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12 Tips for Open Mike night Simple Guide to Classical Guitar Takin’ It Outside: Mystic Mountain Drum Circles

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BETTER LIVING THROUGH RECREATIONAL MUSIC MAKING®

Actor from TV Show Heroes Drums for Charity

May/June 09 Alexander Technique

This age-old body awareness method can help you play with ease.

Classical Guitar

photo: jon moyer

A beginner’s guide to trying this challenging, yet rewarding, style.

open mike

7 18 20 47

Features Gather Round

wood awareness

How piano bar pianists create just the right atmosphere, and how you can recreate that feeling in your home.

One oboist’s travels to the “roots” of her instrument.

Rhythm of the night Campers at Lake Eden Arts Festival call this exciting all-night mountain drum circle a mystical experience.

MIdi Making music MIDI-style: explore the possibilities.

Greg Grunberg

TV hero is a real hero on stage with the charity group Band from TV.

Column Shannon Price explains why music is a good investment even in a tight economy.

Departments 6 LETTERS 10 VIBES 24 HOW DOES IT WORK? 26 FORTE 34 TUNED IN

Tips for taking the stage at open mike nights.

42 COVERED 44 ACCENTS 45 IN THE SPOTLIGHT 46 DESTINATION 52 HARMONY

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Making Music

MAY/JUNE 2009 | Vol. 5, IssUE 3

EdItor-IN-ChIEf Antoinette Follett afollett@MakingMusicMag.com EdItor Cherie Yurco cyurco@MakingMusicMag.com

By ANTOINETTE FOLLETT n Some of our best memories involving music

come from the people we meet while playing our instruments. Whether it’s a choir, a group of people you regularly jam with, or friends you’ve met at concerts, music has a way of uniting people with a common goal and outlook on life. This issue of Making Music explores the ways music brings people together. Sometimes, music can take you to unexpected places and lead you to people you would never have met otherwise. Oboist Brenda Schuman-Post, through her passion for non-Western world music, won a grant and traveled to Africa to collaborate with local musicians near the base of Mount Kilimanjaro. She has become an advocate for preserving the mpingo tree, a commercially threatened source of wood for musical instruments like the oboe. The story “The Rhythm of the Night,” takes a look at the Lake Eden Arts Festival held in Black Mountain, North Carolina. Drummers and dancers come together at a midnight campfire drum circle. Even though most people who attend are complete strangers, the magical atmosphere of playing on a mountain, under the stars, provides a special bond. This month, writer Jackie Saunders spoke with actor Greg Grunberg who plays telekinetic cop Matt Parkman on NBC’s Heroes. Combining a love for drumming with a desire to spread awareness about epilepsy, Grunberg founded celebrity group, Band From TV. All proceeds from the group’s concerts and appearances go to charities like the Epilepsy Foundation, Save the Children, and the National Coalition Against Domestic Violence. In Grunberg’s case, wanting to raise money for charity led him to make music with friends and actors like Hugh Laurie of House and Bob Guiney of The Bachelor. The May/June issue has a percussion theme, but even if you aren’t a drummer, you’ll still get something valuable out of these stories. Handheld percussion is accessible to all, especially people who are just starting to learn music. I am excited that Making Music and Meinl are giving away a cajón, a crate-like wooden drum played by slapping the front panel. See page 25 and visit our website for contest details. I am always interested in hearing your thoughts about Making Music and feedback on the stories. Write to me at afollett@makingmusicmag.com.

ON THE COVER Greg Grunberg, actor on the popular NBC series, Heroes, founded a musical group of actors whose concert proceeds fund various charities. To learn more about Grunberg’s mission to raise money and awareness for epilepsy, visit the site at www.talkaboutit.org

MAY/JUNE 2009

stAff WrItErs Adam Dolge Jackie Saunders Art dIrECtor Lisa A. Mergler-Santoro Photo CrEdIts Richard Mulye Chuck Wainwright MUsIC CoNsUltANt Stephen Laifer MArkEtINg dIrECtor Honore Stockley honore@MakingMusicMag.com WEb/MArkEtINg MANAgEr Richard Mulye richard@MakingMusicMag.com AdVErtIsINg MANAgEr Krista Ward kward@MakingMusicMag.com sUbsCrIPtIoN CoordINAtor Andrea Fragassi afragassi@MakingMusicMag.com PUblIshEr Bentley-Hall, Inc. 221 Walton St., Ste. 200 Syracuse, NY 13202 315-422-4488 315-422-3837 fax www.MakingMusicMag.com subscriptions–1 Year: USA: $30; Canada: $60; All Other Foreign: $105 US Funds Only. Circulation and subscriptions, phone: 315-422-4488 ext. 110. POSTMASTER: Send address corrections to: Making Music; 221 Walton St., Ste. 200; Syracuse, NY 13202 Nationally distributed by Rider Circulation Services Phone: 323-344-1200. Online: www.gorcs.com Making Music, IssN (1552-2946), is published six times annually. Making Music is a registered trademark of Bentley-Hall Publishing. All rights reserved. Copyright © 2009 Bentley-Hall, Inc. The contents of this publication may not be reproduced in whole or in part without prior written permission from the publisher. The views expressed in Making Music are those of their respective contributors and are not necessarily those of its publisher, editor, or staff. All advertising material is subject to publisher’s approval. All materials intended for publication should be directed to Making Music; 221 Walton St., Ste. 200; Syracuse, NY 13202; fax: 315-422-3837 or e-mail: afollett@MakingMusicMag.com. Making Music assumes no responsibility for loss or damage to unsolicited articles, photographs, or art.

BETTER LIVING THROUGH RECREATIONAL MUSIC MAKING®

A CAPPELLA n Many years ago Marty Papizan broke his back, both legs, and

right hip in a military accident. In addition to that, he broke his left arm and received third degree burns on his left wrist and elbow. Over the years, scar tissue on Papizan’s left wrist began to tighten up and he was losing most of his mobility in that limb. His doctor suggested that Papizan use it as much as possible and perform exercises to increase mobility. “When I thought about what type of exercises I could do, picking up the drumsticks was a natural choice,” says Papizan. “I was a member of my high school drum line for two years.” Most of what he had learned was tucked far away in Papizan’s memories. However, he took the initiative and began to search websites and talk to local drummers and started taking lessons from a local high school band director. In the past five years Papizan has begun playing in jazz bands and started teaching beginner drum lessons in his home. He has also regained almost 100% mobility in his left arm and wrist. For Papizan, making music was a fun and rewarding way to rehabilitate his arm and wrist. “I gained so much more than I expected,” says Papizan. “Playing music and sharing what I had achieved and learned with other people has been one of the most rewarding experiences to date.” In addition to playing in bands and teaching, Papizan has learned to facilitate drum circles. Over the past few years he has volunteered, leading drum circles for children and adults who are too sick to leave the hospital. “When I see people, who are sick and in pain, smile as they play the drum rhythms, I can understand just how they feel,” says Papizan. “For me, the most rewarding thing I get from playing music is not how I feel when playing, but seeing how I make other people feel as they play music.” read Marty Papizan’s entire story at www.MakingMusicMag. com/staccato/papizan.html

Staccato

reCreationaL muSiC maKinG inSiGht

COUNTING IN: The year drum kits first appeared on stage, adapted from surplus marching drums by New Orleans musicians. Number of hours of the longest hand drum performance. Diameter and depth, in feet, of the largest drum, The Ireland Millennium.

1898 ❱❱ 301 ❱❱ 15x6 ❱❱

Total value in dollars of 2007 US retail drum kit sales.

2,225,000 252,487 Price paid in US dollars for Keith Moon’s drum kit at Christie’s London in 2004.

DID yOU KNOw? n On early rock n’ roll recordings, the snare drum,

bass drum, and ride cymbal (or hi-hat), were generally played at a similar volume. As music evolved and rock guitarists got plugged in, often overpowering a band’s backbone beats, drummers began hitting the snare and bass drum a lot harder, keeping the ride cymbal or hi-hat patterns in the background. If you want to achieve the early rock sound, lighten up on the bass drum and snare drum backbeats and put more oomph on your ride cymbal or hi-hat.

pLAy IT SAFE n The larger the drum kit, the more you have to

twist your body in unnatural ways, increasing your chances of injury. Try placing the drums and cymbals closer together so you don’t have to reach as far and avoid muscle strain. Keep in mind, having to reach too far to strike a drum can also interfere with timing. www.MakingMusicMag.com

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VOCAL CLARITY at it’s

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Win a Cajón Enter online by June 30, 2009.

Making Music and Meinl have teamed up to give away this Meinl cajón with travel bag. Check out the “How Does It Work?” story on the cajón, and learn why this wooden drum is perfect for musicians. To win, simply visit the Making Music website and submit a paragraph telling why you’d like to win a cajón and how you would use it. One winner will receive this Meinl cajón and travel bag valued at $400, plus some extra goodies from Making Music and Meinl.

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MAY/JUNE 2009

Secrets

of playing

piano bars For pianists, covering your favorite songs in the comfort of your home can elicit the inner dreams of stardom that you had as a child. Even amateurs want to live out their dreams of playing songs while an audience sings along. Piano bars allow pianists to showcase their talents in front of music lovers.

illustration: Emily J. Meluch

by alex suskind n Piano bars come in many different forms. Arguably, the one that is most enjoyable for musician and audience is a singalong bar where the crowd makes requests and participates. However, playing like that requires a lot of stamina from a pianist, who works hard to keep the audience entertained and interested for the duration of the night.

“It takes a lot of energy and you have to be up and into it,” says Eric Stang, who plays at several piano bars in the Chicago area. “The whole time you are rocking all the songs out as hard as you can and getting the audience into it. It’s demanding for a performer.”

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Stang plays at Howl at the Moon in Chicago, where songs are requested by the audience. To take requests, it is essential for the piano player to know as many songs as possible from different eras and genres. And, of course, there is a list of songs that you can assume will be requested almost every night—“Piano Man” by Billy Joel, “Sweet Caroline” by Neil Diamond, and “American Pie” by Don McLean, for example. However, not every piano bar has an outgoing crowd every night, making requests from the outset. In this case, Stang says it is still important to get the audience involved, informing them that, if they don’t request anything, the pianists are going to play what they want. “A lot of times we’ll throw in a joke song, like a song that isn’t that good or kind of annoying, or something kind of cheesy that pushes the audience to start requesting songs they like,” Stang says. “That way, we don’t get stuck having to think of songs we want to play. We just get to play the songs the audience wants to hear.” Yet, there are times where even an experienced piano bar player might not know the words or melody to a requested song. Most pianists bring a variety of books filled with popular songs to the bar for just that purpose.



—Pianist Eric Stang of Chicago, Illinois

ing together for more than two decades and keeping the audience involved is their main focus. Saleeby stressed the importance of making the crowd feel like they are in control of the show. Although making tips is important, the pair does not want to make the audience feel like it is the priority. “Our whole thing is to try to get them to make requests and give us tips. But we don’t really hold the money up and say, ‘If you don’t give us a tip we are not going to do your song.’ We don’t take that particular avenue. We try and make it fun for everybody,” Saleeby says. There are several things pianists should focus on if they are interested in playing at a piano bar, or even recreating the same atmosphere in their home. Veteran bar pianist Jarett Izzo stresses that the connection with the audience is key.

“If someone makes a request for a song, even though it is not something I know, I can often find the words in the book,” says Doug Saleeby, who played at Pat O’Briens in Memphis for six years until it closed earlier this year. “The audience kind of gets a kick out of seeing me struggle through songs I don’t know that well.”

