Making Music magazine: Sept - Oct 2010 by Making Music Magazine

Take Your. Piano Everywhere The Piaggero NP-V80 features a rich acoustic tone and graded hammer action inspired by Yamaha concert grand pianos. It also includes lots of Voices, Styles and an Intelligent Arpeggiator so you can have it all and take it with you. Download a free QR code app for your smart phone and scan this code for more Piaggero information. Or, visit www.yamaha.com/gopiaggero1.

Sept/Oct 10 Posture Police Are you sitting right? Tips for pain-free piano playing.

Blues for Bass An easy guide to learn smoky bass lines.

D.I.Y. CD Have you always dreamed of releasing your own CD? Now the process is simpler than ever.

7 18 24 48

Financial return Texas finance guru discovers Austin guitar club and returns to his musical roots.

double trouble Double bass drum tips and pedals.

rockin’ docs Every year Akron, Ohio, doctors come together to show their chops and raise money for a worthy cause.

Pedal steel Guitar

Orchestral fantasy

An introduction to this interesting and versatile instrument.

Violinist and Making Music writer Meredith Laing “sits in” with the Baltimore Symphony Orchestra.

Destination A visit to the birthplace of the Motown sound: Hitsville, USA.

Departments

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Making Music

september/october 2010 | Vol. 6, Issue 5

Editor-in-Chief Antoinette Follett afollett@MakingMusicMag.com Editor Cherie Yurco cyurco@MakingMusicMag.com

By Antoinette Follett n Fall can be a busy and stressful time of year. The

days get shorter, the kids go back to school, it’s almost (believe it or not) time to start thinking about the holidays—and a whole year lies between you and your next summer getaway. But remember, playing a musical instrument can actually serve as a mini vacation when the going gets tough. Several studies led by Karl Bruhn—the “Father of the Music Making and Wellness Movement”—and Barry Bittman, MD, definitively show a link between recreational music making and stress reduction. For example, in one study conducted in 2003, chronically stressed healthcare workers were asked to express their feelings using percussion instruments. Based on surveys they completed both beforehand and afterward, the study demonstrated significant reductions in anxiety and exhaustion, and increases in positive mood. In 2005, Bruhn and Bittman took their research a step further by analyzing DNA genomes known to be connected with stress. Subjects for the study were asked to work on a complicated and frustrating jigsaw puzzle, and then were split into three groups: the first continued to work on the puzzle, the second read newspapers and magazines to relax, and the third participated in an informal music making session. Blood samples were taken and analyzed at multiple points throughout the activities, and the results showed a significantly greater level of relaxation in the group that played music compared with the other two groups. For readers, these studies reinforce what you already know: making music makes you feel good. For Bruhn and Bittman, the results gave them a strong leg to stand on in advocating for the use of recreational music making in healthcare. (One group of doctors that probably wouldn’t need much convincing is the “Docs Who Rock,” featured in this issue!) Each month, Making Music’s Vibes section highlights the latest research into the health benefits of making music, and provides tips to keep readers healthy. For example, this month, “Posture Police” deals with the ergonomics of playing piano and “Don’t Stop the Music” is an informative look at arthritis symptoms and treatments. With all that we know about music and wellness, you should be ready to embrace the busy fall season, knowing that whenever you need a refuge, you can always turn to your instrument. If you have you have a personal “prescription” for musical relaxation, I’d love to hear about it. Just send me an email at afollett@MakingMusicMag.com.

On the Cover Accountant Lisa Mason, 48, is a pianist, who lives in Camillus, New York. Now, she has taken on the new challenge of learning guitar thanks to the encouragement of her daughter, Jessica, who is also learning guitar and plays piano and marimba in a marching band.

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Staff WriterS Meredith Laing Jason Borisoff Stephanie Meyer Samara Napolitan Olivia St. Denis Art Director Lisa A. Mergler-Santoro Photo Credits Chuck Wainwright Cover instrument courtesy of Guitar Center music consultant Stephen Laifer Marketing Director Honore Stockley honore@MakingMusicMag.com web/marketing manager Jon Dufort jdufort@MakingMusicMag.com Advertising Manager Krista Galster kgalster@MakingMusicMag.com subscription COORDINATOR Sarah Colson scolson@MakingMusicMag.com Publisher Bentley-Hall, Inc. 120 Walton St., Ste. 300 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. 116. POSTMASTER: Send address corrections to: Making Music; 120 Walton St., Ste. 300; Syracuse, NY 13202 Nationally distributed by: Rider Circulation Services Phone: 323-344-1200. Online: www.gorcs.com Music trade distribution by: Hal Leonard Corp. Phone: 800-554-0626. Email: sales@halleonard.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 © 2010 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; 120 Walton St., Ste. 300; 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 During her deployment to Iraq last year with the 1st Calvary Division Band, Sgt. Maj. Leslie Nock took her musical experience and leadership to the front lines. She was responsible for overseeing a unit of 40 soldier musicians, accomplishing more than 200 missions in the year-long deployment.

In addition to performing for soldiers throughout Iraq, especially those stationed in remote areas, the 1st Calvary Division Band played at local ceremonies and events, striving to create a partnership with the Iraqi Army Band and the Iraqi Symphony Orchestra. Since learning to play the trombone in high school, music has been a cornerstone of Nock’s life, and for the past 21 years, she has used her musical abilities to serve her country. “I consider it an honor and privilege to wear the uniform and be a part of an organization dedicated to preserving freedom. The way I do that is through sharing music; it is the international language,” Nock says, “We preserve our traditions and build partnerships and a sense of community at home and abroad.” For meritorious service throughout her deployment, Nock was awarded the Bronze Star Medal. But she considers the opportunity to work with the soldiers in her unit to be her most rewarding part of the experience. “What I walk away with, and what has affected me most as a leader, is the manner in which my soldiers executed their missions on any given day,” she says. “It was my honor and privilege to serve with them for that year.” Now stateside, Nock continues to serve in a leadership capacity with The United States Army Field Band stationed at Fort Meade, Maryland. “Serving with the Army is a great job, no matter where you are or what you’re doing,” she says. “However, being a part of the band is the best job in the Army. Music is important to our culture and society, and we need to carry that tradition forward.” Read Sgt. Maj. Leslie Nock’s entire story at: www.MakingMusicMag.com/staccato/nock.html

Staccato

RECREATIONAL MUSIC MAKING INSIGHTS

COUNTING IN: SAXOPHONE Year that Adolphe Sax invented the saxophone.

Number of saxophones in Sax’s original patent.

Height, in inches, of the contrabass sax, the largest in the family.

World record, in minutes, for the longest note held on a sax.

play it safe n Make sure that you practice your posture along with

your music. If you sit, keep a straight back, with relaxed shoulders. Breathe deeply from your diaphragm. If you have to look down, bend at the base of your spine to keep your back aligned. Check with a teacher to find out what the proper posture and playing position is for your instrument, and practice in front of a mirror to make sure that you are holding yourself correctly. Correct posture will fend off muscle cramps and back pain, and will help you to play your best. (For more on piano posture see page 16.)

One Minute Practice Tip There’s something magical in a good night’s sleep. If you’re having problems with a specific passage of music, or a tricky technique, don’t get stressed about it. Practice it slowly and carefully, trying to understand what’s involved. Then, get in some solid REM sleep, and try it again the next day. The same thing that was tripping you up the day before will be much easier, or it may even cease to be an obstacle altogether! www.MakingMusicMag.com

letters Tell Us More

Dear Magazine

n A couple of years ago our commu-

n From what I have been reading, I think

nity band director, Nina Oatley, read an article entitled “Friends, Bands, and Foreign lands,” in Making Music [www. makingmusicmag.com/features/07nov02. html]. As the name of our band is The Italian Heritage Center Concert Band, she thought, wouldn’t it be cool to do a band exchange with an Italian band? After exchanging numerous e-mails and an excursion to Italy we are bringing the band to Nepi, Italy, on August 20 for the first part of a two-year band exchange.

Making Music is the best music magazine that I have ever seen. The articles, stories, and marketing are very good. Can you send me some back issues?

Editor’s Note: Thank you for writing, and we are pleased to know that you enjoy reading Making Music. For back issues, please go to www. MakingMusicMag.com and click on “Archive” to explore some of our past issues.

Nick Benfaremo Portland, Maine

You Want It, You Got It!

n I am a subscriber of Making Music. I

think I first subscribed in May/June 2006 and have kept all of the copies. I cannot part with them because I enjoy them very much. I enjoy the feature article in each issue where individuals and groups are highlighted, especially when these people have careers in other professions, but have kept music in their lives. Each month I tell myself I must contact the magazine to tell them about the Women in Aviation Jazz Band. My hope is that you might consider featuring this group in the magazine in a future article. Nelda Lee Ballwin, Missouri Editor’s Note: We love to hear from the interesting musicians who read Making Music. Write to us and let us know what you are doing, and who knows, you could be featured in an upcoming issue.

Gimme More Bass! n You have a well-rounded magazine,

though I wouldn’t mind an article or two on bass playing/technique, but otherwise, it’s great! Derek Fondren Plainfield, Illinois Editors Note: Thanks! Check out page 21 for some blues bass tips.

Antonio Cisneros Whittier, California

n I’m hoping to see new products in pedals and accessories, specifically the new Boss JS-8, as well as other affordable backing track units, loop stations, and effects pedals. I would also like to see new keyboard arrangers and synthesizers.

Attilio Polverari New London, Connecticut Editors Note: You’re in luck! Check out this month’s Tuned In feature, “One-Man Band,” on page 40 for some affordable ways to back yourself up in practice and performance.

A Handy Resource n I was recently exposed to your magazine

for the first time, and I really like it! I put it right up there with my Acoustic Guitar magazines. Great job! Tim Beiting South Gate, Kentucky

Correction: The “Rock Band to Real Band” article on page 22 of the July/August issue of Making Music incorrectly stated that the You Rock guitar does not have any sounds built-in and requires a MIDI device. This is incorrect for the latest model. For an accurate description of the You Rock guitar, check out the Tuned In section on page 39.

We appreciate comments and suggestions, and we encourage readers to send them to us via our website (www.MakingMusicMag.com), by e-mailing afollett@MakingMusicMag.com, or by writing to: Making Music; 120 Walton Street, Ste. 300; Syracuse, NY 13202-1211.

september/october 2010

John Henry McDonald, 62, is not your typical finance guy. He holds no fancy business degrees, speaks in the vernacular, and has a capacity for brutal honesty. Though, at first glance, he seems like an unlikely candidate to be at the helm of a top asset management firm, his cowboy charisma and no-nonsense tenacity shines through in conversation. It becomes clear that founding and running his own business is only one chapter in his colorful life, which begins, and so far ends, with music.

