generally valued more by video editors and thus command a higher sale price should you choose to sell your sounds online.
There are two basic types of sound effects that you will be recording: “hits” and “ambiences.” Hits are single short sonic events such as a slap, gun-shot, or dog bark. Ambiences are longer background elements such as ocean waves, restaurant environments, or playground noises. In creating a library it is most valuable to have many of both types as they are both used in sound design. You will find that ambiences are the easiest to obtain as you merely have to go to a new location such as a supermarket or post office and just stand there and record. Hits need a little more forethought and preparation such as collecting the items you’d like to record or stalking the neighbor’s dog for that perfect dog bark.
The basics of recording a sound effect is literally as simple as hitting the record button. However, there are several tips to keep in mind in order to get the best recordings possible. First, make sure that you record as “hot” as possible, meaning with the loudest signal that does not clip or overload the microphone. If you notice a red LED light blinking when recording it means that your incoming signal is too hot and you will want to pull back your mic a bit from the source. You want the loudest signal without distortion. Related to this, it would also be wise to purchase a 10dB pad that fits between your mic and digital recorder will enable you to record sounds with high decibel levels, such as jet engines or weapons. The pad lowers the incoming signal by 10dB and can be found online for $20.
Second, try to keep background noises at a minimum. However, don’t be too obsessive over a “pure” recording because these background sounds can often afford surprising results such as an unexpected car honk, bird call or human noise. Also, much of the background noise can be filtered out when editing your recordings to create the sound effect product. The point here is to keep unwanted noise to a minimum but not so much that you might lose the opportunity for some unique recordings and slow yourself down being overly strict about the “perfect” recording environment.
Third, wind will ruin any recording so protect the mic with a windscreen or simply keep your recorder out of the wind by using physical barriers such as trees, walls, or even your jacket. Sometimes wind noise can be cut out during editing with a high pass filter and cutting frequencies below 200-500 khz but for the most part wind will destroy your recording efforts. Finally, your efforts can also be compromised if you have inadvertently recorded music in the background, such as the music played in a restaurant. This music is copyrighted and if it appears in your ambience recordings you will be violating copyright law and such recordings are essentially unusable.
These tips are simple and meant to point an aspiring sound effect artist in the right direction toward the creation of a sound effect library for use or for sale online. Future articles will discuss the process of editing, categorizing, and marketing these raw recordings.
By: SFXsource
The Inviting Music Of Belly Dancing
Belly dancing music is influenced by Turkish and Classic Egyptian (mere examples here, I could chose Ghawazee, Modern Egyptian, Tunisian, etc) are primarily defined by the music and its interpretation, as well as culture-based costuming. The base movements are the same, the underlying beats of the music are often Middle Eastern (and other traditional non-Western compositions), and the music influences the attitude of the movements and also the type of clothes worn.
Turkish, Greek, Moroccan, even some Bollywood music can be great for belly dance. If you are going to perform to music that does not come from the belly dance music of the Arabic world, do some research first so you create a respectable composition instead of an ignorant mish-mash.
Women created the dance to perform for one another, not to perform for men. Women engaged in what appears to resemble the modern belly dance appear in Egyptian tomb paintings from 5,000 B.C. and in ancient Greek and Indian sculpture. Ritual dances of high priestesses of many ancient civilizations were probably some form of belly dance.
The music that accompanies a dance is, I believe, is what gives it that mysterious, compelling quality. Belly dancing music is exciting, rhythmical and intriguing. Turkish Dance costumes are among the more risqué of the cabaret styles, baring plenty of leg and cleavage. They are usually beaded, but may use coins too. Turkish dancers are often very scantily clad, but that's not a requirement of the style.
Egyptian style movements are very precise, with the hips held under the rib cage. Turkish style often leans the upper torso back, pushing the pelvis forward. Egyptian style movements are very precise, with the hips held under the rib cage. Turkish style often leans the upper torso back, pushing the pelvis forward.
Egyptian dance businesses flourished to meet the enjoyment of the western woman’s love of this dance. Egyptian is more artistic than Turkish, it has lot more movements and more difficult system while the Arabian belly dance music is more complex and interesting than the Turkish one. A short Turkish performance might be thrilling, but I could never watch Turkish style belly dancing for hours.
By: Mumby
Turkish, Greek, Moroccan, even some Bollywood music can be great for belly dance. If you are going to perform to music that does not come from the belly dance music of the Arabic world, do some research first so you create a respectable composition instead of an ignorant mish-mash.
Women created the dance to perform for one another, not to perform for men. Women engaged in what appears to resemble the modern belly dance appear in Egyptian tomb paintings from 5,000 B.C. and in ancient Greek and Indian sculpture. Ritual dances of high priestesses of many ancient civilizations were probably some form of belly dance.
The music that accompanies a dance is, I believe, is what gives it that mysterious, compelling quality. Belly dancing music is exciting, rhythmical and intriguing. Turkish Dance costumes are among the more risqué of the cabaret styles, baring plenty of leg and cleavage. They are usually beaded, but may use coins too. Turkish dancers are often very scantily clad, but that's not a requirement of the style.