“The number one thing is charisma. You have to believe in your playing. If you believe in the mood and are committed to it, people will recognize that sincerity,” Izzo says. “If you’re playing ‘Sweet Home Alabama,’ you have got to believe that it is the greatest song ever played and written for those three minutes you play it. You have to show your emotions through your playing and your performance.”

For pianists who have little experience playing in front of an audience, the prospect of entertaining a full crowd at a bar might sound daunting. However, it may help to share the spotlight with another piano player. At a dueling piano bar, two players keep the crowd entertained with songs. Some piano bars even have a full backing band.

Izzo also stressed the importance of a pianist’s listening skills. Listen to the audience to make sure they are involved in the show. Also, if you are sharing the stage with other musicians, listen carefully to make sure you do not overstep each other’s playing.

“There are two pianists on piano facing each other who sing and basically go back and forth playing requests and doing stuff like getting the audience up on stage,” says Stang, who plays with a full backing band at Howl at the Moon. “Mainly you just create the party around you.” It was a similar scene at Pat O’Briens, where Saleeby played with fellow musician Chris Hudson. The pair has been play-



Mainly you just create a party around you.

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So, do you think you have what it takes? Chances are you will never have the desire or opportunity to play in an actual piano bar, but the next time you are at home entertaining guests, you could get behind the piano and try to recreate that same sing along piano bar atmosphere. Alex Suskind is a graduate journalism student at Syracuse University and loves to play the piano in his spare time.

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Vibes muSiC & heaLth neWS

❱❱ He’s In tHe Money Jazz pianist “Duke” Ellington was recently honored by becoming the first African American to appear solo on circulating US currency. Representing the District of Columbia, where he was born, Ellington is featured on the “tails” side of a quarter. Ellington composed the popular hits “It Don’t Mean a Thing, If It Ain’t Got That Swing,” and “Take the ‘A’ Train”; received 13 Grammy Awards; and traveled the world with his orchestras. US Mint Director Ed Moy introduced the new coin at a news conference in February at the Smithsonian Institution’s National Museum of American History. The jazz band from the Duke Ellington High School performed at the ceremony. DC residents chose Ellington to be featured on the coin, winning out over abolitionist Frederick Douglass and astronomer Benjamin Banneker. The inscription “Justice for All” is also on the coin.

All Aboard the Magic Bus n This colorful bus that travels the US is the John Lennon Edu-

cational Tour Bus, a nonprofit, state-of-the-art, video recording facility that provides hands-on experiences for songwriters of all ages. The bus began as an offshoot of the John Lennon Songwriting Contest, which is dedicated to providing opportunities for both professional and amateur songwriters around the world. The contest is international and accepts submissions year-round in 12 music genre categories like rock, country, jazz, pop, world, rhythm and blues, gospel, folk ,and others. The 12 Lennon Award Winners are judged based on originality, melody, composition, and lyrics (if applicable). For more info on entering the contest visit the website: www.jlsc.com.

Ellington died in 1974 at the age of 75.

Dave Brubeck Quartet’s album Time Out, home of the enduring jazz tune “Take Five,”

still sells 500 copies a week, 50 years after its original release. 10

MAY/JUNE 2009

Don’t Wanna Be Sedated n Surgery patients listening to their favorite tunes needed less sedation during medical procedures than those who heard operating room sounds or white noise, according to a Yale School of Medicine study.

The study included 36 patients at Yale-New Haven Hospital and 54 patients at the American University of Beirut Medical Center. The subjects wore headphones and were randomly assigned to hear their favorite music, white noise, or be exposed to operating room noise. Dropping a surgical instrument into a bowl in the operating room can produce noise levels up to 80 decibels, which is considered very loud to uncomfortably loud. Researchers discovered that eliminating the sounds of the operating room with white noise did not decrease sedative requirements of listening to operating room sounds, but playing music did reduce the need for sedatives during surgery.

Elvis wasn’t the original

eyebrow raiser— 19th-century violin virtuoso

Niccolò Paganini

played with such skill that audiences thought he was possessed by the devil. ❱❱ Bringing it All

Back Home

Music from a certain era can bring back vivid memories. Whether the soundtrack to your youth was Diana Ross and the Supremes, Led Zeppelin, or Nirvana, psychologists from Kansas State University (KSU) found that even thinking about a song from your past could cue a specific memory from childhood. “In our study there wasn’t a lot of difference in memory between those who heard the song and those who didn’t,” says Richard Harris, professor of psychology at KSU. “What we determined was happening is that you already know the song and you’re hearing it in your mind.” During the pilot study, participants listed five songs associated with strong memories from early childhood, grade school, middle school, high school, or college. In the second part of the study, the participants were given a short list of the songs that were chosen with the most frequency in the pilot study. The subjects were asked to pick one song from each category that had a strong memory attached to it, write about the memory, and rate how vivid it was. Even though some subjects heard clips of the song, while others merely read some of the lyrics or saw the album artwork, Harris says the vividness of memories didn’t vary much from one group to another, leading the researchers to determine that the subjects were “hearing” the song by being reminded of it in one way or another. “Most people have this idea that music can be a powerful memory cue,” Harris says. “You hear a song on the radio and it brings up memories of senior prom or graduation. That’s why oldies stations are so popular—not because the music is good but because it reminds us of specific times in our lives.” www.MakingMusicMag.com

Vibes ❱❱ The Soloist A chance meeting in 2005 between Los Angeles Times columnist Steve Lopez and Nathaniel Anthony Ayers, a homeless, Juilliard-trained string player, would forever change both men’s lives. Overhearing beautiful music in L.A.’s downtown Pershing Square, Lopez, in search of a topic for his next column, found Ayers playing a violin with only two strings under a statue of Beethoven. Lopez learned that 54-year-old Ayers suffered from paranoid schizophrenia and had been living under a tunnel with a shopping cart full of instruments. His illness interrupted his musical training at Juilliard after his junior year in the ’70s. Trained as a bass player, Ayers also taught himself to play the violin, cello, and trumpet. Today, the men are close friends and Ayers is a regular at the Walt Disney Concert Hall, home of Los Angeles Philharmonic where he watches rehearsals and plays with orchestra members. A film, The Soloist, which came out in April, is based on Lopez’s columns, and tells the story of the men’s friendship and the power of music.

Pump Up the Volume n With a simple crank in music volume, bar patrons change

their alcohol consumption from lento to prestissimo in minutes. Researchers from Université de Bretagne-Sud in France conducted a study where they observed how changes in music levels in bars affected the speed in which customers drank. They found that higher decibels made drinkers consume more beverages quicker and in a shorter amount of time. With the permission of bar owners, study facilitators observed male subjects aged 18 to 25, who ordered glasses of draft beer. Facilitators manipulated the sound levels at various intervals. One reason for binge drinking could be that the patrons, not wanting to shout over the music, decreased their social interaction and drank more.

❱❱ YouTube Symphony

Finalized

The first-ever YouTube Symphony Orchestra finalized its roster last month. Out of 200 finalists, viewers at the popular video-sharing website voted for more than 90 musician winners from countries all over the world. A board of judges from professional orchestras including London, San Francisco, Berlin, Hong Kong, and New York, picked the 200 finalists from more than 3,000 submitted video entries from amateur and professional musicians. Then, YouTube watchers made the final decisions. “We are excited about the talent, variety, and adventurousness of the musicians who are coming together from around the world to form the YouTube Symphony Orchestra,” says conductor Michael Tilson Thomas, music director of the San Francisco Symphony. The orchestra will feature musicians between the ages of 17 and 55 playing the 26 orchestral instruments. Selected musicians attended master classes and rehearsals, culminating in an April 15 concert at Carnegie Hall. Winners are from 30 countries and territories including Australia, Austria, Belgium, Bermuda, Brazil, Canada, China, Colombia, Czech Republic, France, Germany, Greece, Hong Kong, Hungary, Israel, Italy, Japan, Lithuania, Malaysia, Mexico, Netherlands, Poland, Romania, Russia, South Korea, Spain, Sweden, Ukraine, United Kingdom, and the US. The YouTube Symphony’s video channel is: www.youtube. com/symphony.

mAY/JUNE 2009

Get Rhythm n Stanford’s Center for Computer Research in Music

and Acoustics discovered that rhythmic music can change brain function and could be used to treat a range of neurological conditions like attention deficit disorder (ADD) and depression. Musicians and mystics have long championed the health and spiritual benefits of rhythmic tunes. Ritual drumming and rhythmic prayer are found in cultures throughout the world and are used in religious ceremonies to induce zombie-like trances. Ever since the heyday of “flower power” kids, the medical community has resisted looking further into the mystical implications of musical rhythm, says Gabe Turow, a visiting scholar in Stanford’s Department of Music. However, recent interest in sleep, meditation, and hypnosis research has encouraged scientists to research music and its effects on altering mental states and healing damaged brains. Some interesting studies include the use of rhythmic light and sound stimulation to treat ADD. Harold Russell, a clinical psychologist and adjunct research professor in the Department of Gerontology and Health Promotion at the University of Texas Medical Branch at Galveston, found that exposing elementary and middle school boys to 20-minute rhythmic music and light sessions helped them improve concentration similar to the way drugs Ritalin and Adderall do. Music with a strong beat stimulates the brain and causes brainwaves to resonate in time with the rhythm, according to research. A study from the University of Washington showed that rhythmic music therapy improved cognitive function in some elderly people by increasing blood flow throughout the brain. Many of the seniors in the test group had improved performance on various cognitive tests.

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Vibes

A Healthy Dose of Decibels Out of the five senses, hearing is

probably the most treasured by musicians and music lovers. Being exposed to roaring plane engines, the incessant droning of jackhammers on road construction, or a rowdy blues band in a bar, can put listeners at risk for damaged hearing. BY JAckie SAunders n Hearing loss is something of a hidden health risk in that it takes many years to reach its full potency. In his book, Hear the Music: Hearing Loss Prevention for Musicians, Dr. Marshall Chasin, audiologist and director of auditory research at the Musicians’ Clinics of Canada in Toronto, Ontario, writes that some of the early symptoms of hearing loss are ringing of the ears (tinnitus) or difficulty hearing speech clearly.

Knowing what reasonable noise levels are and how to keep them in check is the first step to protecting one’s hearing. The two factors affecting hearing loss are intensity of the sound in decibels (dB) and length of exposure to it. Over a period of time prolonged exposure to sounds and music louder than 85 dB will cause permanent hearing loss. Dr. John Chong, medical director of the Musicians’ Clinics of Canada, says most musicians, regardless of genre, are exposed to sound levels of 110-115 dB. Chong recommends taking breaks from music exposure to reduce the risk of hearing loss. “The more intense the injury, the longer it takes to heal,” he says. “My recommendation is to be in the best physical shape, get the right amount of sleep, and eat right—it’s so important for recovery.” For example, if you attend a blaring concert for three hours, you should greatly reduce your exposure to high noise levels the rest of the week to properly rehabilitate the ears. Chasin and Chong have several simple suggestions to reduce the risk of hearing loss, which is 100% avoidable.

mAY/JUNE 2009

Get Plugged In. One traditional method of hearing protection is foam plugs. But, since most musicians want to hear the music they are playing, they can use special Christmastree-shaped, vented earplugs, like those from ETY Plugs, that have a tuned resonator and acoustic resistor to replicate the natural response of an open ear with a crisp sound that is quieter. Another option is high-end musicians’ monitors that help eliminate feedback, lower stage noise levels, and reduce vocal fatigue for musicians in loud performance spaces and concerts, like those from Westone. Generally, earplugs are rated by how much they reduce sound levels. For example, ER-15 plugs reduce sound levels by 15 dB across the entire frequency spectrum, ER-25 reduce it by 25 dB, etc. Chasin recommends ER-15 for small-strings, brass, and amplified instruments, ER-25 for percussion, and vented plugs for large strings and woodwinds. Custom-shaped monitors and plugs can be fitted by an audiologist. Customize Your Practice Room. Wall and floor coverings are simple, inexpensive ways to reduce sound levels in your practice room. Hang heavy drapes on the walls or place strips of carpet on a hardwood floor to better absorb the sounds. Modify the Band Room. Band, orchestra, and choral directors are at higher risk of hearing loss because of daily sound exposure. If possible, place trumpet and treble brass instruments on risers so high-frequency notes go over the heads of other players, and the time for the sounds to reach the conductor are lengthened. Covering the wall behind the director with a heavy drape or curtain reduces sound reflection and protects the conductor’s ears. Placing carpet strips under the conductor and hanging 3-D relief art from the school’s art department to cover the sidewalls can absorb undesirable mid- and high-frequency reflections. Chasin suggests conductors and teachers wear ER-15 earplugs that allow all the instruments to be equally heard across the full range of musical sounds.