As a young teen in Seattle, Washington, McDonald fell in love with the guitar, and by 16, he was playing in coffee shops and on street corners. “I learned three chords in the ’60s, and figured out that you could make money doing that stuff,” he says. After escaping from high school, McDonald hit the streets, hitchhiking up and down the West Coast during the peak years of the counterculture phenomenon. He was then drafted into Vietnam, serving first in an artillery unit, and later, as a drill sergeant, stateside. “There wasn’t much deferment for guitar players,” he says grimly. Like so many young draftees at the time, McDonald returned home from the war with “a special taste for cheap wine and narcotics.” He hit rock bottom, and by 1972 he was homeless and living on an Indian reservation.

Finance Guy Comes Full Circle John Henry McDonald Helps Transform the Austin Classical Guitar Society by jason borisoff

www.MakingMusicMag.com www.MakingMusicMag.com

Having been blessed with an almost superhuman determination and resiliency, McDonald turned away from drugs and alcohol, and picked up a guitar. Together with Boston harmonica virtuoso Pat “Hatrack” Gallagher, he started the folk and blues band Ragtime Rodeo. The two came up with an ingenious tour itinerary: drive until they ran out of gas, then pass the hat until they had enough for a cheap hotel room. “It’s every amateur guitar player’s dream, to pick up that thing and make a go of it,” says McDonald. This “Kerouac” existence lasted for two years, and landed them in all kinds of places, all across the country, including opening gigs for John Hammond, Jr. and Waylon Jennings. Finally, one day, fate came knocking when the orange 1965 Chevy utility wagon finally broke down in Austin, Texas. Looking around at all the great singer/ songwriters that Austin is famous for, he decided to hang up his guitar and “pick up a hammer and get to work.” “I’m a pretty good entertainer,” McDonald asserts, “but I’m a mediocre musician.” After working as a rancher, then as a carpenter’s apprentice, he found himself in the world of finance. “I walked into a guy’s office and told him to hire me,” says McDonald. “I didn’t know anything about finance, but I figured I could sell if they gave me the chance.” He quickly rose through the ranks of sales, and in 1986, McDonald started the Austin Asset Management Company, which has grown to manage more than $350 million in assets, and has been listed as one of the top financial advisory firms in the US by Worth magazine, Medical Economics, and Bloomberg Wealth Manager. Recently, McDonald came full circle, back to music, but from a completely different angle. He started by joining the board of the Austin Lyric Opera as a way to network with prospective clientele for his business, but then stumbled on an organization that he feels truly passionate about: the Austin Classical Guitar Society, and its talented artistic director, Dr. Matthew Hinsley. Hinsley was one the first graduates from the Oberlin Conservatory with a degree in classical guitar performance. At Oberlin he founded and led a student organization to bring in guitarists to perform and give

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“Okay, grab my list, let’s invite everyone we know.’” They packed their home to capacity, and, reminiscent of a Wild West stickup, said: “Nobody’s getting out of here until you give us 50 bucks!” Since McDonald joined the ACGS board of directors, its annual operating budget has gone from $100,000 to around $500,000 today. “He has been a transformative force for the organization,” says Hinsley, “and instrumental in building our board of directors.”

master classes for the fledgling program. When he moved to Austin to pursue a graduate degree in 1996, Hinsley discovered the Austin Classical Guitar Society (ACGS), and became involved in growing the organization. “The guitar society at the time had about $500 in the bank,” he says. “It was run more like a club than like a community service organization.” After Hinsley became involved, the ACGS went from an annual operating budget of around $5,000 to about $100,000 in 2006, when McDonald joined the effort. McDonald found Hinsley and the ACGS almost completely by accident. On July 16, 2006, McDonald went to a guitar concert at a church with his wife. At first, he was not impressed (“I was about to fall asleep,” he says), but when world famous classical guitarist Elliot Fisk walked on the stage, McDonald became very interested in what was going on at the ACGS. After the show, he immediately approached Hinsley. “How come nobody knows about this?” McDonald asked. “There are 400 people here; there should be 4,000! Get me on your board of directors.” McDonald’s timing was impeccable, because the board of directors was talking about cutting a lot of funding to the program. McDonald, in his gruff, tenacious style, said, “Now hold on a minute, everyone needs to reach into their pockets and put $1,000 in the pot. Let’s get to work!” Naturally, a few members resigned, but McDonald had resources at hand to make up for the loss. “My wife had been a city council member,” he explains. She became passionate about Hinsley’s cause and said,

In addition to putting on concerts, the ACGS is heavily involved in education at all levels, from designing curricula for public schools to providing a forum for amateur adult guitarists to meet and form ensembles. Hinsley explains, “Everything we do is driven from the standpoint of how classical guitar can meet the needs of the community.” This past June, the ACGS outdid itself when it hosted the 2010 Guitar Foundation of America Convention, which featured many top players from around the world, including the L.A. Guitar Quartet and Pepe Romero. Many years ago, McDonald pushed aside his dream of being in the spotlight, when his car broke down in Austin. With nothing but his overwhelming drive and resourcefulness, he has gone from hitting rock bottom to founding and running his own successful business. Now, as a major driving force behind the ACGS, he has had the opportunity to be involved in music in a way that he never would have imagined. “There are people, like Matthew Hinsley, who recognize the fact that there are things happening right here in Austin that are making this the guitar center of the world,” says McDonald. “To be a part of that is more then I could ever ask for.” McDonald never completely gave up the dream. Though he doesn’t ramble around the country in a ’65 Chevy wagon anymore, he does play around town, entertaining a loyal following of fellow board members, and he also continues to grow as a musician by taking regular lessons. Jason borisoff is a ramblin’ guitar picker at heart. Keep a look out for him, and be generous with your tips!

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by CHARLOTTE ADAMS www.MakingMusicMag.com

Vibes MUSIC & HEALTH NEWS

A Little Dinner Music? n Studies have shown that listening to classical music at work can increase productivity. Anton Stucki takes this principle to a new level by playing Mozart to microbes in the hope that they will break down waste more quickly. The sewage plant he operates near Berlin, Germany, is equipped with a sound system that blasts opera in several directions at once, penetrating the whole works—the water, sewage, and cells. The plant expects the experiment will save them as much as €1,000 per month.

❱❱ vibrating Violins Violins are like fine wine; they improve with age. They are also like a good pair of sneakers that needs to be broken in. Musicians have long thought that the more a stringed instrument is played, the better it sounds. The theory goes that playing helps the many meticulously joined pieces of wood in a violin vibrate sympathetically as one. Some violins have been played a lot—that’s at least part of the attraction to Stradivarius violins, which were produced between the 17th and 18th centuries and can sell for a couple million dollars. But is it necessary to pay an exorbitant price for a vintage instrument to achieve a superior “mature” tone? An electronic device called the ToneRite promises to greatly accelerate the process. Slip the ToneRite over the strings, plug it in, and it simulates continuous playing with a steady vibration. Inventor Agapitus Lye, a violinist himself, developed ToneRite to “simulate the physics of playing in a safe and gentle manner.” He claims 24 hours with the ToneRite would benefit an instrument as much as six months of actual playing. So, if you want your violin to seem like it’s been played as much as a Strad, you’d have to leave it on for more than one year. It is difficult to scientifically measure the ToneRite’s effect, especially since tone quality is somewhat subjective. One thing is for sure though: if you want the violin to sound better when you play it, you can’t just leave it humming away on its own in a corner—you have to play it. No gizmo can take the place of actual practice.

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Brain Patients Move to the Rhythm n Music therapy makes intuitive sense—why wouldn’t music help

people heal? However, there are too few scientific studies quantifying its value. Recently, the Cochrane Stroke Group published a report with some positive findings for those using music therapy to treat acquired brain injuries. Acquired brain injuries can result in debilitating problems with movement, language, sensation, and thinking. Many innovative techniques have been developed to help recover lost function and to prevent depression. Specific music therapy techniques include the use of rhythmic stimulation to aid movement, singing to address speaking and voice quality, listening to music to reduce pain, and the use of music improvisations to enhance a sense of well-being. By systematically comparing the outcomes of multiple trials, the group found that rhythmic auditory stimulation (using music with a strong rhythmic pulse to cue and regulate walking) statistically improved velocity, steadiness, and length of gait. Data on other forms of therapy was inconclusive, but the group plans further clinical trials.

“Whatever deceptions life may have in store for you, music itself is not going to let you down.” Virgil Thomson American Composer, 1896-1989

❱❱ Play Me, I’m Yours

Photo: Luke Jerram

Countless musicians have been inspired by the energy and ceaseless activity of New York City streets. This summer a public art spectacle made those streets even more musical. Sixty whimsically decorated pianos were delivered to public locations in all five boroughs and left there from June 21 to July 5 for the public to enjoy. Dabblers, virtuosos, and even those who had never touched a keyboard before, were free to play (and listen) to their heart’s content. The project’s name, “Play Me, I’m Yours,” expresses a simple and generous impulse behind this globally touring work by British artist Luke Jerram. Sing for Hope, a nonprofit arts group, brought the project to New York to advance their mission of dismantling barriers to arts accessibility. The group is currently seeking funding to bring the street pianos back to New York again next year.

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Vibes ❱❱ And Justice For All … Could there be anything wrong with rocking out? Recently two anonymous judges put the question to New York’s Committee on Judicial Ethics. The panel decided that “the judge who wishes to pursue part-time employment as a solo musician may do so only occasionally, for a fee, for family, friends, neighbors, and others who are unlikely to appear in the judge’s court.” New York State Supreme Court Justice Matthew D’Emic, for one, has already taken advantage of the clarification. Three weeks after the decision he was back on stage at a bar in Brooklyn with Whippoorwill, a band he played with in the ’70s. D’Emic sang and played bass through a set list of familiar classics including Van Morrison’s “Brown Eyed Girl” and Chuck Berry’s “Johnny B. Goode.” It was an unpaid gig for the judge, who is far more concerned with the fun aspect of performance, than the money. Thanks to the evenhandedness of his peers on the ethics committee, D’Emic will be free to play out occasionally, while avoiding any appearance of impropriety.

“In theory there is no difference between theory and practice.

In practice there is.” —Yogi Berra

A Computer that Composes n When faced with writer’s block, multi-talented com-

poser David Cope began developing software that could write the music for him. To develop the program, Cope first imagined the creative process of a composer. His breakthrough was realizing that composers never start with a blank slate—all the melodies they’ve ever heard are echoing around in their brains. Cope’s algorithm likewise “learns” how to string notes together by referring to a huge database of compositions by Bach, Rachmaninoff, Chopin, and others that have been converted to computer code. As the database has grown and refinements have been made, the program’s compositions have become harder to distinguish from human efforts. To compound this confusion, Cope releases albums of this music under the pseudonym Emily Howell. The latest, titled From Darkness, Light, was released in 2009.