Egyptian style movements are very precise, with the hips held under the rib cage. Turkish style often leans the upper torso back, pushing the pelvis forward. Egyptian style movements are very precise, with the hips held under the rib cage. Turkish style often leans the upper torso back, pushing the pelvis forward.
Egyptian dance businesses flourished to meet the enjoyment of the western woman’s love of this dance. Egyptian is more artistic than Turkish, it has lot more movements and more difficult system while the Arabian belly dance music is more complex and interesting than the Turkish one. A short Turkish performance might be thrilling, but I could never watch Turkish style belly dancing for hours.
By: Mumby
Living Tradition - Celtic Music And Dancing In Brittany
People coming on holiday to Brittany, staying in one of those traditional Brittany Gites, will be more or less aware of the Breton musical and dance traditions, but will probably not understand their strength and vibrancy.
As owners of holiday gites in the Vilaine Valley, near La Roche Bernard (and now permanent French residents) we are totally addicted. In my case to an instrument called the bombarde, and my wife to Breton Dancing.
It is true that Breton dancing and Brittany’s old culture has undergone a revival, but this revival started from a very strong base, and music and dance festivals are so numerous that they could on their own form the basis of your holiday in Brittany. In the summer (July and August – the French holiday season) there is a fest noz (=evening feast) for every day of the week. These are events mostly for the locals, but holiday makers are also made to feel very welcome and you will be well fed at low cost (moules marinieres, beouf gros sel, etc.) along low tables and benches.
More rarely there are fest deizh (=daytime feasts) which happen in the afternoon and which are often held as “stages” (=training sessions) for would-be Breton dancers.
Finally there are “noces Bretonnes” (=Brittany weddings) in which the music and dance surround the re-enactment of a wedding. These can be quite grand: we paid 30 euros each for one such occasion in Augan, Morbihan. It seemed a bit steep, but the meal lasted 4 hours, comprised seven courses, and was served with beer, wine, champagne, cider, and a little bit of Calvados – tout compris. A wonderful day.
The music is based on simple band lineups – from a selection of
bombardes – a piercingly loud reed instrument, same length and pitch as a penny whistle.
cornemuses – Brittany’s answer to the bagpipes.
accordions
flutes
clarinets
saxophone
violin
Three to four players at any one time. The music sounds muddy if dominated by accordions, but is always strongly rhythmic and danceable.
The dances themselves were traditionally very chaste. A whole village would dance in rondes where everyone links to their partners via their little fingers – no other bodily contact. There are many other dances, including “pile menu” which used to be danced to beat flat the earth floor of your house – try to imagine that as a dating opportunity. But the Breton tradition has been able to import racier and rather daring dances such as gavottes, and polka – from Paris !
You can get a flavour of Breton music from celtic music sites and a continuously updated list of Fest Noz from two Breton sites (just look for Fest Noz in google). You can also get a good list of Breton attractions (largely featuring Fest Noz !) from the France Ouest newpapser. These list appear in the first weeks of July and August – you may need to order them through your gite owner.
By: Chas And Daff
As owners of holiday gites in the Vilaine Valley, near La Roche Bernard (and now permanent French residents) we are totally addicted. In my case to an instrument called the bombarde, and my wife to Breton Dancing.
It is true that Breton dancing and Brittany’s old culture has undergone a revival, but this revival started from a very strong base, and music and dance festivals are so numerous that they could on their own form the basis of your holiday in Brittany. In the summer (July and August – the French holiday season) there is a fest noz (=evening feast) for every day of the week. These are events mostly for the locals, but holiday makers are also made to feel very welcome and you will be well fed at low cost (moules marinieres, beouf gros sel, etc.) along low tables and benches.
More rarely there are fest deizh (=daytime feasts) which happen in the afternoon and which are often held as “stages” (=training sessions) for would-be Breton dancers.
Finally there are “noces Bretonnes” (=Brittany weddings) in which the music and dance surround the re-enactment of a wedding. These can be quite grand: we paid 30 euros each for one such occasion in Augan, Morbihan. It seemed a bit steep, but the meal lasted 4 hours, comprised seven courses, and was served with beer, wine, champagne, cider, and a little bit of Calvados – tout compris. A wonderful day.
The music is based on simple band lineups – from a selection of
bombardes – a piercingly loud reed instrument, same length and pitch as a penny whistle.
cornemuses – Brittany’s answer to the bagpipes.
accordions
flutes
clarinets
saxophone
violin
Three to four players at any one time. The music sounds muddy if dominated by accordions, but is always strongly rhythmic and danceable.
The dances themselves were traditionally very chaste. A whole village would dance in rondes where everyone links to their partners via their little fingers – no other bodily contact. There are many other dances, including “pile menu” which used to be danced to beat flat the earth floor of your house – try to imagine that as a dating opportunity. But the Breton tradition has been able to import racier and rather daring dances such as gavottes, and polka – from Paris !
You can get a flavour of Breton music from celtic music sites and a continuously updated list of Fest Noz from two Breton sites (just look for Fest Noz in google). You can also get a good list of Breton attractions (largely featuring Fest Noz !) from the France Ouest newpapser. These list appear in the first weeks of July and August – you may need to order them through your gite owner.
By: Chas And Daff
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