IN TUNE IN TUNE IN TUNE

Hum a Merry Tune. Humans have a small muscle in the middle ears that contracts upon hearing loud sounds or speech. Pulling that chain of bones makes the ears less efficient sound conductors. Humming causes this contraction inside the ear, so sounds from the environment aren’t as potent, providing a natural defense. If you are walking past a loud construction site or find yourself under a low-flying airplane, hum until the noise is over.

TImES . . TImES. TImES

Monitor the Volume. Sounds easy enough, but listening to music on a headset can skew how loud the music sounds. These types of devices generate about 85 dB at about 1/3 volume control. Many portable music players generate 95 dB at half the volume. Therefore, you can listen to your Walkman or iPod safely at one-half volume for less than five hours each week.

ThE ThE wITh ThE wIThwITh

IN INTUNE TUNE

wITh ThE

wITh ThE TImES.

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Vibes

By Katie Nowak ave you been experiencing soreness from hunching over your sheet music? Are you stressed about performing in front of others? Do your joints ache after intense practice sessions? The solution to your problems may be the Alexander Technique. Named for F. Matthias Alexander, a Shakespearean actor who developed the method after continually losing his voice while performing, the Alexander Technique helps musicians release tension and restore poise by learning how to target and eliminate movement habits and patterns that cause discomfort. Famous artists like Paul McCartney and Sting have used the technique to enhance their performance and stage presence, and it is required curriculum at The Juilliard School, the New England Conservatory, and Britain’s Royal Academy of Music and Dramatic Arts. The Alexander Technique is a movement method based on observation. Debby Jay, a certified Alexander instructor and former president of the Southern California chapter of the American Society of Alexander Teachers, says that it promotes awareness of one’s whole body and teaches people how to let go of excess

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tension. Even the casual music maker can encounter this rigidity, depending on the rigor of their playing routine. “Performing the same fine motor movements hundreds of thousands of times while practicing and performing over the years makes musicians vulnerable to injuries and pain—especially if they are playing with excessive muscular tension,” Jay says. “When a musician is focused on the music, and has little or no awareness of their body, that player may be unaware that he or she may be tightening muscles to create stability or in a misguided assumption that extra effort is going to help the process of learning and playing.” This, Jay says, can make musicians prone to pain, inflammation, numbness, and loss of control when playing, causing them to miss out on the enjoyable physical, emotional, and intellectual experiences that making music brings. This is where the Alexander Technique comes in. Problems are corrected by focusing on the core of the head, neck, and torso. Jay says that gentle elongation of the spine is what’s responsible for easy upright posture, not lifting the chest and narrowing the back, which is a common misconception.

Although it is recommended that musicians seek out a licensed Alexander teacher, they can use Alexander practices on their own as well. One of the hallmarks of the technique is awareness of everyday movement—actions like walking, sitting down, and standing up. Jay says that a heightened awareness of how you move directs your thoughts to the body, which “brings about the subtle changes that promote ease and release strain.” Once you learn how to recognize these patterns of movement and tension in yourself, it becomes easier to control them, and over time, these habits show up less and less. “The most common reaction I see is the look of surprise and delight when a student first starts to experience a feeling of inner spaciousness and resilience instead of their usual feelings of heaviness and constriction,” says Jay. “It’s like a whole new possibility opens up that life in general, and playing in specific, can be so much easier than they had imagined.”

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The Rhythm oF the Night The Lake Eden Arts Festival (LEAF) looks like the kind of idyllic summer camp that is depicted in movies. Cherry-red canoes and orange kayaks float lackadaisically in the pristine waters of Lake Eden, while the sound of bright and merry folk, bluegrass, African, Brazilian, and funk tunes fill the clear mountain air. Arts and crafts tents welcome children to discover their inner artisan. Potters and folk artists show off their wares by the shore.

by jackie saunders n The festival is held in early May and October each year at Camp Rockmont in Black Mountain, North Carolina. The three-day event, now in its 14th year, is filled with music, dance, food, and art. Once the site of the groundbreaking arts institute, Black Mountain College, and now the location of a summer camp, the 600-acre festival grounds, at the base of Mount Mitchell in the Blue Ridge Mountains, have a certain magical quality.

One of the most mystical experiences happens at the community drum circle, held at the top of the mountain, just below Eden Rock, around a blazing bonfire. The drum circle starts around 9 p.m. and won’t end until sunrise. Anywhere from 25 to 90 participants show up. To get to the drum circle, people must brave what’s known as the Tricky Trail. “You go up this winding, little wooded path finely lit by some candles here and there for about three-fourths of a mile,” says Jennifer Pickering, organizer of LEAF. “You reach a clearing after about 10 minutes and there is the drum circle. I’ve always loved that it gave a heartbeat and pulse to the rest of the event—it’s good for people with late night energy.” Walking through the tight foliage to get to the remote setting of the drum circle is one of the things Pickering thinks people find appealing in the atmosphere. “In the US, everything always seems so familiar, but here, that is not the case,” says Pickering. “You feel like you are leaving the world you know.” Dr. Parv Sethi, professor of geology of Radford University, Virginia, has attended the drum circle since the beginning, both as a participant and a photographer. During his first drum circle at LEAF, Sethi used a djembe goat-skin drum. At the circle, there are all kinds of African drums, tambourines, and shakers. “As you’re walking up the path, you can hear the drums getting louder and louder and you can hear the rhythm as you

mAY/JUNE 2009

get closer,” Sethi says. “Then you start hearing echoes off the mountainside and it’s just thrilling. I can’t imagine how any indoor setting can compare to feeling the crispness of the nighttime air, the smell of the smoke, watching the flames crackle, and seeing the lights of the fire.” Although Sethi had never played a djembe before, he was encouraged to follow the beat and not worry if he made a mistake. “The next thing I knew it was three in the morning and I had been playing for three hours,” says Sethi. Anyone from teenagers to 70-year-olds attend the late night drum circle. Part of the mission of the event is to make everyone feel included and welcome despite musical ability. “Drumming is such a wonderful, low-cost, portable thing to do,” says Sethi. “It is the lowest common denominator of humanity and it brings people together while also bringing them closer to the earth and the ground.” One thing in particular that is special about the midnight drum circles is how people tend to lose their inhibitions and dance around the fire. People will get a little dirty and perspire, but they don’t feel self-conscious. “There is something to be said about the darkness and the illumination of the flames that allows people to shed their façades or masks,” says Sethi. “There’s also something about the fire being the other primal force in our lives that, combined with the beating of the drums and dance, engages the different senses all at once.” Besides the unique atmosphere and camaraderie of the drum circle, Sethi notes a therapeutic aspect to the drumming. “I can do my high technology multimedia development, meeting deadlines at work, and living a 21st century lifestyle, but for a weekend, I can leave all that behind,” he says. “I find this other part of me that LEAF brings out that keeps me grounded and allows me to manage stress in a much better way.”

ď ž that combined with the beating of the drums and dance engages the different senses all at once.

ď ˝Thereâ&#x20AC;&#x2122;s something about the fire being the other primal force in our lives www.MakingMusicMag.com

Photo by Jon Moyer

Off the set, Heroes actor Greg Grunberg sheds his telekinetic superpowers and picks up drumsticks for charity.

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BY JACKIE SAUNDERS

ot many people can say portraying a superhero is their full-time job. Grunberg, an actor on the critically acclaimed NBC series Heroes, spends his days playing likable cop Matt Parkman, an average Joe who wakes up one day to find he has the ability to read minds.

Even though Matt Parkman is just a character on a TV show, Grunberg, 42, is something of a hero in real life. Several years ago, Grunberg, a drummer in his spare time, put together a charitable rock group made up of primetime actors called Band From TV. The band donates all its proceeds to worthy causes. Grunberg chose to donate his portion of the money to the Epilepsy Foundation, a condition that his 11-yearold son, Jake, suffers from. “It’s the most incredibly helpless and out of control feeling when your child is having a seizure. You have to just wait it out,” says Grunberg. “This is something I can do to have control. I can get behind the drums and I can raise $2 million in two and a half years for not just epilepsy, but other charities as well.”

Photo: jon Moyer

He’s Got the Beat Music was a huge part of Grunberg’s childhood. Although his parents weren’t big music nuts, his dad played the trumpet as a hobby. Growing up in Los Angeles, right off of the San Diego Freeway, Grunberg’s first concert was the Blues Brothers opening for Steve Martin in the Universal Amphitheater in the late ’70s. Blues, in particular, was a style that heavily influenced Grunberg’s music taste. He also enjoyed listening to the popular rock groups of the time. “I was one of those kids who would go to my room, turn off the lights, and listen to full albums like Pink Floyd’s The Wall and Yes’s Fragile,” says Grunberg.

Although he never took a music lesson, Grunberg started drumming on his own at age 12. He was given a castoff drum kit by his dad’s friend. “I’ve always been tapping and moving to the beat in my head—everybody has internal theme music,” says Grunberg. “I would tap anything I could get my hands on. I think my mom always thought it was a nervous tic since there is no caffeine available when you are 12.” Despite never taking a drumming lesson, Grunberg had some heavy hitters as musical influences. Stan Lynch of Tom Petty and the Heartbreakers, Max Weinberg of the E Street Band, Neil Peart of Rush, and Stewart Copeland of The Police, were some of the percussionists Grunberg admired. “I’m not an accomplished musician but I can keep a solid back beat,” says Grunberg. “Some people are so technical that they don’t have that much soul to their music or they aren’t improvisational—I’m all improv, I just try to make it up as I go along.” There was never a question as to what career path Grunberg wanted to pursue. “Acting has always been a passion of mine,” he says. Grunberg believes his big break in acting was his fortuitous meeting with Emmy and Golden Globe award winning producer, writer, and director J.J. Abrams in a sandbox when they were three years old. Abrams cast Grunberg in his first home movie filmed on Super 8 film, when he was only six. The two collaborated on later projects like Felicity and Alias, where Grunberg started his career as a TV actor. During high school, Grunberg kept experimenting on the drums and would jam with friends who played other instruments. While majoring in business at San Diego State University and UCLA he helped pay for college by selling sample leotards from his father’s clothing business door to door at sorority houses.

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He also played a drummer in a student film. “It was a USC Film School project and it was a story about a band,” Grunberg says. “I went through the audition process and none of the actors could play the drums so it was kind of like Greg Brady getting the part of Johnny Bravo—I fit the suit.”