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Vibes

Don’t Stop the Music Learn how to slow or stop the progression of arthritis by cherie yurco

n Successful international violinist Fenella Barton

first noticed symptoms of arthritis in 2004, but initially attributed them to other causes—playing too long, wearing the wrong shoes, or overdoing an exercise routine. But, over the next two years the 44-year-old musician’s symptoms got worse. “I remember that before one concert I could not lift my arm,” says Barton in a BBC News article. “I thought that I may not be able to play in the future.” One out of five Americans suffers from some sort of arthritis, or chronic joint pain, so it is not surprising that there are many musicians affected. Though repetitive movements related to playing an instrument and hauling heavy musical equipment may cause arthritis flare-ups, you shouldn’t give up your hobby. Studies have proven that the finger movements and exercise related to playing can actually help arthritis sufferers. In fact, arthritis sufferers who began to play an instrument improved the dexterity and strength in their fingers and other muscles. Instead of stopping, practice for shorter periods of time and be sure to stretch and warm-up every time you pick up your instrument. There are more than 100 types of arthritis that can strike at any age. Among the most common are osteoarthritis, rheumatoid arthritis, fibromyalgia, and osteoporosis. Though there is no cure, in many instances, there are things you can do to slow or stop its progression, help ease some of the symptoms, or even prevent its development altogether. Talk to your doctor about your risk of developing arthritis and discuss preventative measures. If you show symptoms of one or more of these diseases, don’t put off a visit. Timely diagnosis and treatment will keep you making music. “I would urge people who have any symptoms not to procrastinate like I did,” says Barton, who went back to playing violin following treatment. Today she keeps her arthritis in check through diet and other remedies. “I have been incredibly lucky,” she adds. For most people, a diagnosis of arthritis does not mean they will have to stop making music. Work with your doctor to learn all you can about your particular type of arthritis. The Arthritis Foundation (www.arthritis. org) provides a wealth of information.

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Osteoarthritis

Rheumatoid Arthritis

Sometimes called degenerative joint disease, osteoarthritis (OA) is the most common type of arthritis. It is characterized by the breakdown of the jointâ&#x20AC;&#x2122;s cartilage, which cushions the ends of the bones for easy joint movement. When cartilage breaks down, bones rub together causing pain, stiffness, and loss of movement. OA is common in the hands and weight-bearing joints like the hips, knees, and spine.

The bodyâ&#x20AC;&#x2122;s immune system attacks healthy joints in rheumatoid arthritis (RA), causing inflammation of the lining (or synovium) of joints. This can lead to long-term joint damage, chronic pain, and loss of function. Anyone can get RA, but the most common onset is between the ages of 25 and 50. It is important to diagnose RA early, as 75% of its damage may occur in the first five years.

Symptoms of OA include pain and stiffness in joints after a period of inactivity or excessive use, such as a long practice session; a grating or catching sensation during joint movement; and bony growths on the margins of joints. In the early stages of OA, there is no swelling. Risk of developing OA is increased by repetitive movements, joint overuse, genetic predisposition, excess weight, injury, inactivity, and aging.

The disease progresses in three stages, each with its own symptoms: swelling of the synovial lining causes pain, warmth, stiffness, redness, and swelling around the joint; division and growth of cells causes the synovium to thicken; and then inflamed cells release enzymes that may digest bone and cartilage, causing the painful joints to lose shape and alignment.

Usually doctors diagnose OA with a physical examination and a review of medical history. X-rays, magnetic resonance imaging (MRI), or blood work may be used to rule out other conditions and determine how much damage has occurred. Treatment includes various medications, occupational or physical therapy, and exercise. Heat can be applied to reduce pain and stiffness, but cold should be applied if the joint is inflamed. Arthroscopic surgery may be used to clean out cartilage debris, and joint replacements are usually a last resort.

RA can start gradually or with sudden flu-like symptoms, which vary from person to person. You may feel weak and tired, have a fever, or lose weight, but joint pain will be the main problem. Affected joints usually follow a symmetrical pattern. For example, if the knuckles on the right hand are inflamed, the knuckles on the left hand are also inflamed. There is no cure. Treatment includes various medicines, exercise, and therapies to manage symptoms. Early diagnosis is critical to limiting joint damage and maintaining your full ability to make music.

Fibromyalgia

Osteoporosis

Fibromyalgia causes widespread muscle pain and certain areas of the body become sensitive to pressure. Other symptoms are difficulty sleeping, fatigue, depression, anxiety, cognitive difficulties, headaches, irritable bladder or bowel, jaw problems, and painful menstruation. Less common than OA and RA, fibromyalgia affects 3% to 6% of the population, mostly women aged 40 to 75.

With osteoporosis, bones become fragile and prone to breakage. Most commonly, fractures occur in the hip, spine, or wrist, though a break could occur in any bone. Osteoporosis occurs as bones start to age and cells die at a more rapid rate than new ones can be produced, around age 40.

The disease is more common in people who suffer from RA, though researchers are not sure what causes fibromyalgia and it is difficult to diagnose. There is no lab test for it and its effects on the body are invisible. Usually fibromyalgia patients have widespread pain and at least 11 of 18 sites of deep muscle tenderness. There is no cure, but the goal of treatment is to manage the pain and other symptoms. Heat can be used for temporary pain relief. Other than prescribing various medications, a doctor may advise patients to begin an exercise regimen.

You may have osteoporosis for years before noticing symptoms. Many people first notice a sharp pain in the lower back or break a bone during a minor bump. Some factors contributing to the development of osteoporosis are: aging, genetic predisposition, lack of exercise, hormone changes, and a diet poor in calcium and vitamin D. Preventing osteoporosis is much easier than curing it. The most important aspect of prevention is maintaining a diet that builds strong bones, particularly between 10 and 30 years of age. A doctor can confirm diagnosis with bone density tests, as well as with X-rays and blood or urine tests. Treatment focuses on reducing the rate of bone loss and building new bone through medications, hormones, diet, and exercise.

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Vibes

Posture Police Helpful tips to keep you from breaking the rules

Back is straight and tilted slightly forward

by cherie yurco

Wrists are straight

Elbow and upper arm fall freely from the shoulder

Fingers are curved

Edge of bench/ chair is halfway along thigh

Feet are flat on ground and can easily reach the pedals

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After a few months of determined learning and practice, Sam was ready to give up playing piano because, lately, she had been getting a pain in between her shoulder blades that lasted hours after she finished practicing. She decided to visit private piano instructor Jim Vatter for advice. Here are some tips he gave her.

Whether you use a bench, chair, or stool when you sit in front of a piano or keyboard, it is critical that you sit at the right height. Finding a seat that is height adjustable is best, and padding will definitely make the experience more comfortable. If you use a chair for a keyboard, don’t make the mistake of slumping to its back. Specially designed chairs and benches slant slightly downward, encouraging proper straight back position. Your thighs should be parallel to the floor or tilted slightly downward, and your feet should rest flat on the floor. Position yourself so that the edge of your chair or bench is about at the center of your thigh. Move your seat so that your knees are under the keyboard with your shoulders squarely facing it.

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To test distance from the keyboard, place your arms straight in front of you and touch the backs of the keys. If you cannot reach the backs of the keys, you are too far away and would be forced to slump when you play. Initially your feet should be flat on the floor and centered. Once you start using the pedals, you may find they are too high to comfortably rest your toes on the pedal, with your heel on the floor. If so, try placing a thin book or carpet under your heel. Your elbows should be close to your side and your hands and forearms should be parallel to the ground, or at a very slight slant downward, toward the keys. Your wrists should remain straight and fingers curved when you play. Practice finger and hand position by holding a tennis ball in each hand with palms facing downward. Now, imagine the tennis balls are still there when you play. Also, keep your fingernails short, so you can press the keys with the pads of your fingers. While trying to achieve proper posture, don’t make the mistake of tensing up. This will destroy all your attempts at getting the ergonomics right. Being comfortable and pain free is the goal.

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Collideascope, featuring (L to R) Dr. Robert Hermanowski (bass guitar), Chris Leib (rhythm guitar, vocals), Tim Barrage (drums), and Chris Waite (lead guitar).

DocsWho Rock

These physicians maintain that a healthy dose of music is the best medicine for the soul. by samara napolitan

People typically think of their doctors as serious practitioners in white coats, wearing stethoscopes around their necks. They tend to forget that doctors are just like the rest of us who grew up listening to rock music and jamming in our garages. When they aren’t practicing medicine many doctors love to rock out. n

In the area surrounding Akron, the words “Ultrasound” and “Code Blue” don’t relate to just medicine. They also refer to rock groups that perform at Docs Who Rock, an annual fundraising event created by United Way of Summit County (UWSC). It all started when Michael Gaffney, vice president of marketing and communications for UWSC, was speaking with Marty Hauser, the president of a local health insurance company, about a talent show they had done at the hospital.

The Rhythm Method band members Dr. Fred Slezak (keyboards) and Paul Kapper (guitar).

september/october 2010

After recognizing that local physicians were jamming in the garage during their free time, and not just swinging clubs at the golf course, organizing the event seemed like a perfect way to strengthen ties between the medical community and UWSC. “Marty said there were quite a few doctors who participated in that talent show, and he thought we could do something similar on a county-wide scale,” explains

Gaffney. The local band scene was not an alien concept to Gaffney—his wife, Corina Gaffney, sings in the group The Rhythm Method (winner of Docs Who Rock 2009’s Best Act). From there, Gaffney pitched the idea to cardiologist Dr. Terry Gordon. “When we talked to Dr. Gordon and told him about the concept, he loved the idea and bought into it completely,” says Gaffney. Gordon’s various connections to other physicians in the area really lifted the project off the ground, and soon they had a line-up ready to perform. Docs Who Rock began with a 430-person crowd at a library in 2004. Since that initial show, the event has grown immensely in popularity, and by year three, acts were being turned away to keep the show to a manageable length. Last year, 2,000 residents of the Akron area attended the event and watched their doctors perform in the exquisite E.J. Thomas Hall at Akron University. Gaffney sees the event growth as indicative of its benefits for the surrounding community. “First of all, it’s just a really entertaining show! There are a lot of very talented people who’ve performed in Docs Who Rock,” he says. “I also believe that people really like the idea of seeing their doctor outside the office, and getting to know this very different, human side of him or her.” For the doctors, performing in an acoustically superb venue and sharing music with others is a remarkable experience. “Performing in front of a large audience with professionally-done sound and lights is really cool,” affirms Dr. Robert Hermanowski, 45. “How often are you going to play like that?” Hermanowski, a psychiatrist, plays bass guitar in the band Collideascope, whose other members include two counselors and a probation officer. The band formed in 2005 at the community mental health center where the bandmates work. When Collideascope isn’t performing their Beatlesinspired original compositions at Docs Who Rock, they play at local clubs and music festivals. They most recently appeared at the Clay’s Park Resort Rock Festival, which also featured Todd Rundgren. The band has released two favorably-reviewed albums and is currently working on a third to debut in 2011. Dr. Fred Slezak, who plays keyboards in The Rhythm Method, also appreciates the opportunity to play music underneath the spotlight. “It’s like being a rock star for a day,” he says. Slezak plays rock and pop covers in the band alongside podiatrist Dr. Tom Javorsky and cardiologist Dr. Joe Pietrolungo, and several other musicians. The three doctors work at local hospitals.