Band Together for a Cause After graduating from UCLA, Grunberg started a successful frozen yogurt delivery business called Island Yogurt and began landing small acting jobs on local commercials and TV shows. As a contestant on The Dating Game, Grunberg met bass player Brad Savage who worked on the show. The two musicians, along with another friend, started getting together and jamming for fun. “We never gigged or did more than garage band stuff, it was such a hobby,” says Grunberg. “It’s one of those things like playing golf. You have to use those muscles otherwise they get rusty, so I always tried to keep drumming in the rotation.” As his TV and film career progressed, Grunberg landed roles as entrepreneur Sean Blumberg on Felicity and CIA agent Eric Weiss on Alias with the help of childhood friend Abrams. Grunberg even accompanied Abrams on his Jimmy Kimmel Live! interview, sat with the band, and played a riff on the bongos anytime the conversation dragged. Still playing just for fun, Grunberg kept drumming on the back burner while he worked on his acting career. It wasn’t until his son Jake was diagnosed with epilepsy five and a half years ago that Grunberg took his drumming to the next level. “People don’t talk about epilepsy and I want to remove the stigma attached to it,” says Grunberg. “I’ve always been a charitable person but, when you’re hit with something personally, it becomes a cause.” The idea to form The Band From TV occurred to Grunberg when he was asked to play with other celebrities at the House of Blues. He saw the interest it stirred, and figured gigging with a band of celebrities would be a great way to raise money for the Pediatric Epilepsy Project and other charities. After guest starring on an episode of House, Grunberg convinced accomplished pianist Hugh Laurie, who plays the cantankerous Dr. House, to join the band. As word got out, The Band From TV attracted many TV stars itching to live out their rock star fantasies. The band, founded in 2006, eventually included James Denton of Desperate Housewives (guitar), Teri Hatcher of Desperate Housewives (vocals), Jesse Spencer of House (electric violin), Bonnie Somerville of Cashmere Mafia (vocals), Bob Guiney of The Bachelor (vocals), Adrian Pasdar of Heroes (guitar), as well as a back up band of professional musicians. Each celebrity has a charity of choice and the money made from the band’s successful CD/DVD combo Hoggin’ All the Covers (sold on Amazon.com) and its various concerts is split between organizations like Save the Children and The Conservation Fund. Playing lively covers like “Will It Go Round in Circles” and “Shake a Tail Feather,” Band From TV has performed on The Tonight Show with Jay Leno, at TV Guide’s Emmys after party, as well as at the Mohegan Sun Casino.

MAY/JUNE 2009

Some people are so technical that they don’t have that much soul to their music—I’m all improv, I just try to make it up as I go along.

“

“The band does it all for charity so we don’t take ourselves that seriously,” says Grunberg. “It’s like a rock n’ roll fantasy. What we lack in talent, we make up for in enthusiasm and fun.” Besides being the “heartbeat of the band” and pumping up the energy in the background, Grunberg also shows off his pipes, which very few people even knew he had. “I fake it,” says Grunberg. “I’m playing a character so if my voice gets a little raspy, I sell it. I smile because it’s genuine and I’m really having a blast—I’m not faking that.” The group gets together and practices about three times a month when they have a gig coming up. Grunberg practices on his DW Drums rehearsal kit and has a separate one for shows. “This drum tech crew comes before my gigs and sets up the kit,” says Grunberg. “That really makes me feel like a rock star.” Getting compliments from people like American Idol’s Simon Cowell and guitarist John Mayer doesn’t hurt Grunberg’s dreams of star power, either. Ultimately, Grunberg hopes the band’s success will help find a cure for epilepsy and continue to assist the various charity efforts. Focusing on his own music goals, Grunberg would love to find a project where he can marry his love for percussion with his passion for acting. “If I didn’t have music in my life, I would probably go crazy,” says Grunberg. Surprisingly, along with his music-related aspirations, Grunberg says he is working on getting over performance anxiety. “I want to get in a comfort zone like I feel with acting,” says Grunberg. “I’m always looking for a challenge to keep me on my toes and I get that level of excitement from playing live music. There is nothing like being in a band and playing together in front of a crowd. If someone drops out, you’ve got to keep going and that’s the exciting/scary part. But, when it all works out you just have fun. It’s infectious and you don’t have to be perfect.” Jackie SAunders sanG with an a cappella group and jazz band in high school and is now teaching herself to play guitar. (jsaunders@makingmusicmag.com)

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Enter (not cajons are square boxes) toallwin

How s e o It D

? k r o W cajÓN

See details on next page

cushion seat

plywood (not every cajón is a box)

sound hole

guitar strings or rattles (this model has four strings)

rubber legs

MAY/JUNE 2009

Cajón with front panel (tapa) removed.

A cajón (Spanish for crate or drawer) is a wooden drum played by slapping or tapping the front panel with the hands.What at first glance looks like nothing more than a wooden box, is an instrument that produces an assortment of warm, earthy tones. n Heard extensively throughout Cuba and Peru, the cajón is considered a classic folk instrument because it is made from everyday household materials. It is the most widely used AfroPeruvian instrument and is also associated with Afro-Cuban rumba. And, like other ethnic and traditional instruments, the cajón has become common in popular music. Contemporary musicians, including The Dixie Chicks, Eric Clapton, and Fleetwood Mac, have used a cajón in their tunes.

History The cajón probably was developed by slaves of West and Central African origin, who lived in Spanish colonies of the Americas. When first developed, as early as the 16th century, the instrument was a simple box drum made from shipping crates, or even dresser drawers, and served as a replacement for African box drums. Over time these primitive instruments were refined and became an important part of Peruvian and Cuban music.

How It Works A cajón looks natural in or out of a practice room, doubles as a stool, and is easy to transport to a gig, open mike night, or drum circle. Most have six sides, with five sides made with 3/4-inch white wood and a sixth side (the tapa) made of a thinner sheet of plywood. The tapa is the most played surface, though the other sides can be struck as well. A hole in the back of the cajón allows sound to escape. Guitar strings, rattles, or drum snares touch the front plate inside of the box, providing a rattle effect. A modern cajón, like the Meinl cajón pictured here, often features adjustable sizzle effects that allow musicians to change the rattle to fit various musical applications.

How to Play To play a cajón, the drummer sits on top of the box, straddling it between the legs. Some players lean the whole cajón to one side as they play. Using alternate hands the musician slaps the center of the tapa to create a deep sound like a kick or bass drum. The closer to the top the cajón is hit, the higher the sound. Slapping close to the top on a cajón with a sizzle mechanism makes a snare drum sound, while slapping its top and sides sounds more like a tom. Advanced players can even change the pitch by sliding their foot gently up and down.

tuning mechanism (not all models have one)

For a video demonstration visit www.makingmusicmag. com/forte/cajondemo.

Win This Cajón Hey, Making Music magazine fans, Meinl and Making Music are giving away this Meinl cajón with travel bag to one lucky reader. Even if you aren’t a drummer, a cajón is a fun and easy-to-use instrument for any musician. Winning may be easier than you think. All you need to do is visit the Making Music website by June 30, 2009 and submit a paragraph explaining why you would like to win a cajón and how you would use it. Enter to win at www.MakingMusicmag.com/cajon

The winner will receive a Meinl cajón and travel bag valued at $400, plus extra goodies from Making Music and Meinl. Enter online by June 30, 2009.

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Forte MUSIC HOW-TO’S

clicking with the classics Classical guitar is one of the more advanced styles of guitar playing, requiring a high degree of technical precision and concentration. Advanced players must apply an attention to detail that isn’t typical in more relaxed styles of guitar playing. by adam dolGe Most classical guitar players consider themselves “studying” as opposed to playing, while few rock or folk guitarists actively study their style. And from a technical perspective, classical guitar is one of the hardest styles to master. Before you get started, it’s important to free your mind of old habits you may have developed from other styles of guitar. Classical guitar requires focus on several simultaneous musical expressions. Many classical guitar teachers tell students that learning how to move the fingers along the fretboard is merely the beginning, to truly play classical guitar is to understand each line of music as it pertains to the entire piece.

What Makes a Classical Guitar? A classical guitar is a hollow-bodied wooden six-string guitar, not unlike an acoustic guitar, but that’s where the similarities end. On a classical guitar the three highest strings are nylon, while the lower three have nylon centers with metal coating. The neck of the classic guitar is wider, allowing the strings to be some distance apart for easier fingerpicking. At first glance a classical guitar may seem bulky and difficult to play, when compared to other guitars, but once you learn the basics you may want to add a classical guitar to your instrument collection.

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A Beginner’s Guide to Classical Guitar Sitting Position Posture is important to classical guitar playing. Sit on a straight-backed chair that allows your knees to bend at a 90-degree angle. Keep your legs about shoulder width apart, back straight, and shoulders relaxed. Place the side of the guitar on your left leg, about halfway between your knee and hip. Place a footstool under your left foot, raising your leg about six inches. With the guitar resting on your leg and its bottom touching your right thigh, raise the neck so the entire guitar is in a 10 o’clock position.

Left Hand Start with your left hand and arm relaxed and dangling at your side. Bend your elbow, bringing the forearm and hand up and turning it inward. Your four fingers should be relaxed and slightly curled, while the outside of your thumb creates a smooth arch. The thumb should be resting on, but not squeezing, the back of the neck. When playing, each finger moves independently, pivoting at the large knuckle. This may take some practice, but it’s important to develop this technique. Keep your wrist relaxed, but not bent. When playing up and down the neck, keep the shoulders relaxed, but rotate them to change positions along the neck.

RIGHT Hand Classical guitar is played with the thumb and first three fingers of the right hand, which basically control the guitar’s sound. Raise your right arm in front of your guitar, and drop it toward the sound hole, keeping it relaxed. Create a natural pronounced arc positioned out from the guitar, instead of leaning in. This leaves plenty of room for your fingers to work. The right hand fingers should essentially collapse along the strings while your thumb should sweep out in front of your fingers. Your thumb should never play into your hand or the sound hole. In general, you should alternate playing fingers. When reading classical guitar music, the fingers are referred to as follows: “p” for the thumb; “i” for index; “m” middle; and “a” for ring. The pinky is meant to follow the motion of the third finger.

FINGERNAILS You can usually tell a classical guitarist by looking at their right hand. Proper technique calls for properly maintained long fingernails—extending at least 1/8-inch—on the right hand, while the left hand’s nails should be clipped short. The nails should be smoothly rounded. Any excess roughness or breaks will create unwanted noise while playing. You can experiment with length and shape in developing your playing style.

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Forte

Take The STage by adam dolGe

The thought of performing in front of people often strikes a deep fear in musicians. However, there may be no better way to get your performance feet wet than jumping right into an open mike night. Open mikes typically provide a relaxed setting for recreational musicians to perform in front of an audience full of musicians with similar abilities.

Open mikes are found across the country, at coffee houses, universities, bars, clubs, and churches. Many of the venues host these events on a regular basis. You’ll find musicians who return again and again, becoming regular performers in the process. There are many reasons for playing an open mike night. Some musicians seek the thrill of performing in front of a crowd, others want to share their music, and still others want to test out new original material. Open mikes offer an outlet for all types of performances. Some open mike gatherings are exclusive to music, but many also feature poetry reading, story telling, and stand-up comedy. You can gain a lot of confidence performing at open mikes but it does take a lot of guts to play your music in front of a room of strangers for the first time. You’ll likely never be booed or heckled because the majority of people are there to perform, and those who aren’t performing probably admire your courage. Remember that it is completely normal to feel nervous. Most of the performers are feeling the same way, so take comfort in knowing you are not alone. Acoustic guitar singer-songwriters often dominate the evening, but it’s not uncommon to hear brass instruments, small drums, keyboards, or other string instruments at open mikes. Venues geared more toward small groups of musicians encourage collaboration with strangers and may have a house drum kit, piano, or other instruments to play. Most open mikes are hosted, with someone running the evening and acting as emcee. You’ll sign up with this person when you arrive and they will pencil you into the schedule. They’ll let you know how much time you have, usually enough for one to three songs. Check out openmikes.org for a listing of open mikes throughout the US and Canada and follow these tips for a smoother performance.

MAY/JUNE 2009

12 tips ➊

Scope out the event. Visit the open mike night before performing at it so you can get a sense of how it works, what kind of music people play, and how much time you will have. If your act or instrument is somewhat unusual, you should check with the host or organizer to make sure it’s a good fit for the venue.

➋ Choose your songs. This may sound basic, but you should choose three to five songs you know and play well. You don’t want to play your newest songs at your first open mike, instead play the covers or originals that you are most comfortable with.

➌

Practice, practice, practice. One of the best ways to get over stage fright is to know your songs well. You should expect to make mistakes at your first open mike, and the more you practice, the better you’ll be at smoothing over and moving past the mistakes. If you do make a mistake, most people won’t notice as long as you keep playing.

➍

Dress for success. Wear comfortable clothes that make you feel attractive. If you are nervous about your performance, you don’t want to worry about how you look at the same time.

➐

Arrive early. Give yourself extra time to get a feel for the venue. Walk around the stage, if you can. Chat with people who arrive early. Take a few deep breaths and let your mind wander to a relaxing place.

➑

Warm up. If you will sing, take a few minutes before you perform to warm up your voice in the bathroom, or outside. Do some simple stretches for your hands and arms and drink some water while you wait your turn. Avoid cigarettes or caffeine before taking the stage as both can make you feel jittery.

➒

Tune your instrument. Before you get on stage, make sure your instrument is in tune. Tuning during your set will waste valuable stage time and may cause the crowd’s attention to wander away from you.

➓

➎

Prepare to perform. Take some time to clean your instrument, and make sure it looks and sounds good. For guitars, restring a few days prior to the open mike. New strings are easier to play and have a brighter sound, but give yourself a couple days because fresh strings are more likely to go out of tune. Bring extra strings, picks, reeds, drum sticks, and other supplies for your instrument just in case. Make sure you are well rested in the days before your performance.

➏

Bring friends. If you enjoy playing for friends or family, it’s not a bad idea to invite them so you have familiar faces in the crowd. On the other hand, if you are nervous playing in front of people you know, don’t tell anyone about your performance.

Take the mike. Allow yourself to make mistakes. Realize your goal is to physically perform, and not necessarily blow anyone away. Speak into the microphone to test it and so you can make adjustments. Introduce yourself and don’t be afraid to tell the audience if it’s your first time at the open mike. Above all, never apologize before, during, or after the performance.You’ll be surprised at the applause you’ll get regardless of how well you think you played.

11 Stick around. You should stay for a while after your time on stage to return the support by applauding for others. This is a great chance to network and socialize with fellow musicians and to get and give feedback. 12 Critique your performance. Your time on stage probably wasn’t as bad as you’d thought it would be. In fact, you probably enjoyed it enough to try it again. Even if you think you could have played better, you’ll likely want to give it another shot. That’s one of the perks of open mikes: most of them offer regular practice performing in front of people.

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Forte clip ‘n’ save

Play iT agaiN Using repeats and repetitions 5

(1st time only)

13-17

(

(Play both times)

(

12 repeated measures of music 13-17 are indicated 18 Single by a symbol in the middle of the measure that resembles a percent sign.



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n Sometimes an idea is so good that it’s worth saychord progressions, and even entire repeated sections ing a second or even third time. Repetition, either (1stcreate make time only)patterns which help listeners (Play(or bothplayers) times) exact or with variations, is one of the basic organizing sense of the music. So, good music can be surprisingly  repetitive!   principles ofonly) music. Repeated notes, phrases, rhythms, (1st time (Play both times)



13-17

(Repeat the previous measure)

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(Repeat the previous two mea

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(Repeat the previous measure)

(Repeat the previous two measures)

Repeat brackets, consisting of one thick and Go all the way back to the beginning and repeat once. one thin vertical bar with two dots enclosing (Repeat the previous measure) (Repeat the previous two measures) the center line of the staff, are used when one or more measures of music are to be immediately Go all the way back to the beginning and repeat once. repeated. They’re placed at the beginning and end of the repeated passage. Go all the way back to the beginning and repeat once.

If there are no other indications, the section should be repeated once. Occasionally you will see extra instructions over the repeat dots, for example to play the section “3x” (three times).

Repeat (once) only the measures in between the repeat dots. Closed bracket = go someplace after ending (repeat or D.S., for example) Open bracket = go on

Repeat (once) only the measures in between the repeat dots.

Numbers tell you which time(s) to take Closed bracket = go someplace after ending (repeat or D.S., for example) this ending Numbers tell you It’s common for longer sections music Openof bracket 3.= go onto which time(s) to take1,2.

Repeat (once) only the measures in between the repeat dots.

Play these measures every time.

Closed bracket = go someplace after ending ending two or more different endings. When (repeat or D.S., for example) thishave 3. 1,2. Open bracket = go on this happens, a numbered bracket over the

Play these measures and take the repeat the first and second time. Skip them the third time.

Occasionally, the music contained within repeats on an individual part is to be played for only one of those repetitions. In this case, 1st time only or, Tacet 2nd time (tacet = silence) will be placed above the music indicated.

music will show you which measures to play

Play these measures Play theseat measures and point. each time you arrive the ending PlayFor these measures the Play these measures Play these measures and thePlay these measures the and go on. every time. take the repeat first third time example, the second time you reach the end every time. take the repeat the first and second time. third time and go on. and secondyou time. will skip the music in all of a repetition, Skip the third time. Play these measures the Skip them thethem third time.

the other endings, play only the measures in the second ending, and then do whatever the second ending directs you to do, such as repeat, go on, or skip to somewhere else.

third time and go on.

(1st time only)

(

Numbers tell you which time(s) to take this ending 1,2.

13-17

(Play both times)

One final tip: if you have a large number of repeated measures in a row, number them (in pencil) to help you  keep track of where you are in the music. MAY/JUNE 2009

(Repeat the previous measure)



(Repeat the previous two measures)

sharpsandflats keyboARd n If a short passage or “lick” seems difficult to learn or memorize, practice playing it both forwards and backwards, making sure that you use the correct fingering in both directions. This will solidify both the fingering and the notes very quickly, as well as thoroughly familiarize your ear to the tune or motive. Eunice Stackhouse, Black Mountain, North carolina

GeneRAl n When practicing/learning a tune, practice it in phrases (generally look for four-bar harmonic or melodic phrases). Always starting with a metronome, learn the first one so it is fluid. If you hit a trouble spot, loop that trouble spot until you get it smooth. When you have the first phrase down, do the next one. Get that down, then connect them and continue in that way. arnold Faber, Toronto, Ontario, canada

WoodWind n Here are two exercises for woodwind players: 1) To

strengthen your fingers interlace a rubber band around four fingers and wiggle them anywhere, any time. 2) To build your embouchure puff out cheeks (like a monkey) and keep lips tight. Don’t let the air escape! john lolli, Boca Raton, Florida

GUiTAR n One of the best tips I know is to practice scales at a slow

speed—not just kind of slow, but really slow. The muscle workout will result in cleaner and (surprisingly) faster playing. chris Mccarley, Fort Worth, Texas

How do you practice? Sharps & Flats are quick and easy practice ideas for all instruments and playing levels. Do you have a tip, trick, or piece of advice (in 150 words or less) that you’d like to share with Making Music’s readers? We’d love to hear it! Send us an e-mail at afollett@MakingMusicMag.com. www.MakingMusicMag.com

Musician Spreads Awareness About the Tree That Makes Her Music Possible by jackie saunders

boes have fascinated Brenda Schuman-Post ever since her dad agreed to pay for private lessons when she was in junior high school. Even though she was already taking clarinet lessons, her dad knew intuitively that oboe was the right instrument for her. When Schuman-Post opened the case of her first rented oboe, she knew instantly that the instrument would become a major force in her career as a musician and educator.

Attending a Buddhist ceremony in San Francisco years ago, Schuman-Post was struck by the prominent use of double reed instruments, like the oboe, and wondered why they were so important in the rituals. “From that point I began to study what the oboe’s sound means, why it was there, and what the sound means to humanity,” says Schuman-Post. After seeing the BBC documentary Mpingo: The Tree That Makes Music in 1992, Schuman-Post was motivated to spread the story about the oboe’s connection to the earth and the importance of conserving the mpingo tree, also known as the African blackwood or grenadilla. It is the primary source for high-quality woodwind instruments like the oboe, clarinet, flute, piccolo, and bagpipes. Grown in Tanzania and Mozambique, the mpingo’s density, durability, and resistance to distortion, when exposed to environmental elements, make the tree’s wood ideal for woodwind instruments. Because it takes the tree around 100 years to reach commercial maturity, mpingos

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are harvested at an unsustainable rate and only 10% to 20% of harvested trees contain timber suitable for export. The tree is commercially threatened, and Schuman-Post was driven to be a part of the solution. She contacted groups like the African Blackwood Conservation Project (ABCP), which promotes the tree’s replanting and conservation, to get involved. “The purpose is to raise people out of poverty by replanting and preserving mpingo trees,” says Schuman-Post. “My intention was to help the people who live in areas where the trees grow and to show them the tree’s commercial value so they can work towards conservation.” For Schuman-Post the African blackwood tree held a special place in her heart because she always had a high level of interest in indigenous oboes and ethnic music. “While I play and improvise in a traditional Western format and I play with orchestras, chamber groups, and as a soloist, I am also comfortable joining musicians who play traditional music of

non-Western cultures,” says SchumanPost. She began giving a lecture in 2003, “Mingo’s Fruit: Harvesting the Music Tree, the People, the Places, the Process” which she still does today. She then won the 2008 Meet the Composer Global Connections Grant sponsored by the Ford Foundation and went to Tanzania to collaborate with local musicians. “I wanted to create, via improvisation, a new piece of music that would bond the people who have the trees from which woodwind instruments are made with those who play the instruments,” says Schuman-Post. Last September, Schuman-Post traveled to Mount Kilimanjaro, home of the ABCP. With the help of its director, botanist Sebastian Chuwa, she spent nine days playing with four musicians: Magesa Chacha on litungu (a lyre), Chacha Mnyoro on the kighogho (a one-stringed violin), Charles Magesa on the kirongive (a flute), and Mapinduzy Maganya on lilandi (an enormous low-pitched trumpet made of squash). To

see video clips of her travels visit www. youtube.com/brendaschumanpost. Co-composer and translator Sixtus Koromba helped Schuman-Post communicate, but when he wasn’t there, they used hand signals. She filmed and recorded their experiences rehearsing and collaborating. “I remember laughing with them all day, every day,” says Schuman-Post. “They are brilliant musicians. The resulting pieces are fantastic—you would never guess [from the music] that there was such a radical cultural difference. That’s how well the oboe fit into the context of their homemade instruments.” Besides playing with the four musicians in various local venues, the group played its culminating performance during Tanzania’s Arbor Day at the base of breathtaking Mount Kilimanjaro. Schuman-Post spent the next couple weeks traveling Tanzania and Mozambique, sharing the oboe with those who harvest and plant the mpingo trees, but

had never seen how the wood was used. She learned the song “Tanzania, Tanzania” and played a dance movement from the baroque piece Georg Telemann’s “Fantasie in C major.” “There was this look of awe, followed by smiles, then dancing,” says Schuman-Post of reactions to the oboe. “One of the villagers said, the music sounded so happy, ‘If the elephant had heard it, he would have danced.’” At one village, Schuman-Post played for a group of 30 lumberjacks—strong muscled men who had been involved in some part of harvesting mpingo trees since they were boys. Curious about the little black instrument in her hands, the men started clapping and laughing once she started to play. “Their livelihood depends on woodwind players, essentially,” says Schuman-Post. “Seeing the kinds of instruments they play, it was difficult for them to visualize what the oboe looked like when it was described.” www.MakingMusicMag.com