Although today The Rhythm Method performs exclusively at Docs Who Rock, it has a history that dates back to the 1970s. “The band involves friends from the past who are not just business associates, but rather people we’ve known over the years. You get them together and the common denominator is music,” Slezak explains. He particularly enjoys the camaraderie inherent in a part-time band. “It is the musicianship and dedication that counts. I happen to play with some good and dedicated people, who are doctors, but I have also played with some very dedicated people who are not in medicine.” It is not unusual that these physicians enjoy music as a hobby, but did they ever consider music as a career? “Most of us give the excuse that we could not make a living with it,” surmises Slezak, who chose the medical career path after recognizing the competitive nature of the music industry. “Making it in music is an opportunity just as it is with medicine. Not everyone makes it to the top in music, and not everyone gets into medical school,” he asserts. However, the doctors do say that some musical skills transfer over to medicine. “When you take music lessons, it takes time-management, perseverance, and dedication. Those skills pay off,” Slezak claims. Another similarity is the patience required, for example, during the process of composing and recording music. “Like working with patients, you can’t want immediate gratification,” says Hermanowski. Though he was very interested in science and was attracted to medicine early on, Hermanowski has always enjoyed music, and has played bass guitar in bands since high school. “I’ve always viewed music as a healthy distraction from the pressures of the medical field,” he says. The next Docs Who Rock event is set for Saturday, October 30, at the E.J. Thomas Hall. Dr. Terry Gordon, whose popular celebrity performances include Michael Jackson, Mick Jagger, and even Tina Turner impersonations, will return to the stage. Collideascope, which looks forward to Docs Who Rock every year, is planning a few surprises. “We will play a couple of new originals and probably throw in a cover tune,” Hermanowski indicates. The Rhythm Method is also tentatively planning to perform at the event. In the meantime, both groups will continue their separate endeavors in performing, composing, and recording. Samara Napolitan, a recent Michigan State University grad, has a fever and the only cure is more saxophone. www.MakingMusicMag.com

Forte MUSIC HOW-TO’S HOW-TO’S MUSIC

How to play Groovin’ Blues bass lines by jason Borisoff

The blues is essentially the chemical reaction that occurred when African rhythms and melodies were crossed with those of the Europeans. The result is a sound that is often described as soulful, gritty, and grooving. The blues has played a huge role in the development of many contemporary styles, including rock, jazz, funk, rhythm and blues, and even bluegrass. n

Since the blues is an all-pervasive force in modern music, becoming a student of this style will not only help your bass skills, but also your overall understanding of music. Working carefully through the exercise below will give you a firm understanding of blues bass basics.

Blues Bassics 20

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The Blues Shuffle Almost all blues songs are played in a rhythmic pattern called a “shuffle.” With origins in traditional West African rhythms, the shuffle made its way into America with the blues, and eventually was adopted by rhythm ‘n’ blues and rock ‘n’ roll musicians. The shuffle is based on eighth note triplets, which occur when you split a quarter note (the beat) into three even slices, instead of two. Triplets are notated with a bracketed “3” above or below a beam of three eighth notes. As an exercise, set a metronome to around 50 beats per minute, and tap along with the beat. To get the triplet feel, count “triple-it, tri-ple-it, tri-ple-it, tri-ple-it,” with each “tri” syllable starting on the beat, as written below. The idea is to keep the Example 1: triplets as smooth and even as possible. 3

Tri - ple - it

Beat: 1

Example 2: 3

Now, accent only the first and third syllable of every triplet, or the “tri-” and “-it” syllables, as shown below, and all of a sudden, you have transformed this exercise into a genuine 3 3 3 3 shuffle! After you can vocalize this rhythm comfortably, try to play it on your bass, slowly at first, gradually building speed. Using a metronome is highly recommended to help you deTri - ple - it Tri - ple - it Tri - ple - it Tri - ple - it velop rock-solid timing. For a classic4example of this rhythm 3 Beat: 1 2 in action, listen to the bass line on Stevie Ray Vaughan’s blues Example 2: number, “Texas Flood.”

Example 1:

Triple -it

❱❱ For more information on laying down unstoppable bass lines, check out Bass Grooves: Develop Your Groove & Play like 3 3 the 3 3 3 (Backbeat 3 Pros in Any Style, Books, 2004) by 3 Ed Freidland. This book starts out with a conceptual discussion of how to internalize rhythms, and then explores many popular styles, 2 2 2 2including blues, reggae, Motown, 4 and 4 blues. 4 4 and rhythm 0 0As 4a special 4 treat, 4 4 the back of the book contains interviews with some of the world’s greatest bassists, 3 3 3 and3 their thoughts 3 3 3on the mystical and elusive “groove.”

e 4:

Smoky Bass Lines 3

A7 3

| E | E |3E | E |

|A|A|E|E| 4

Beat: | B 1| A

|E|B|

4 4 2: Example

Tri - ple - it

As you may know, a basic 12-bar blues is a pretty simple form. 2 of E, with 2 12-bar blues progression in the Below is2a basic 2 key 4 4 0 0 4 4 4 4 0 0 4 4 each bracketed chord representing a measure, or a count of Example 1: four beats.

0 0

3 3 auNow, let’s tack some notes to3the shuffle to create some thentic, barbecue-flavored bass lines.

Tri - ple - it

0 0

4 4 4 of 0 0a sense 4 harmonic move4 up4and add 4 4to spice things Try playing just the root of the chords with the shuffle rhythm,0 0Finally, being sure3 to count so you don’t3 get lost3 in3 the form. This ment to the form, you can always 3 arpeggiate the chord (play 3 3 A7 B7 E7 3 3 3 3 3 played 3 simple, yet driving bass line is3 deceptively effective when the root, third,3 and fifth), like in3the example below. This is 3 3 with a strong sense of timing. For an example of this bass line, 3 one of the most common blues bass lines, and an important -it Triple -it Triple -it Triple -it check out B.B. King’s Triple version of “Rock Me Baby.” one to know. Notice the shuffle rhythm throughout.

Example 4:

2 2

1 3

B A T

0 0 A7 3

B A T

2 2

0 0

A7 3

0 0

0 0 3

4 3

0 0

0 0 3

0 0

2 2

4 3

0 0

2 2

43 4

4 3

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Forte

By jason borisoff

Have you ever thought of recording your own CD? If you have at least 10 songs, regular gigs or appearances at open mikes, and a loyal following of friends and supporters, why not record a CD that you can give to family and friends or even sell at your shows? n

At one time, recording an album was simply out of reach for most folks. Studio time was very expensive, and you had to be a professional musician signed to a major record label before you could even consider stepping into a studio.

cide to play cover tunes, make sure you get permission (for more information visit www.harryfox.com). Arrange all the tunes and make sure they are just the way you want them. Decide on the form, dynamics, and instrumental breaks.

Times have changed, and producing a CD is not nearly as expensive or difficult as you might think. Itâ&#x20AC;&#x2122;s true, it does take a fair amount of time and effort, but if you look around your community, all the resources are probably within reach. Do you play with other musicians? Does anyone in your town own a home project studio? Is there a graphic designer at your workplace, or do you know someone attending art school? Chances are, all the ingredients for a down-home CD are firmly within your grasp, and your budget.

Next, decide who you want to play with on the record. Will it be just you and your instrument, your own band, or will you have guest artists? Whatever you decide, choose people who you enjoy making music with, who gel with you and your style, and who are dependable. Make preliminary recordings and chord charts to give to the other musicians.

So, how does one even begin? Start with your songs. You will want about 45 minutes to an hourâ&#x20AC;&#x2122;s worth of music on your disc for a full-length album, or about half that for an EP (extended play). Choose favorite tunes in your repertoire, ones that really resonate with you. If you de-

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Schedule at least four rehearsals, and focus on learning the material as well as you can. The clearer the arrangements, the easier the tunes will come together, so be sure you take plenty of time to prepare the songs for rehearsal. Work out all of the kinks beforehand; the studio is not a good place to rehearse. When it comes time to book studio time, there are different options available.

If you have the money, professional studios will give you the best results and cost anywhere from $75 to $200 an hour, or more. If you go this route, itâ&#x20AC;&#x2122;s even more important that you and your band have all of the material learned, otherwise it can become extremely expensive.

When choosing an artist, look at some of their work, and decide if their style matches your music.

You can get comparable results for a much lower price by using a home project studio. Due to the availability of recording equipment, hobby studios are popping up all over. You probably already have a friend, or a friend of a friend, who owns and operates one. Some people will record, mix, and master for as little as $20 per hour, and others may even do it for free. Regardless of what studio you choose, be sure to work with an engineer who knows what he’s doing and is flexible enough to accommodate your playing style. Check samples of the studio’s prior projects. Also, make sure they have decent quality equipment, enough studio space, and good acoustics. As you record your first CD, it’s important to be easy on yourself. It is probably not going to sound like a commercial studio release, and it doesn’t have to. There will be a temptation to make everything perfect, but keep in mind that even in high-budget productions, there is always something that the musicians and producers weren’t happy with. Instead of aiming to make a perfect record, think of it as a snapshot of your music at a certain moment. Do your best, but don’t be too self-critical.

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Unless you are a graphic designer or artist, leave the album art to a professional or skilled amateur. There are many student artists and even professional graphic designers that would jump at the chance to work on a creatively satisfying project, and for not a lot of money. Try putting an ad on Craigslist, and see who responds. You will probably be surprised how many talented artists will send résumés and work samples. When choosing an artist, look at some of their work, and decide if their style matches your music. This is an abstract process; much of it will be based on “feel”—if you get stuck, go with your gut. After you have the CD art and your mixed and mastered tracks, it’s time to have some CDs printed up. Local studios and online services often have short-run duplication equipment, which means you can get a small quantity of discs, and they come out great. We advise starting small, around 50 to 100 discs, which will cost you around three dollars each. Even though buying 1,000 or more CDs from a mass duplication service would cost only one dollar per CD, buying a small amount will give you a chance to see how many you can sell without getting stuck with boxes of inventory. When your finished album is finally delivered, book a CD release party at your house, or a favorite local venue, and invite friends and family. Also, invite any musicians that played on the CD, and bring down the house! The release party is a celebration of all the hard work that went into the CD, and you can even recoup part or all of your investment by selling them. In the worst case scenario, you have plenty of gifts for the holidays.