Tuned In PRODUCT SPOTLIGHT

Vintage Sound ❱❱ Serious guitar players who play out will want to try a solid tube amp for vintage, crunchy sound. Featuring 22-watts and a pair of 6V6 Groove Tube output tubes, one 5AR4 rectifier tube, four 12AX7 preamp tubes, two 12AT7 tubes, and one 12inch speaker, it provides that classic tube sound. Try THiS: Vintage Reissue Fender ’65 Deluxe Reverb

mobiLity ❱❱ If you are a musician on the go, you know how important it is to have gear designed for mobility and versatility. Perfect for practicing on the go, the Roland Mobile Cube is a battery-powered solid-state combo amp with connections for guitar, microphones, MP3 players, keyboards, and drum machines. The amp features two four-inch speakers and weighs about five pounds. Try THiS: Roland Mobile Cube

acouStic and moRe ❱❱ Some amps are specifically designed to get the most out of the delicate tonal ranges and nuances of acoustic instruments. This combo amp features a 12-inch coaxial speaker, 100 watts on low and mid range, and 25 watts high-end. It’s the perfect amp for intimate settings like coffee houses or open mike nights. Try THiS: Peavey Ecoustic 112 EFX

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Analyzing Amps: Tubes to Digital n A new guitar amp is a big investment and the selection is almost as important as choosing the right guitar.There are smaller, more affordable amps, but if you want to play outside your home, you’ll probably want an amp capable of loud, yet crisp and clean sounds. There are so many types to choose from—tube, solid state, or digital; combo amps or cabinets; speakers from four to 15 inches; and varying wattages. Knowing what you want out of an amp should guide your purchasing decision. First, determine whether to buy a combo (combination) amp or a head and cabinet. A combo amp will likely serve recreational uses like practices, and playing small halls and churches. They combine the amplifier electronics with one or more speakers in the same cabinet. They generally have lower wattage power, up to roughly 50 watts, and have speakers ranging 10 to 15 inches. They are often less expensive, easier to move, and provide plenty of power for most everyday uses. A head and cabinet will provide enough power for auditoriums, outdoor venues, or stadiums. They are typically heavier than combo amps. The head is an amplifier without speakers, and the cabinet is the standalone enclosed speaker. A “stack” is a head and a pair of cabinets connected together. For most musicians, there’s little use for a full stack, and many opt for a half-stack, with power ranges from 50-400 watts. Most cabinets come with four 12-inch speakers, also known as a 4x12 cabinet. Years ago all amplifiers used vacuum tubes for the actual amplification. Today many amps use transistors instead. Guitarists debate which is better. Some say tubes sound noticeably warmer, still other musicians believe solid state circuitry can produce a cleaner sound. There are several drawbacks to tube amps. They tend to be heavier and more expensive and the tubes need to be replaced periodically making them less reliable. A third type, digital or modeling amps, can “model” the sound of old-fashioned tube amps. When shopping for an amp bring your guitar with you and try out several different types and models. Don’t be afraid to try some that are above your price range to give you an idea of what kind of sound you are aiming for. Experiment with all the various bells and whistles to determine which features are your own “must-haves.”

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Pearl’s Perfect Pedal ❱❱ Eliminator Demon Drive bass drum pedal from Pearl is engineered to create a seamless link between a player’s musical ideas and their execution. The use of Ninja bearings and other ultra-precise components provide fast play for all drummers. The self-aligning spherical bearings ensure the footboard and direct link drive are always in alignment. Zero-latency Z-Link u-joints on the double pedal driveshaft and axles work together to create a smooth and fast pedal. Its Duo-Deck, highly convertible footboard can easily be adjusted from a traditional shortboard to a longboard pedal in seconds, for increased leverage when speed is needed. The pedal was selected as one of the best new products at the 2009 NAMM show. Single Pedal MSRP: $319 Double Pedal MSRP: $649

Voodoo Rex Saxophone Classic Congas ❱❱ LP’s limited edition 45th Anniversary Congas feature unique engraving applied to specially contoured 30-inch tall, kiln-dried ash wood shells. A thin layer of reinforcing fiberglass on the upper quadrant of the inner shell provides solidity and also tightens up the upper harmonics, similar to a reinforcement hoop on a vintage drum set tom. The hardware is made of brushed nickel with heavy-duty 3/8-inch tuning lugs and LP Heart side plates. Like all LP congas, the 45th Anniversary Congas come with ProCare Integrated Shell Protectors to prevent marring of adjacent drums.

❱❱ Handmade Voodoo Rex alto and tenor saxophones from Saxgourmet have a fat, dark tone. They feature 100% solid copper bodies, bells, bows, and necks, rolled tone holes, full hand-cut engraving, a three-ring strap hook, and black kangaroo leather pads with solid copper resonators. With abalone key touches, an underslung octave mechanism, a special high note compensator key, and an extra large Saxgourmet thumb rest, the keywork has a new highly ergonomic design. MSRP: $3,200

MSRP: $859

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Pianissimo Plug-in ❱❱ If you are looking for the warmth of a Steinway grand piano when recording at home, Acoustica’s Pianissimo offers 250 MB of high quality piano samples. Pianissimo uses complex signal processing and programming to recreate the sound and playablity of a grand piano. Add in modeled sympathetic resonance, incidental mechanical hammer sounds, remarkable control over tone and velocity response, 256 voices of polyphony, and incredibly low CPU usage, and Pianissimo is a great sounding and easy to play virtual piano. It can operate as a VSTi plug-in or run as a standalone Windows application. It operates with any digital audio workstation supporting VSTi virtual instruments, including Acoustica Mixcraft. The standalone version supports any MIDI, Wave, ASIO, or WaveRT device. MSRP: $79

On the bright Side ❱❱Vic Firth introduced Lite Stix drumsticks for players looking for the ultimate in showmanship, without sacrificing the balance and feel of standard sticks. The sticks are made from select hickory in the design of the American Classic Rock series and feature an LED light in the tip for seven color settings—green, blue, red, violet, aqua, yellow, and ice blue—as well as slow, medium and fast strobe effects. They are rechargeable through a USB port, providing a minimum of four hours of use between charges. MSRP: $130

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Boost Your Tempo V-List Addition Roland’s revolutionary “V” series, which includes V-Drums, V-Guitars, and even V-Accordions, recently expanded to include V-Pianos. All of the built-in pianos can be customized, and the 88-note PHA-III ivory-feel keyboard has analog (XLR and 1/4-inch) outputs, digital output, USB memory port, and MIDI I/O. MSRP: $5,995

❱❱ The popular Boost DLA pedal from Tech 21 features tap tempo, triplet, and trails. An individual foot-switch dedicated solely for the tap tempo function avoids confusion on stage and can be set even when the unit is in bypass, for easier coordination with a drummer. The triplets feature works in conjunction with the tap tempo. When engaged, it shifts the timing so triplets play in sync with the actual tempo. Trails allows for the natural decay of the delay signal. The pedal also features a boost option for up to 9dB of additional volume when it’s time for a solo. Boost DLA is battery operable or runs on an optional DC power supply. MSRP: $260

Keep It Under Wraps Lanthum Products has introduced two new sizes of Drapester guitar covers to fit bass and parlorsized guitars. Like standard Drapester guitar covers, they are available in both solid colors and prints. Drapester covers provide stylish, easy-touse protection from dust, direct sunlight, and curious fingers for guitars left on stands during gigs or in your home practice room. The patent pending design keeps the cover on your guitar without straps or ties. The covers are made from 100% cotton fabric that won’t snag on strings or harm finishes. MSRP starting at $55

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Making Music

MIDI by alex suskind

Composing full songs can be difficult when you only know how to play one instrument. Coming up with an accompanying string or horn section to add may seem nearly impossible. However, with the help of MIDI, amateur musicians are able to produce full-range compositions and songs on their computer without having to spend thousands of dollars on additional equipment and lessons. n MIDI stands for musical instrument digital interface. MIDI gives you the ability to record a variety of different instruments onto your computer without having to buy (or learn) the actual instrument. For example, one MIDI keyboard controller can record a simple piano riff, a backing drum track, a catchy bass line, and a booming horn section.

still interested in creating full songs with different instruments, MIDI drum pads can be the most helpful. These controllers usually consist of several square pads that can each be programmed with a different sound. To play each sound you simply tap its pad.

When using a MIDI keyboard controller, the only instrument you need to know how to play is the piano. If you know some basic chords and scales, recording songs via MIDI is easy.

A MIDI controller connects to your computer through a USB cable. A third-party music recording program like ACID Pro, or the user-friendly program GarageBand, allow you to select the different sounds and instruments you would like to record.

If you do not know how to play the piano, but still have aspirations of recording a song on your own, there are many different types of MIDI controllers available. For those who are just beginning to play music, but are

When you select an instrument for the controller, signals are sent to the computer, which in turn produces the sound you chose. Unlike a normal instrument that can emit its own sound, a MIDI controller cannot emit

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sound without the use of a computer and a recording program. In addition to MIDI controllers there are MIDI instruments. The major difference between the two is that MIDI instruments function as both controllers and actual instruments, capable of producing their own sounds. This means that the same piece of equipment you use to record full band compositions can be played without having to connect it to a computer. The majority of electronic keyboards come with MIDI capabilities. There are many types of MIDI controllers and instruments available today. There are even devices to give standard instruments MIDI capabilities.

Here are several MIDI devices that could help you record your masterpiece.

M-Audio Axiom 25 USB MIDI Controller includes a drum pad, as well as pitch bend and modulation wheel. Effects, such as panning and reverb, can be assigned to the knobs on the top of the controller.

Korg nanoPAD MIDI drum pad controller is compact and affordable.The high response drum pad triggers can be programmed with chords as well as singlenote sounds.

Roland GK-3 Guitar Pickup transforms your guitar into a MIDI device giving you the ability to play a variety of sounds through the instrument.

Yamaha YPG 235 76-Key Grand Piano Keyboard connects to your computerâ&#x20AC;&#x2122;s USB port. It comes equipped with hundreds of built-in sounds and a six-track song recorder.

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Tuned In

it’s electric Digital Drum Kits Change How You Learn and Play By AdAm dolge

If you’ve ever lived in a city or an area with close neighbors, you know how frustrating it can be to find the right moment to pound on your drum kit. If you play too late, or too early, you may get a knock on your door or a bang on the ceiling from an irritated neighbor. For this reason, many drummers turn to electronic sets, which are nearly silent when played through headphones. There are other advantages to electronic kits, but the ability to essentially mute the set is often the biggest draw.

n Electronic drums are meant to emulate

and mimic acoustic drum sets. Think of them as the difference between an electronic keyboard and a piano. With electronic drums, striking the rubber or mesh drum pads with a normal drum stick triggers electric sensors that transmit a signal to the sound engine, which is then translated into digital waveforms. The sound engine or “drum brain” is the processing center of an electronic drum kit. Electronic drum sets often include at least two cymbal pads, three to four tom pads, a dual snare (head and rim) pad, a pedal for the kick drum, and a hi-hat pedal to trigger the difference between a closed and opened hi-hat. “For the first time player, I think they’re great because you can get in more practice time,” explains Mike Snyder, an independent percussionist and drum clinician from Portland, Oregon. “Put on a set of headphones and nobody hears you bashing away, yet you are hearing

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great sounding drums for whatever style you are playing.”

without overpowering the audience,” he adds.