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Photos: Tracey Brown

How I Became a (Week-Long) Member of THE Baltimore Symphony By Meredith Laing

rtner,

d pa h my stan laying wit p e m ti t a I had a gre nist Ken Goldstein. ioli BSO first v

september/october 2010

As it turned out, Making Music actually led me to a week-long adventure playing with one of the country’s great orchestras. When Making Music staff first heard about the brand new BSO Academy, a summer program in which talented amateurs perform alongside BSO members, we knew it was something we wanted to share with readers. But when I called the BSO to let them know about our plans for an article, I got much more than I had bargained for. “We’d like to take it a step further and actually have you participate, if you’d like to,” the BSO Academy’s coordinator told me. Would I like to spend a week learning from, rehearsing with, and performing with the Baltimore Symphony Orchestra? Absolutely!

That was the exact same reaction oboist Mary Padilla, 46, had when she first learned about the BSO Academy. Padilla, a clinical pathologist from Woodbrige, Virginia, plays regularly with community orchestras, but first performed with the BSO in what was called the Rusty Musicians concert in February 2010. The side-by-side concert was a smaller-scale, “test version” of the BSO Academy. “Just having 40 minutes to play with the BSO in the Rusty Musicians concert was amazing,” Padilla says. “So when I heard about the BSO Academy, I thought: Wow, a whole week to feel how I felt in that 40 minutes? Yeah, I’ll sign up for that in a heartbeat.”

Mary Padilla and BSO Associate Principal Horn Gabrielle Finck share a laugh during a chamber music rehearsal.

BSO Academy participants arrived in Baltimore on a very hot Sunday afternoon in June, welcomed with a friendly orientation, a wonderful dinner, and a cocktail hour. But the next day, it was time to get down to business. Each morning, both the BSO Academy participants and BSO members assembled on the stage of the Joseph Meyerhoff Symphony Hall for intense rehearsals led by Maestro Marin Alsop. For two-and-a-half hours, we worked to polish two professional-level pieces from the orchestral repertoire—Sergei Rachmaninoff ’s Symphonic Dances and Ottorino Respighi’s Pines of Rome—in preparation for a final concert at the end of the week.

Xioabin Guan gets some pointers fro m BSO Assistant Principal Second Violinist Iva n Stefanovic.

Alsop, who in 2007 became the first female music director of a major American orchestra, circled her baton to stop us every so often, imparting her expert advice or clarifying her interpretation of the music. “Make sure you’re not early after the rest—really, you can’t be too late on that figure,” she would instruct. “Now, let’s try the spot with the pizzicato. We’ll go from rehearsal marking two, directly. Thanks.” She wasn’t the only one with words of wisdom; seating in the orchestra was arranged so that each BSO Academy participant was next to a BSO member, who could answer questions and offer tips. Even as a professional musician, it was a huge help to have my stand partner suggesting different fingerings that I could use. Percussionist Richard Gillam, 43, who holds a music degree from the Eastman School of Music, but changed career paths to become a software engineer at IBM, says that he learned a great deal from the three BSO percussionists in the section. “These three guys really want the two of us [Academy percussionists] to do a good job,”

Richard Gillam mans the timpanis. www.MakingMusicMag.com

By Saturday afternoon, concert time, we were ready to put everything we had worked on throughout the week to the test. The concert hall was full with friends and relatives of the BSO Academy participants, as well as specially invited Baltimore Symphony Orchestra donors. Though the audience looked the same as it would for any other BSO performance, the group on stage was far from typical. The greatly expanded orchestra was made up of, not just professional musicians, but doctors, scientists, teachers—people who had taken many different career paths, but could now live out their dreams of playing a professional-level orchestra concert.

full rehearsal takes the hot seat at a Tim Topoleski (center) . op Als Director Marin conducted by BSO Music

he remarked to me one afternoon. “And not just because they want the performance to be decent, but for our own sake, too— because they think that we can.”

During the week, I noticed a transformation from nervousness to complete confidence; progress and learning occurred, not only in the morning’s orchestra rehearsals, but throughout each day. Even during lunch in the symphony hall lobby, conversations never strayed far from music. We discussed the background of composer Ottorino Respighi, reflected on the English horn solo that was played excellently during rehearsal, or offered advice to a fellow participant who had questions about a new technique. After lunch, we would break off and head to various enrichment courses, which included a wind seminar on breathing techniques, a string workshop on bowing techniques, a sight-reading session, and many others. (One of the highlights for me was the injury care and prevention class, where I got an amazing massage from a physical therapist!)

“I started coming to BSO concerts in 1992, and ever since then, it’s been a life dream for me to play with them in a concert,” says Timothy Topowski, 51, who teaches biomechanics at the University of Maryland, Baltimore County, when he’s not playing violin and fiddle. “I would always tell my wife, ‘They could put me in the way back of the second violins—even behind the piano. I’d just love to do one concert with the BSO in my life.’ And here I am!” he added, telling me he had invited about 60 friends to come and witness the big moment. (Topowski wasn’t seated in the very back of the orchestra, either—for one piece, he was up front, right next to the concertmaster!) After an exciting concert, the enthusiastic applause and cheers from the audience assured us that we had graduated with honors from the BSO Academy. But our experiences from the week are sure to stick with us long after our exit from the stage—exactly what Marin Alsop envisioned when she came up with the idea for the program. “I’m hoping everybody feels that they got a lot of good, useful information and tools to go back and practice, and to think about music differently,” Alsop told me before a rehearsal one morning. “I hope people feel really energized to go back to their regular lives with a renewed enthusiasm for this passion that they have about music.” I know that I did—I came home ready to start taking auditions for part-time professional orchestras.

Classes went up until six or seven o’clock each evening, but for some participants who had added “extras” onto their program, the days continued even longer. The members of seven different chamber music ensembles—with instrumentations ranging from a string trio to a woodwind quintet—rehearsed in the evenings, building up to an informal concert on Friday. Each group was either coached by a BSO member or had a BSO member playing in the ensemble. Participants could also elect to take private lessons, something that Padilla found especially valuable. “I learned techniques that I’m going to practice when I get home—things I was originally taught badly, or never taught at all,” she says. “I learned that my fingers are too far from the keys. It’s not something I can fix this week, but now I know the steps I need to take to work on it.”

september/october 2010

Julia Castellanos participates in a masterclass with BSO Concertmaster Jonathan Carney.

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n Be happy. If possible, practice during the time of day when you are in the sunniest mood. If late-night or early-morning practice is unavoidable, spend a few minutes before you practice doing something you love—listen to your favorite music, read a book, do yoga stretches, or daydream about a tropical vacation. Anything that puts you in a great mood will work!

Kimberly Luker, Port Angeles, Washington (you-can-play-Piano.com)

brass n Tone is the most important aspect of playing any instrument, and making tone a priority is essential to longevity as a brass player. During practice sessions, devote 15 minutes each day to tone development, including five to 10 minutes of mouthpiece practice, lip bends to develop the lower lip, and three to five minutes of warm-down to relax the lip muscles after playing.

Philip T. Cansler, Portland, Oregon (keynotesmagazine.com)

IMPROVISATION n To practice playing by ear and improvising, it is very helpful to have the other parts there to listen to so you can try to fit in with the music. Use your ears, and listen to the music you aren’t playing, as well as what you are playing. You can play with the radio or CDs, jam with other musicians, or use karaoke “jam tracks” or MIDI as the recorded music.

Mike Will, Maumee, Ohio

STAGE FRIGHT n Take five minutes before going to bed each night to close your eyes and see yourself enjoying performing in front of a crowd. See these mind movies as vividly as possible, giving them detail. It’ll give you performance experience, even though you didn’t have to physically live it. To your brain and subconscious mind, it’s all the same. It will take some commitment, but if you do this, singing [or playing] in front of others will get easier.

Ken Taylor (singingtipsblog.com)

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.

Back Issues Available 800-724-9700 ext. 116 www.MakingMusicMag.com

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A Formal Affair Getting Down to the Bare Bones of Music

n Underneath melody, harmony, rhythms,

dynamics, and articulations, there is form: the skeleton of the music. Most simply explained, musical form is an outline of when and where musical ideas are introduced, repeated, built upon, and expanded.

It’s likely that you already know some musical forms without even realizing it. For example, you probably sang in rounds as a kid, and you’re probably aware that pop and rock songs usually follow the format of verses alternating with a repeated chorus. Of course you can play and enjoy music without knowing what’s happening at the structural level. But have you ever noticed that the more you listen to a song, the more it tends to grow on you? Familiarity makes music more enjoyable—so recognizing the form of the music and having a sense of what’s coming next will enhance your listening or playing experience. Listed below are some of the most common forms that music follows. Forms can be labeled with letters, starting with “A” for the first grouping of musical material (for example, a verse in a song), and then using a subsequent letter for each time new music is introduced. It’s interesting to note that, as much as music has changed throughout history, some of the forms that were used centuries ago are still used in today’s music.

Strophic: This is the simplest form music can take. The same material is repeated multiple times (AAAA). Hymns without a refrain follow strophic form, and folk music is often strophic, as well. Binary: In this form, there are two themes, which may or may not be repeated. The song or piece always ends with the second theme (or “B”). Baroque dances are often in binary form (AABB). In popular music, the themes—the verse and chorus— are alternated (ABABAB). Many pop or rock songs replace the third verse with a contrasting “bridge” (ABABCB), but the basic structure is still binary. Ternary: Music in ternary form also has two contrasting themes, but always ends with the original mate-

september/october 2010

rial (for example, ABA). Often, the first statement of the “A” section is repeated (AABA). This variation of ternary form is commonly found in arias (sung solos) in 18th century operas, as well as in blues and jazz songs. Rondo: A recurring theme is alternated with contrasting sections, called “episodes” (ABACAD … ). 16th and 17th century madrigals are often in rondo form, and symphonies or concertos may also take this form. Theme and Variations: An initial theme undergoes a series of transformations; the theme is changed significantly, but remains recognizable (AA1A2A3 … ). Bach’s Goldberg Variations is the most famous example of this form, which is also found in many symphonies.

Sonata: This is the most complicated musical form—too complicated to label with letters. A piece in sonata form begins with an “exposition” of material, which usually involves two contrasting themes. There is then a “development” section, during which those original themes are somehow varied and changed. This may include moving to different keys, expanding small motives, altering rhythms, etc. The original material then returns in the “recapitulation.” You may also find an “introduction” before the exposition and a “coda” at the very end. Sonata form is probably the most widely used form in classical music. The first movement of symphonies and sonatas are almost always structured this way.