Snyder is the author of All About Electronic Percussion (Hal Leonard Corporation, 2006) and views electronic drums as using technology to your advantage. He says, “Electronic drums give drummers what electronic keyboard players have had for many years.”

If it’s your first time playing an electronic kit, it may take some getting used to. “The most difficult thing is that the sound doesn’t come from the drum,” he explains. “It comes from a monitor or headphones. That’s the hardest adjustment.”

In recent years electronic drums have made great advancements and are able to produce more authentic sounds through digital technology. The latest models have dynamic impact detection, which senses the exact area of the drum or cymbal that is struck, providing nuances similar to those of an acoustic set. The sets also have multiple outputs to connect to a soundboard, allowing for independent mixing without microphones.

When shopping for an electronic drum set, be sure to demo several models and brands as each will have a different feel. You can expect to pay anywhere from several hundred dollars to several thousand dollars, and prices for quality electronic drum kits are beginning to decrease. Snyder says there are kits selling for less than $1,000 that are perfect for drummers new to electronic kits.

Snyder says that electronic drums are perfect for home recording, quiet practice, and playing small clubs and churches. “Drummers can play hard

“I say sit down and listen first, play the snare drum, listen to see if the sound changes from soft to loud like an acoustic snare drum would,” Snyder recommends. “Ultimately that’s what you want.”

Roland TD-20S

Yamaha DTXTREME III

Roland’s V-Drum is the company’s signature electronic drum series. The TD-20S is the high-end model, used professionally by popular bands and serious drummers. It’s one of the most advanced electronic drum sets, with some 560 drum sounds, quick response time for rolls and rim shots, and editing tools to create your own drum sound. The V-Hi-Hats have realistic feeling top and bottom cymbals, and feature advanced technology to replicate the subtle differences a traditional hi-hat can produce.

One of the best features of Yamaha’s DTXTREME III is the built-in programmable metronome. The Groove Check feature shows you if you are playing ahead of, on, or behind the click of the metronome. Additionally, Rhythm Gate mutes any hits that are not in time. The kit also features built-in songs to practice along with, ranging from pop, punk, rock, blues, Latin, and jazz. You can change tempos, mute tracks, and you can record your drum track to play back.

MSRP: $6,999

MSRP: $4,199

www.V-Drums.com

www.dtxperience.com

Some advantages of electronic drum kits: ● Ability to play many kinds of sounds, not just different percussion, but various other instruments and sound effects. ● Ease in altering pitch and adding effects like reverb. ● Can switch the sound of the kit during a gig.

Alesis USB Pro Drum Kit The Alesis USB Pro Drum Kit combines popular Alesis trigger-to-MIDI interface with tunable, mylar drum heads, and the natural feel of brass-alloy SURGE cymbals to create an acoustic-feel. Perfect for the studio, home, or gig, the set includes sound-generation software BFD Lite, allowing for multiple drum-sound sets, adjustable articulation, velocity layers, and microphone positions at the drummers’ fingertips. Designed to take advantage of the power of a computer for sound generation, it uses a Mac or PC as the sound module. MSRP: $799

● Quieter than acoustic kits and you can plug in headphones for virtual silence. ● Some have separate volume control for each drum. ● Less hardware means theya are more portable and there are less nuts and bolts to break or lose. ● Can usually record directly into a computer for easy home recording. ● Advanced kits can hook up to an MP3 player or use CDs for enhanced practice sessions. ● Some have teaching/learning capabilities.

www.alesis.com/usbprodrumkit

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Covered RESOURCES

Jazz Improv via Key Centers n Musicians are sometimes intimidated by all chord symbols found in many jazz standards. Jazz Improvisation via Key Centers is a method for cutting the chord symbols out of soloing to improvise over standard tunes using only major scales. This book is designed for improvisers, beginner through advanced, who struggle with standard tunes. It includes sheet music for 13 standard tunes, a play-along CD with rhythm section accompaniment, and CD-ROM of theory instruction, listening examples, discography, and printable accompaniment scores and parts for an optional live rhythm section.

cuttInG the chanGes: Jazz Improvisation via Key Centers, by Antonio J. García, Neil A. Kjos Music Company, San Diego, CA, 2006.

The Drummer: 100 Years of Rhythmic Power and Invention n This historic book tells

the story of modern drum set masters from early jazz drummers to today’s mindaltering rhythm wizards. There are contributions from the most knowledgeable drumming experts of today, alongside 20 drumming icons including Buddy Rich, Keith Moon, Max Roach, and others. This colorful book is full of drumming photos and also offers listening recommendations. Foreword is by Chad Smith, drummer for the Red Hot Chili Peppers. the drummer: 100 years oF rhythmIc Power and InventIon, by the publishers of Modern Drummer magazine and Adam Budofsky, Hal Leonard Corporation, Milwaukee, WI, 2006.

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Interactive Guitar Guides for Fender and Gibson n These two multimedia packages from Jawbone give

players and collectors a comprehensive look at the history of Fender and Gibson guitars. A spiral-bound chronological guidebook for each gives details and specifications for almost every model from the two companies, which can be cross-referenced using each book’s A-Z model list, making them a one-stop shop for authoritative information for collectors and fans. Each book also comes with a DVD shot with author and guitarist Dave Hunter, as well as guitarist Carl Verheyen, who has 25 years of experience working with a diverse array musicians from The Bee Gees to Little Richard to Christina Aguilera. On the Interactive Fender Bible DVD, the two take you on a tour of the Brian Fischer collection of vintage Fender guitars and amplifiers—luscious Stratocasters, Twin Reverbs, Telecasters, Champs, plus a gallery of 22 vintage Fender electrics, from custom color Strats and Teles to Duo-Sonics, Jaguars, even a rare Hollowbody LTD. On the Interactive Gibson Bible DVD Hunter and Verheyen demonstrate original well-known models like the Les Paul, SG, and Flying V, while telling the story of the ups and downs of one of the Gibson brand in documentary fashion. InteractIve Fender BIBle by Paul Day and Dave Hunter, Jawbone, London, England, 2007; InteractIve GIBson BIBle by Walter Carter and Dave Hunter, Jawbone, London, England, 2008.

Lead Guitar with Wolf Marshall: A Complete Guide to Soloing [DVD] n Guitarist, author, and

educator Wolf Marshall takes a musical journey through the decades and styles of great lead guitar innovators in blues, jazz, and rock. For each genre he includes essential licks, techniques, and theory, demonstrating each with an improvised solo over a band track. Wolf highlights the sounds of great lead guitar players from history and also includes descriptions of instruments and other gear. A special “Basics” section helps beginners and the user-friendly introduction is filled with information and demos of fundamental scales, licks, and arpeggios of lead guitar. Lead Guitar with Wolf Marshall: A Complete Guide to Soloing, featuring Wolf Marshall, Hal Leonard Corporation, Milwaukee, WI, 2006.

The Ultimate Live Sound n Written to address

the concerns and needs of all types of sound operators, The Ultimate Live Sound Operator’s Handbook is a comprehensive guide. It’s straightforward and easy to understand, breaking down the process into principles and practices to assist modern sound techs in everything from system design and acoustic considerations to miking and mixing. The Ultimate Church Sound Operators Handbook addresses the specific concerns of churches and ministries. Accompanying DVDs contain video and audio examples. The Ultimate Live Sound Operator’s Handbook and The Ultimate Church Sound Operators Handbook, by Bill Gibson, Hal Leonard Corporation, Milwaukee, WI, 2007. www.MakingMusicMag.com

Accents

THe MusIC of THe IslAnDs by cherie yurco

Despite its small size, Hawaii has made multiple contributions to American music, from Hawaiian folk music to slack-key guitar to hip-hop. n

Traditional Hawaiian music, religious in nature, was passed down through generations of native Hawaiians, and unfortunately there is no written history of the state’s music before the first non-Hawaiians arrived in the late 18th century. This traditional music was for chanting (mele) and ritualized dancing (hula) and used mainly percussion instruments including pahu (sharkskin covered drum), ipu or ipu heke (gourd or double gourd), ‘uli‘uli (feathered gourd rattles), pu’li (split bamboo sticks), ‘ili‘ili (stone clappers), or kala’au (rhythm sticks). Though Hawaii’s music is associated with ukulele, slack key guitar, and steel guitar, the ‘ukeke, a bow, using the mouth as a resonator, is the only indigenous string instrument. Other string instruments were brought to the islands by foreigners. Hawaiians then adapted and integrated the instruments into Hawaiian music and made them their own. Mexican cowboys (vaqueros) first brought guitars in 1832 when King Kamehameha III brought the vaqueros in to teach natives how to control cattle. Steel-stringed guitars were brought by the Portuguese in the 1860s, and immigrants from that country also brought small cavaquinho guitars, precursors to ukuleles. Steel guitar was developed by Hawaiian musicians who slid steel objects along the guitar strings to produce unique

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tones that integrated well into Hawaiian sounds. The Hawaiian culture is steeped in musical traditions. Even the royal family was involved. King David Kalakaua was a composer and known as the Merry Monarch for his love of music. Through the 1880s and 1890s he promoted Hawaiian culture and music, encouraging the integration of new instruments. Slack key guitar (ki ho’alu)—a finger picked style where the strings are “slacked” to create an open chord—spread across the islands, starting in the 1860s. This adaption allowed the guitar to accompany the rhythms and harmonic structures of Hawaiian music. Many Hawaiian families developed and protected their own secret tuning styles. Kalakaua’s successor, Queen Lili’uokalani was a prolific composer and wrote many songs, including “Aloha ‘Oe,” one of the most widely known Hawaiian songs both at home and abroad. By the 20th century many Hawaiian musical troupes were touring the US. Hapa haole (half white) songs that combine Hawaiian music and lyrics with English became popular both in Hawaii and stateside. The Golden Age of Hawaiian music from 1930 to 1960 faded with the growth of new genres like rock and roll in the US. Thanks to Hawaiian musicians like Gabby Pahinui and Eddie Kamae and the group Sons of Hawaii, there was a revival of Hawaiian music toward the end of the 20th century. And, though his music was not traditional, Don Ho became one of the most popular ambassadors for Hawaiian culture and music during that period.

inthe spotlight n At 74, Lew Sbrana of Healdsburg, California, can say that he’s spent a life in music, not just as a performer, but in teaching and sharing music with young and old alike.

Sbrana first picked up the trumpet in the 7th grade and he never put it down, not even when he joined the Navy. “Everywhere I went I took my horn,” he says. “I played in Guam and when I worked with the NSA.” In1956 Sbrana graduated with a degree in music education from Humbolt State University, where he also sang tenor. He spent the next 33 years sharing his love for music with high school students. When he retired from teaching in 1995, a new Healdsburg High School music room was named for him.

GEARGuidE

Sbrana shares his love of music with his entire community through the Healdsburg Community Band. “I started Healdsburg Community Band 27 years ago and it has been one of the joys of my life,” he says. TRUMPET: 1950s Olds Recording Trumpet: “I did some research and bought it secondhand. It’s a nice, solid horn and very comfortable to play.”

lEwsbRAnA

Who are your musical influences?

John Philip Sousa and Keith Brion’s New Sousa Band. I saw a video and fell in love with the whole thing. Sousa always kept the program moving. It was eclectic and fun. Henry Fillmore is another composer I admire. Why do you continue to make music?

I have a real fascination for music. I say it helps to create the human spirit. When you are down, there is nothing like losing yourself in a beautiful melody. Music is a great way to live. hoW do you continue to learn?

I study the scores when we get them, but what inspires me is to find out what the composer was trying to convey. What benefits have you found to making music?

Swinging my arms is great physically and emotionally. I like losing myself in a piece of music. Then, there are the great people I meet—fellow band directors, kids, others. Music makes me more at peace. I like being with other people and making music come alive. hoW do you make time for music in your life?