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Forte

A Beginner’s Guide to Playing the Double Bass Drum Pedal By Olivia St. Denis n Considered

the “heart of the drum kit,” the bass, or kick, drum is used to mark time in almost all styles of popular music, including pop, rock, and jazz. The appearance and functionality of this modern-day kit dates back to 1909, when drum manufacturer William F. Ludwig invented a practical bass drum foot pedal. Though there were primitive prototypes developed in the 1890s, they did not use Ludwig’s springactivated mechanism to return the beater back to its original position after it struck the bass drum head.

Decades later, the bass drum received another makeover when big band jazz drummer Louie Bellson popularized the double bass drum setup: using two kick drums operated by two pedals– one per foot. The 1960s saw an increase in its popularity. Rock drummers Ginger Baker (Cream), Keith Moon (The Who), and Nick Mason (Pink Floyd) were all seen beating away behind two bass drums. Today, the popular alternative to lugging around two separate bass drums is playing one drum with a double bass drum pedal. This feat in pedal technology works just like a regular pedal except that a second base plate is attached by a rod to a separate beater mechanism, which operates alongside the primary beater. Like earlier double bass setups, double pedals require both feet to operate.

Here Comes the Boom Though initially popularized by jazz drummers during the mid-20th century, double bass drumming today is heard mostly in heavy metal, hard rock, and punk music (though some jazz,

september/october 2010

Latin, and country styles utilize it as well). Typically, drummers learn to play double bass to add power to their sound and to play patterns that are not possible with a single pedal, such as triplets and running sixteenth notes. Using a double bass drum pedal, rather than two separate bass drums, makes it easier to obtain a consistent sound, and also simplifies transportation and setup on stage. However, for metalheads who care more about breaking the sound barrier than saving their backs, using two bass drums produces a larger sound than a double bass pedal because each drum has extra time in between strokes to resonate. Follow these tips to get the most out of a double bass pedal.

Taming the Beat Step 1: Shape Up To prevent injury, build stamina, and increase leg muscle strength, drummers swear by the simple exercise of calf raises. Try doing three sets of 25 raises daily, and an extra set shortly before you’re going to play. Also, take leisurely

bike rides or walks several times a week to strengthen the leg muscles, which will enable you to play faster.

Step 2: Make Adjustments Adjusting your double bass pedal’s spring tension and beater angle are imperative to creating your desired sound, as well as keeping you comfortable. Spring tension allows the pedal to feel heavier or lighter; the higher the tension, the harder you’ll have to work to depress the pedal, but the quicker the beater will return. In addition, make sure the spring tension in both pedals is even. This prevents one leg from becoming faster than the other, ensuring consistent playing. The angle of the beater is usually adjustable, too. A louder sound is created when the angle of the beater is larger because the beater’s stroke is longer.

Step 3: Learn the “Heel Up” and “Heel Down” Methods For musical styles requiring louder, faster, and more powerful strokes, the “heel up” technique is best. Pressing the pedals down in the middle of the footboards uses your entire leg, thus creating a louder sound. The “heel down” method places both feet entirely on the footboards and uses the natural leverage of the pedals. This technique provides more control and is best used for playing less aggressive styles of music, such as jazz. No matter what technique best suits the styles of music you play, it is important to practice both methods. This ensures versatility and flexibility in your playing.

Step 4: Practice, Practice, Practice Your Rudiments Practicing basic drum rudiments is just as important for your feet as it is for your hands. Practice them slowly at first (and correctly), then increase your speed to further practice technique and to increase foot control. And remember, listen to your mother and sit up straight! It improves leg mobility. One of the most common patterns to play with the double bass pedal is the single stroke roll, in which you alternate striking the drum with your right and left foot (R L R L). Paradiddles (R L R R/L R L L) and the double stroke roll (RR LL RR LL) are more advanced rudiments that require patience and skill, but they will greatly improve leg strength and speed.

Step 5: Keep a Positive Attitude The double bass drum pedal is an advanced drumming technique that may take months to master. Don’t get frustrated, if after one month, you still can’t play the single stroke roll for four measures in a row, at 200 bpm. For a more accurate portrayal of your progress, gauge it every two months.

More Bang For Your Buck Whether you’re new to playing double bass or have been giving your drum twice the kick for years, drum manufacturers create pedals for almost every budget. Listed below are some quality double bass pedals in a wide range of prices:

Pacific Drums by DW DP402

The quality of a DW pedal, including quick response time and lasting durability, without a hefty price tag. MSRP: $236

Gibraltar Prowler 5611DB Prowler’s quick response time, stabilized base plate, and dual surface beaters for added tonal options make it a great overall pedal. MSRP: $275

DW 8002 The adjustable chain- or strap-drive cam provides added versatility, while DW’s signature construction ensures durability. MSRP: $700

Axis A2 A2’s solid construction and advanced technology provide increased comfort and power. MSRP: $869

Pearl Demon Drive P-3002D Demon Drive has ultra-precise hardware components and a convertible footboard for maximum adjustment and unbeaten smoothness. MSRP: $1,149

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Forte

How s e o it D

? k r o W Listen to the masters Surf over to YouTube and watch the masters in action. Here’s a short, but potent, list of pedal steel guitar wizards: Buddy Emmons—A major innovative force behind both the design of the modern pedal steel and how it is played. Curly Chalker—The late master of the C6, or Texas tuning. Chalker excelled in playing pedal steel in jazz and swing contexts. Robert Randolph—A pedal steel solo artist who plays a mix of soul, funk, and rock. Paul Franklin—A highly skilled and regarded Nashville session musician.

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Pedal Steel Guitar by jason borisoff

Sure, it may look harder to play than a big-rig is to drive, but armed with the right knowledge, it’s completely within the realm of possibility for almost any musician to figure out the basics and start playing pedal steel guitar. Tune into your local country music radio station at pretty much any time of the day, and you’re bound to hear it: the singing, bell-like wail of the pedal steel guitar. When played well, this can be a beautiful instrument that fits with many styles besides country, including jazz, rock, and rhythm ‘n’ blues. There is even a concerto for pedal steel and orchestra! Like its grandfather, the Hawaiian steel guitar, the pedal steel is played with a stainless steel bar that slides smoothly up and down the strings to change the pitch. The bar is what gives the instrument its silky, legato tone, but also makes it tricky to play in tune. The pedal steel is rarely, if ever, strummed. Instead, players wear picks on their thumbs, and index and middle fingers of the right hand, which pluck the strings in groups of three, called “grips.”

Finger picks are worn on the thumbs, index and middle fingers, giving more sound when the strings are plucked.

A steel bar slides smoothly up and down the strings.

Left and right knees push the levers.

Right foot controls a volume pedal.

Left foot bends strings by depressing pedals.

With a traditional steel guitar, the bar limits the amount of chords and scales you can play; it’s like trying to play a guitar with one finger. The pedal steel solves this problem by adding pedals and knee levers that are controlled with your feet and the sides of your knees. By using an intricate system of levers and pull rods that bend certain strings, either individually or in combination with others, pedal steel players can access many different chords and scales with little to no movement of the bar. The right foot controls a volume pedal, which gives the instrument a wide palette of dynamic expression. As you can see, every limb is called upon to perform a task when playing the pedal steel, so a fair amount of coordination and dexterity is needed.

Tim Walker of Venice Beach, California, is a pedal steel player and guitarist who is currently playing with the Jimmy Webb and the Webb Brothers.

Photo: Jessica Dasch

There are two main pedal steel configurations: C6 (or Texas) tuning, and E9 (or Nashville) tuning. Many professional instruments have two necks, one for each configuration. Beginner models usually have a single E9 neck with 10 strings, three pedals, and three or four knee levers, like the GFI Expo pictured on the left.

❱❱ For a beginning lesson on how to play the pedal steel, go to www.makingmusicmag.com/forte/pedal-steel.html. www.MakingMusicMag.com www.MakingMusicMag.com

Forte

Transform Your Tunes

Teach Yourself to Write in Perfect Harmony By Meredith Laing

When writing music, you should let your imagination run wild, right? In a way, yes. But if you’re becoming frustrated because things just aren’t sounding right, there are some guidelines that can help you avoid clashing notes (dissonances) and dull harmonies. n

Music theorists developed certain rules of composition, known as “voice-leading rules,” by studying the works of early classical composers. They analyzed the combinations and progressions of notes that, for whatever reason, sounded good to the ear— things that the composers had done intuitively. The guidelines they came up with are followed, not just in classical music, but in pop and rock music, as well. Partly based on voice-leading rules, the steps outlined here are a foolproof way to add a second line to a melody. Whether you’re writing a vocal harmony, a two-instrument duet, or a simple piano composition, the more comfortable you are working within these guidelines, the better prepared you will be to break away from them a bit, later on.

In Accord If you already have a chord progression laid out under your melody, you’re one step ahead of the game. If not, it’s a pretty safe bet to build chords using your melody notes as the chord roots. To do this, look at the melody note that falls on the beginning of each beat. Move it down an octave (since the harmony line is typically lower than the melody), and this becomes the root note of the chord. Then, add the pitches a third and a fifth above the root note.

Snap Decision Choose one pitch from each of the chords that you’ve written out. You may want to choose the pitches so that the harmony line is also somewhat melodic. Play or sing the line to see if you like the sound, but don’t labor over it too much at this point—the line will probably change a bit in the next few steps.

Two of a Kind Check over the music for any parallel fourths, fifths, and octaves—that is, see if there are any instances of an interval of a fourth, between the harmony and melody, moving directly to another fourth; a fifth moving to another fifth; or an octave moving to another octave. Voice-leading rules deem these parallels to be weak harmonically, so choose a different harmony note for one of the culprit beats. Parallel octaves (incorrect):

Parallel octaves (incorrect):

On the Contrary Similar Contraryismotion: An easy motion: way to avoid parallels to move the harmony line in the opposite direction from the melody line. This is known as contrary motion. In other words, when the melody moves higher, move the harmony lower, and vice-versa. Fifths and octaves must be approached by contrary motion. Similar motion:

Contrary motion:

Leap up a fifth, move down a whole step:

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Parallel octaves (incorrect):

Similar motion:

Contrary motion:

Making the Leap With harmony lines, it’s better to move note-to-note by step, or by a small jump (intervals of a second, third, or fourth), than by larger leaps. If you do leap by larger intervals, opt to have the next note after the leap move by step in the opposite direction, as shown below. Leap up a fifth, move down a whole step:

Final Touches Once you’ve checked that your harmony follows these guideExample 1: lines, try to change up the rhythm a bit, since four quarter-notes in each measure will get old pretty fast. The first example below shows the simple harmony, and the second example shows the harmony line enhanced with more interesting rhythms. Example 1:

Back Beat Make a djembé Find out what you’ve missed.