Music has always been a part of my life. Whenever we have dinner the radio is on, more than likely classical. I’ve always been around music. case: Allora, by Gard. “It holds two instruments plus mutes.”

Inspired by Keith Brion’s New Sousa Band, Sbrana began an annual Sousa Salute, a tradition the community band has continued for 20 years. “I even grew a moustache and dressed up like Sousa,” he recalls. “It is surprising how many people love Sousa.” In 1999 Sbrana started the Sonoma County New Horizons Band for seniors in the area. “The New Horizons Band was a real shot in the arm for me,” he says. “It uses music as a catalyst for bringing people together.” Though Sbrana continues to direct and play with the New Horizons band, he plans to retire from directing the Healdsburg Community Band this year to spend more time with his grandchildren in Michigan.

What advice do you have for someone getting back into music later in life?

I’m always preaching that. If there’s any sliver of music in the people I meet, I latch on right away and tell them it’s never too late. We have people who haven’t played in 60 years and now that they are seniors they have time. I tell them to just get out their instrument and start playing. One man hadn’t played his trumpet for 60 years. After his first New Horizons concert he said, “Oh gosh, that was fun! I got this rush of adrenaline.” To see that enthusiasm from people is great. What is your best memory of making music?

A year after I retired, my college choir director called. He was taking a choir to France and needed a tenor. I was in my 60s and he had to be in his 80s. He was quite elderly but, when he stood to direct, all of a sudden I could see him back in the college days, trying to get us to sing our best. To see him come alive directing was exciting to me. www.makingmusicmag.com www.makingmusicmag.com

Summer Strumming Across the Country According to statistics from the International Bluegrass Music Association, the popularity of bluegrass continues to bloom with new listeners and players exploring the genre each year. That’s no surprise when you consider the improvisation and originality of the music. One of the best places to sample bluegrass, or even to try playing in an informal jam session, is at bluegrass festivals. Events are held year-round in almost every part of the country. For a guide visit the website www.BluegrassFestivalGuide.com and for a year-round listing of all types of festivals and camps visit MakingMusicMag.com/camps.

Rockin’ Acoustic Circus

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mmer bluegrass festivals summer bluegrass festivals summer bluegr

Bluegrass

PHOTOS: JOEL EVERETT

Park Family Bluegrass Band

JUNE

25-27 Songs of the Mountain Marion, VA 26-28 Madrid Bluegrass Festival Madrid, NY

JULY 2-4

Starvy Creek Bluegrass Festival Conway, MO 9-12 High Mountain Hay Fever Westcliffe, CO 9-12 Basin Bluegrass Festival Brandon, VT 16-19 Pickin’ on the Plains Colby, KS 16-19 Grey Fox Bluegrass Festival Oak Hill, NY 23-26 Ossipee Valley Bluegrass Festival Cornish, ME 30-1 Bluegrass in the Blue Ridge Luray, VA 30-2 Podunk Bluegrass Music East Hartford, CT

AUGUST 7-8 7-9 7-9 7-9 20-22 20-23 21-23 28-30 28-30

Bluegrass in the Park Folklife Henderson, KY Good Old Fashioned Bluegrass Hollister, CA Mount St. Helens Bluegrass Festival, Toledo, WA Blue Waters Bluegrass Festival Medical Lake, WA Brown County Bluegrass Festival Georgetown, OH Pickin’ in the Pasture Lodi, NY Summergrass San Diego, CA Bannock County Bluegrass Festival Pocatello, Idaho Santa Fe Bluegrass Festival Albuquerque, NM

SEPTEMBER

4-6

Delaware Valley Bluegrass Festival Woodstown, NJ 12-13 Pickin in the Panhandle Hedgeville, WV 16-20 Walnut Valley Festival Winfield, KS 18-20 Bristol Rhythm and Roots Reunion Festival, Bristol, TN

M usic

fits the budgeT As budgets are stretched in today’s tough economic times, and everyone thinks twice before spending, music reveals itself as a great option for recreation. by shannon price

Shannon Price, coordinator for recreational music programs at West Music in Corralville, Iowa, tells us why music is a worthy investment in any economy. n Everyone needs some form of recreation and release and music is an economical, stress relieving pastime. If you are a beginner guitar student, for example, you can get a decent guitar package and sign up for lessons for about $80 to $100 per month. What else could you do for $20 to $25 per week that gives back consistently and defeats stress?

Get Lost in a Lesson Taking music lessons is a financial commitment that you can consider an investment in your life. Even though your goal is not to become a professional musician, knowing how to play an instrument and taking it as far as you can makes you a more rounded person and that’s something that can’t be measured in financial terms. Research has shown, time and again, that music makes you healthier and helps you live longer. Your 30- to 60-minute lesson is time just for you—so get lost in a lesson. Then, think of practice time as icing on the cake. Close the door and lose the outside world for a while. If you are still uncertain about making the weekly financial commitment to music, consider other options. Some teachers are willing to take on beginner students at a lower than normal rate or will allow you to sign up for lessons twice a month instead of every week.

There is also the option of online lessons or DVDs. But it’s not the same as having a live person who can see you, hear you, offer advice, and answer questions. Also, video lessons can’t give you feedback on your technique.

Musical Motivations As day-to-day events sometimes get in the way, it can be a challenge for adult students to stay motivated. Making sure life doesn’t interfere with lessons and practice time can be a struggle, but well worth the fight. Some students stay motivated by going out to hear other players and bands. Other adults keep practice journals making notes after each lesson. Setting deadlines for specific goals and preparing to play with, or for, others are also great motivators. Those who stick with it agree that music lessons and recreational music programs are worth every penny. I asked some adult students if they had advice for others considering lessons. The overwhelming comment was: “Go for it!” Other remarks included: “It’s so much more than a hobby or a luxury” and “It is an investment in yourself and your health.”

bountiful benefits According to numerous scientific studies, learning something new and challenging, like a musical instrument, is one of the best protectors against dementia. Adults should continue to learn and grow throughout their lives in order to

stay healthy and active. You can’t put a price on that. Music teachers find great benefits in teaching adult students. Teaching provides both teachers and students with new and rewarding friendships. The drive and motivation of adult students can be energizing for teachers, as they are often helping to fulfill lifelong dreams. Adult students also present fresh challenges for music teachers as these students have very different motivators and need diverse teaching approaches. One full-time violin instructor says, “In these challenging economic times, adult students have met the challenge and are making it happen. They inspire me and make me a better teacher because I learn so much from each student daily. It’s the musical journey and personal growth that make it such a worthwhile pursuit.” “And while it may not be easy, I applaud any adult with a passion for music who perseveres. The rewards are satisfying and ongoing,” says the teacher. Even though, in these tough economic times, some students have been forced to switch to biweekly lessons so they can afford to keep coming, their desire to learn continues to inspire. One 83-year-old violin student takes her lesson one week and her 86-year-old husband takes a lesson the next week. That is the beauty of playing music together and that’s music to my ears!

www.MakingMusicMag.com

Marketplace Piano’scape 2009 AUGUST 16-23

An adult piano camp in the beautiful Monadnock Region of Southern New Hampshire. Daily private lessons, master classes, lectures, concerts, ensemble playing, workshops and unlimited practice time. Classical, contemporary jazz and swing/stride.

www.pianoscape.com

SUMMER MUSIC CAMPS— for everyone who loves to play! Folk Music Week July 25-Aug 1

Early Music Week Aug 15-22

The Country Dance and Song Society runs 10 weeks of adult and family camps focusing on traditional English and American music and dance.

Find out more at—www.cdss.org/camp or 413-268-7426 x3

may/june 2009

Get your products in the hands of our readers. Place your ad today. Call: 800-724-9700 x101 or Email: kward@MakingMusicMag.com

Protect your two most valuable assets Custom fit hearing protection designed for musicians Contact your local hearing care professional and ask for Westone by name, or visit

westone.com/music

37 S Main St. / PO Box 466 Voorheesville, NY 12186

fiddle tune intensives for string players of all ages Week I • YOUTH, age 6-18 • July 7-11 Week II • Novice ADULTS • July 14-18

for fiddle, violin, viola, cello, guitar, banjo, bass, piano Week III • “Fiddling Demystified for Strings” Interm. - Adv. Players, all ages • July 28 -Aug.1

for teachers, string players, fiddlers, guitarists

Week IV • French Music Intensive w/ Pascal Gemme & Yann Falquet Novice - Interm. Adults • August 17-21

37 S Main St., Voorheesville, NY Fiddling songs, step & social dancing, accordion, guitar REQUEST BROCHURE: 518-765-2815 or VISIT

Making Music Bi-Monthly • Circulation: 35,000 nationwide

www.MakingMusicMag.com

www.oldsongs.org/camps.html

SummerSongs 2009 Music Camps for Everyone!

SummerSongs West 6/12-6/15 Camp Ocean Pines in Cambria, CA SummerSongs East 8/28-8/31 Ashokan Center in Olivebridge, NY Find out more at www.summersongs.com or call 845-247-7049

www.makingmusicmag.com

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QUESTIONS & ANSWERS

How Has Music Helped You Create New Relationships? n Making music builds community. It strengthens relationships. It fosters creativity for those of all ages. It’s good for the body, the heart, and the soul. Singing and playing music keeps people physically active, joyful, and feeling good.

Phoenix Vie Berkeley, California n I have met so many interesting and diverse people as a musician. In traveling abroad, I’ve been in jam sessions with people with whom I could not have a conversation, due to the language barrier. I’ve met people of many ages, nationalities, and people with different physical handicaps, and have been able to share the common language of bluegrass music.

Some of my favorite experiences with music have been when jamming on my banjo late into the wee hours at a bluegrass festival, in a campground by firelight, or even in the dark. The music takes on a magical ring, blending acoustic stringed instruments and voices in three-part harmony. The camaraderie we share is like no other I’ve experienced. Pete Wernick Niwot, Colorado n I join a group of 15 to 25 drum-

mers who gather to jam each week. We make the coolest music together. Energy in the form of rhythms spring up from nowhere to become intensely engaging at times, drawing everyone to form a cohesive unit, where we ride these rhythms like a roller coaster. Each member supports the group, and when appropriate, takes the lead for a bit.

The feeling of knowing I am part of a group musical experience, actually contributing to something this cool, this intense at times, is quite profound. I feel the energy flow through me, both from my drums into the circle and from the circle into my arms. This makes me feel alive, grateful of who and where I am. Making music with this group is the highlight of my week. Steve Hirsh Los Angeles, California n For years I joked that I was a “closet”

musician. I finally came out about six years ago and decided to get serious about playing. I started taking lessons and entered an amateur piano competition in Boston. I met amazing players who were amateurs just like me. I put the word out that I would play anywhere and I now play for senior citizens. They are great, attentive, and forgiving. They have become friends

and have seen my progress. They get a special pleasure from knowing how much they have helped me. I continue to learn new pieces and have started playing my own material. There is real joy in entertaining others and I find a fulfillment here that I don’t get in my day-to-day work running a consulting group. Andrew Celentano Stoneham, Massachusetts n Music is my life’s blood and it has

allowed me to meet many new people. I am in two choruses—one large and one quite small. The small one sings in hospitals, nursing homes, and the like. We are also involved in bedside hospice singing. I recently became a member of a terrific quintet, which is for classical musicians doing improvisation. My life is busy and happy. Music is the glue that keeps me together. Kanta C. Bousquet Goffstown, New Hampshire

How does your family share music? Send your comments to Harmony@MakingMusicMag.com

may/june may/june2009 2009

Why let the kids have all the fun? 1-800-451-5939 x229 or www.lowrey.com

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