Example 2:

Get back issues of Making Music magazine, renew your subscription, or give a gift subscription. It’s easy to do, online at www.MakingMusicMag.com

Example 2:

After having gone from block chords to a moving harmony line in a few simple steps, all that’s left to do is to grab a friend and play through your brand new composition together!

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Tuned In TRADITIONAL ❱❱ If you are all about aesthetics and like a vintage look, then you should try a wooden pendulum metronome. Many of them have a keywound weight and spring system, which means that no battery is needed, but there are also quartz models. Speed (usually 40 to 208 bpm) is adjusted by moving a weight on the arm up or down. They are slightly less precise than digital models. TRY THIS: Wittner Maelzel Series 800/810

DIGITAL ❱❱ There are dozens of electronic metronomes to choose from. Most feature LED displays, flashing lights, and different tones. Look for features like headphone jacks, volume controls, integrated tuners, and play-along patterns for irregular time signatures. The speed range on these devices is usually 35 to 250 bpm. Electronic metronomes are easy to use and portable. TRY THIS: BOSS DB-30 Dr. Beat Metronome

TACTILE ❱❱ Tactile metronomes vibrate rather than click, so the musician can feel the beat, instead of hear it. Some musicians are better able to internalize the beat this way. The other advantage is that, because they are silent, they can also be used in a performance or group practice setting. Tactile metronomes often come with audible or visual options for use as a regular metronome. TRY THIS: Peterson BBI Body Beat Pulsing Metronome

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Keep the Beat Czech inventor Johann Nepomuk Maelzel is thought to have made the first metronome in the 19th century. Maelzel created various devices to help Ludwig van Beethoven. Thus, Beethoven was one of the first composers to include metronome markings in his scores in order to guarantee his compositions were played the way he intended. Though metronomes were designed to help musicians learn the correct tempo of a piece, today musicians also use them to improve their playing skills.

Experienced amateur musicians that have never used a metronome may wrongly assume the device is for beginning musicians. However, a metronome can improve any musician’s talent and ability. For instance, if you are having a hard time with a particular section of a piece, you can slow down the tempo and work the difficult segment out. This way you will understand the music better and can trouble-shoot exactly what element is giving you problems. You can also speed up a piece for a challenge or to build confidence with it. If there is an irregular pattern in a certain piece, a metronome can subdivide the beats and help you take the time to become comfortable with a section that might be a bit harder to play. A metronome can help you examine your own performance and playing techniques, picking up details you might not have otherwise noticed. In doing this, you develop your inner pulse or tempo and build a familiarity with the process of making music. You will eventually see that you don’t rely on your metronome as much because you are better able to hear the division of beats and the rhythm without assistance. Once you build that familiarity with music and tempos, you can begin to add creative elements to your music, such as improvisation, or a new style or rhythm, or you can even start to tab out your own music. Confidence is key and the more you practice with faster or slower tempos, the more assured you can be of your quality of performance. Today’s metronomes have come a long way and often integrate visual or tactile elements, or tuners and other devices. If you are looking for a metronome to always have on hand, there are also metronome applications for cell phones, perfect for musicians on the go.

Tuned In

For more products visit www.MakingMusicMag.com/tunedin

King Banjo ❱❱ Recording King’s latest banjo, the RK-Elite five-string, recaptures the essence of Gibson’s prewar masterpiece, the Mastertone banjo. The RK-Elite features a Mastertone-style tone ring, a three-ply maple rim, and a one-piece mahogany resonator, a bone nut, and an ebony fret board. At a fraction of the cost, this banjo gives other high-end instruments a run for their money. Get the elusive Mastertone vibe without emptying your bank account! MSRP: $1,900 (recordingking.com)

Double-Duty Percussion ❱❱ As a percussionist, you are expected to play multiple instruments simultaneously, but you only have so many extremities. Latin Percussion was thinking of that when they dreamed up the Percusso Tambourine, a combination of a tambourine and a woodblock. Choose between shaking the ergonomic frame for a tambourine sound, or depress the lever for an authentic woodblock sound. After a quick learning curve, you’ll be pulling off simultaneous wood block and tambourine rhythms. MSRP: $69 (lpmusic.com)

Subliminal Straps ❱❱ Levy’s Sublimation Printed guitar straps are simply sublime. Find just the right style to ensure comfortable fit and unique artwork. They are printed on two-inch polyester webbing for comfort, with polyester ends and tri-glide adjustment for a secure fit. Spice up your show with one of these visually striking beauties. MSRP: $23-$41 (levysleathers.com) www.MakingMusicMag.com

Tuned In

For more products visit www.MakingMusicMag.com/tunedin

Mix It Up ❱❱ Looking for an easy and affordable way to record on your computer? Mixcraft 5 has the same functionality as programs several times its cost, while remaining simple to learn and use. Key features include video editing, intuitive automation controls, a fully functioning mixer window with EQ knobs, and a notation interface that corresponds with MIDI data. Mixcraft 5 also has a variety of high-quality plug-ins, including synthesizers and tube EQ emulators. MSRP: $75 (acoustica.com)

You Go Girl ❱❱ The Daisy Rock Serenade Parlor Guitar is a quality instrument for the discerning musician. A beautiful solid piece of cedar with a translucent “Cinnamon Girl” finish tops a mahogany body with herringbone binding. The full-length neck is specifically contoured for smaller hands, making it easier for aspiring female musicians to explore the rich sounds of this instrument. MSRP: $360 (daisyrock.com)

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You Rock! The versatile, all electronic You Rock Guitar functions as a controller for video games like Guitar Hero and Rock Band across all platforms, such as Wii, Xbox 360, and PlayStation 3; as a MIDI controller for recording music to your computer or playing a synthesizer; and most impressively, as a fully playable instrument with its own sounds and jam tracks built-in. The You Rock Guitar doesn’t hurt your fingers, never needs tuning, and You Rock Modes I and II let even first-time guitar players sound great. You can also record moments of inspiration with the push of a button. MSRP: $199 (yourockguitar.com)

Steinberger’s Strings ❱❱ D’Addario looked to innovative instrument designer Ned Steinberger for its line of NS Electric strings for electric bowed instruments. Comprised of stranded steel cores, wrapped with aluminum, brass, tungsten, nickel, and stainless steel, the NS Electric line offers rich tone and expressive nuance, bringing out the fullest tone from electric instruments. They can even offer subtlety of expression when used with acoustic instruments. MSRP: $44 (daddariobowed.com)

For P.E.T.E.’s Sake! ❱❱ Brass and woodwind players know the importance of strong embouchure, but it can be difficult to get enough practice time to keep in shape. Warburton has developed the Personal Embouchure Training Exerciser (P.E.T.E.) for just this purpose. It provides resistance against your chops, targeting specific muscle groups that help improve range and stamina. The P.E.T.E. is available in metal or plastic with a variety of finish choices, including silver, gold, and black. MSRP: $35-$75 (warburton-usa.com)

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Tuned In

boss eband js-8 This is Boss’s gift to all the bedroom rock stars out there. The eBand JS-8 gives you everything you need right out of the box to start jamming along to favorite tunes and styles. Simply plug in a guitar, and browse through the 300 preloaded backing tracks to find the one you want to play over, and hit play. JS-8’s tuned playback speakers give you clean, accurate sound. It even selects appropriate guitar sounds for a song using a collection of more than 100 onboard amp and effects simulators that are based on the GT-10, Boss’s flagship effects processor. Want to play along with a specific song in your music collection? No problem, import a song from your computer into the eBand with its USB port, and you’re free to play with any tune! Other features include a looping function, tempo and key control for learning fast or tricky passages, a recording function to capture performances, and vocal mike compatibility.

Great products

to give you

a full BAND sound by jason borisoff n Take advantage of modern technology and transform your practice or solo performances into a one-man band.

There is a cycle involved in every art form—inspiration, creation, and sharing. What many musicians enjoy the most about making music is the last phase of the cycle— the performance. The satisfaction of involving an audience in the music making process is what gives you the feedback and confidence to continue creating and growing as a musician. As you grow, your musical visions may become bigger than what you alone can produce. This is why musicians form bands. A band creates an environment where you can share music with others, while creating a bigger sound. However, a busy schedule and other commitments may make it impossible for you to join a group. But, by taking advantage of some of these affordable, high-tech gadgets, a solo performer can express themselves with a full band sound in practice or performance anytime inspiration strikes.

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line 6 jm4 loop pedal Line 6’s loop pedal is great for both practice and performance applications. With 24 minutes of loop time, you’ll be hard-pressed to hit the ceiling with your ideas. It has four dedicated foot switches for looping and playback control, and it couldn’t be easier to use. Simply hit the record switch, play through a chord progression, then hit it again when you’re finished, and the device will play it back, or loop the passage back to you. Now you can improvise over it, or layer more parts, like a bass line, percussion, or vocal harmonies. Let your imagination go wild! Line 6 includes more than 100 authentic jam tracks and drumbeats played by real industry professionals, recorded in top studios in Nashville and Los Angeles. Having the Line 6 JM4 is like having a band of pro musicians at your disposal, anytime you need them.

ableton live

band in a box Band in a Box has been around for some time, and it’s an indispensable practice tool for many musicians, especially if your computer is central to your practice studio. Band in a Box comes stocked with thousands of styles and preloaded songs. Program the chord changes of the song you want to play using the software’s simple, but powerful, interface. Set the tempo, key, style, number of repeats, and the instruments in your virtual band, and hit play. The program counts off the tune, and then, you’re off. If you don’t know the chord changes to the song you want to play, virtually every tune ever written is available for download. With a quick Internet search, find the song you want in Band in a Box format, load it in, and like magic, the band is ready and waiting for you to give the signal.

Easy enough for beginners and powerful enough for the most discerning professionals, Ableton Live allows you to program and sequence custom songs for performance. Pick drum beats and instrument tracks from a comprehensive list of professional sounding recordings or create your own using the built-in sampling features. You can also connect your instrument, or a vocal mike, and record musical phrases, then rearrange and tweak them into songs. In performance mode, Ableton Live can play through different parts of a song in sections called scenes, much like a movie. Each new scene brings another development of your song. You can then queue the different scenes at will, change the tempo, and arrange songs on the fly. This allows you to react to the audience in real time. There are downsides, however. Your show is only as reliable as your computer and its operating system.

yamaha piaggero keyboard For pianists, an arranger keyboard is the next best thing to being born with extra fingers. Yamaha’s Piaggero is an affordable and portable keyboard with many high-end features that will let you play along to professional backing tracks. Weighing only 14 pounds, it’s easy to bring along to jam sessions and gigs. Piaggero comes stocked with tons of voices, like organs, strings, and guitars, giving you freedom to express yourself through different instru-

ment sounds. The Piaggero also comes stocked with 160 different styles, which are more than just generic backing tracks. You can program custom intros, variations, and endings, or even repeat sections to give the audience what they want. Using the Music Database, you can load your favorite songs, and even download new songs as they become popular, so you can quickly and easily perform favorite songs with a dynamic backing band.

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Accents

choro Brazil’s Joyous Lament

BY cherie Yurco

If you listen to Brazilian choro music you might be surprised to learn that the name choro means “a cry or lament.” It is an ironic name because the music actually sounds joyous and celebratory. Nobody is positive where the name came from, but one idea is that it refers to the “weeping” quality of the solo flute, clarinet, or saxophone.

September/october 2010

Choro was the first instrumental music to grow out of Rio de Janeiro, more than 130 years ago, as the African-influenced music of the city blended with newly arrived European styles, such as polka. Choro is the basis for the development of later genres in Brazil, including samba and bossa nova. Traditionally, Brazilian choro does not rely on written scores, but is passed from one musician to another aurally. Choro musicians, called chorões or weepers, memorize the pieces they hear in a choro jam session or recording, then play them or write them down later from memory. They are encouraged to come up with their own interpretations of the music, with changes in rhythm and/or ornamentation. This type of learning means that a choro tune is rarely played the same way twice.

sample image

According to Daniel Dalarossa, founder of the website www. ChoroMusic.com, which is dedicated to the genre, as a general rule, chorões should always try to show the theme of the choro as it was originally written “and introduce interpretations and improvisations so as not to tire the listener.” Dalarossa has had a passion for choro since his childhood in Sao Paulo, Brazil, performing choro first on recorder and then flute. Dalarossa played professionally until age 22, when he completed his degree and went to work as a computer analyst. “The flute and choro have always been a part of my life,” he says.

sample image

In 2006, Dalarossa decided to work full-time teaching others about choro music through his website and the play-along books that he publishes. “The goal of [the company] Global Choro Music is to globalize choro,” he says. A typical choro ensemble consists of the solo instrument, a six-string guitar, a seven-string guitar, a cavaquinho, and a pandiero. The seven-string guitar is a variation of the traditional six-string, with a seventh string tuned to B or C. It was developed in Brazil to play the lowest part of the harmony and provide melodic counterpoint for higherpitched instruments. The cavaquinho is a small four-string guitar played with a plectrum. It was brought to Brazil by the Portuguese and is similar to the ukulele, but tuned D-G-B-D. The pandeiro is a small, shallow drum with skin stretched over one end and double pairs of metal disks (called soalhas or platinelas) fit into its wooden frame sides, similar to the disks on a tambourine. A popular instrument throughout Mediterranean Europe, the pandeiro is played with the hands or fingertips in choro music. Thanks to Brazilian mandolin player Jacob do Bandolim, also famous for his many choro compositions, the Brazilian mandolin is widely used as a choro solo instrument today. Banjo, electric bass guitar, or a second six-string guitar sometimes play harmony in a modern choro group. There may also be different combinations of percussion instruments such as a small, round, frame drum called a tamborim or various rattles.

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Creating vs. Re-creating How to Make Your Own Music on Piano by scott houston

One big “road block” I hear from recreational piano players learning to play is this: “If it’s not written on sheet music, I can’t play it!”

two chords slowly and steadily in your left hand, and let your right hand wander over the black notes making up a melody from within you, not something someone else has notated previously.

To see a video demonstrating this, visit the website: www.scotthouston.com/ makingmusicmag.

The idea that formal written notation is music, is a fallacy. It is simply a recording of music. The music is the sound that you create on your instrument. It’s a big mental hurdle for many people who were taught to play exactly what is written, to realize that they have what it takes to make beautiful music without any notation at all. Now, that’s what I call recreational music making! Here is a fun exercise that will prove it. In your left hand, get comfortable playing the two chords shown to the right. Although you should use whatever fingers you find comfortable, I would probably use (from bottom to top) pinky, middle, and thumb for Chord #1, and pinky, index, thumb for Chord #2. Spend four to five minutes practicing these, until you can comfortably switch from chord to chord without a lot of effort.

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Think of this exercise as the difference between having a conversation and reading a book. You don’t need to read written words to communicate with someone. Similarly, in this exercise, you’ll realize that you don’t need written notation to express yourself musically. Now we’ll get to the fun stuff! Your right hand’s job in this little exercise is to simply make up a melody by playing only black keys. If you do that, you’ll be guaranteed to never hit something that sounds like a wrong note (or in my vernacular, a clam). At the beginning, this might feel like pulling teeth to some of you hard-core note readers, but just give yourself the freedom to spontaneously create. Simply keep moving back and forth between the

It’s a magical realization to experience this for the first time. Let it be a springboard to give you the confidence to know that you have what it takes to make music, not just recreate what others have previously written. Have fun! Scott Houston is a Public Television personality, piano teacher, educator, and professional speaker also known as “The Piano Guy.”For more information visit the websites: www.scotthouston. com and www.playpianoinaflash.com.

inthe spotlight n After an unexpected layoff in 2004, copywriter/editor Greg Gattuso bought himself a cheap ukulele as a diversion from the stress of job hunting. A self-described tiki buff and mediocre guitar player, he learned a few chords, but never expected to get very far on the instrument. Within a few months, however, what started out as a kitschy hobby, became a legitimate passion, opening up new realms of music and friendship.

“I’m not sure what it was about the uke, but I was hooked,” Gattuso says. “All of a sudden, I was playing songs and singing, and I couldn’t put it down. I knew I needed to find other people to play with.” Fortunately, the ukulele scene was just starting to boil in Gattuso’s native New York City, with ukulele clubs, meetups, and uke-only open mikes springing up all around town. “With the Internet, it was easy to meet other players,” he says, “and I was surprised just how friendly and supportive they were in helping a newbie get up to speed.”

GEARGuide

After sitting in on a few practice sessions, Gattuso was invited to join New York Ukulele Ensemble, an offbeat combo of hipsters, folkies, and jazz aficionados that performed at the New York Ukulele Festival and released the CD, Ukulele Street. Gattuso later founded a Hawaiian-style jazz band, Agent 99, and produced a documentary entitled Ukes for Obama that was featured on CNN.

Hohner Kazoos: “A ukulele player always has to have a kazoo on hand. It’s the law!”

Kamaka Tenor: “My main uke—

I use this one if I’m playing in a band. It has a nice, full-bodied sound that stands out in a group setting.”

When job opportunities called in 2009, Gattuso and his family (wife, Sarah, and son, Roman) moved to Ann Arbor, Michigan, where Gattuso continues to write songs, perform at open mikes, and play once a month with the Ann Arbor/Ypsilanti Ukulele Meetup Group. This summer, Gattuso released Hilo Greg’s Little Songs for Big Kids, a digital-only EP of original children’s songs, on CDBaby and iTunes.

gregGattuso

Who are your musical influences?

I like a lot of the old-time players, like Johnny Marvin and Cliff “Ukulele Ike” Edwards, guys who could sell a song with just their voice and a ukulele. The songwriter in me really admires Randy Newman—great lyrics and great chords. Why do you continue to make music?

Playing music, and the uke in particular, makes me feel better. It helps get rid of stress and helps me think. I also get a lot of enjoyment out of entertaining people and the personal satisfaction of writing a song from start to finish. How do you continue to learn?

I could never really sit through lessons, books, or videos, so for me the best way to learn is by playing with other people. I pick up tips from more experienced players, and when I play with beginners, I try to explain certain concepts in proper musical terminology, so that reinforces my theory. What benefits have you found to making music?

Making music is a great icebreaker. No matter where you are playing, someone will always want to know more about your songs or your instrument, and I’m fortunate to have met some of my best friends through music. Professionally, as a copywriter, I’m always trying to think up clever or witty lines, and that helps both my work and my songwriting. How do you make time for music in your life?

I do most of my writing and recording at night with headphones on. I can only go to one ukulele meet-up and one or two open mikes a month, so I try to make every jam or performance the most fun and as worthwhile as it can be. What advice do you have for someone getting back into music later in life?

I’d recommend the ukulele to anyone. It is small, light, and easy on the fingers, and you can get a good one for $50. My advice for players of any instrument would be to search Craigslist or Meetup.com for a local club or practice group, or to start your own. What is your best memory of making music?

I used to volunteer at hospitals, playing songs for the patients. Even though I’m not a great singer, I could tell that I helped cheer them up a little. That was the most satisfying. Recording with the New York Ukulele Ensemble was the most exciting, because it was my first time in a recording studio. We knocked out the whole album in four or five hours. www.MakingMusicMag.com

Covered RESOURCES

The Craft of Writing Hit Songs [DVD] n In this instructional DVD

Music Smarts n Would you like to know how Kris Kristofferson and “Weird Al” Yankovic got their start in music? How Carlos Santana prepares for a show? How surfing has helped Jack Johnson’s music? What song John Lennon considered to be The Beatles worst? This fun, pocket-sized book is an inspirational and entertaining compilation of profound observations, humor, and wisdom from the top names in music.

Music Smarts: The Inside Truth and RoadTested Wisdom from the Brightest Minds in the Music Business, compiled by Mr. Bonzai and edited by David Schwartz, Berklee Press, Boston, MA, 2009.

Jazz Guitar Voicings, Volume 1: The Drop 2 Book n Have you ever wondered how guitarists like Joe Pass, Jim Hall, and Wes Montgomery found such full, luscious voicings for their chord melodies? In this book, veteran guitarist Randy Vincent explains how you can get that sound based on the “drop 2” principle of chord voicings through plenty of exercises and examples. On two included CDs he demonstrates each exercise in the book.

Jazz Guitar Voicings, Volume 1: The Drop 2 Book, by Randy Vincent, adapted from Mark Levine’s Drop 2 book, Sher Music Co., Petaluma, CA, 2009.

aspiring songwriters get a private songwriting session with Nashville hit-maker Odie Blackman, who has penned such number one songs as George Strait’s “She’ll Leave You with a Smile,” Lee Ann Womack’s “I May Hate Myself in the Morning,” and Gary Allan’s “Nothing on but the Radio.” After years of co-writing hit songs and teaching songwriting workshops, Blackman came to realize that songwriting is easier to learn firsthand, through showing and performing different elements, rather than through a study guide. In the resulting DVD he covers all the song elements, and gives many insights and tools for songwriting. The Craft of Writing Hit Songs, by Odie Blackman, Nashville, TN, 2009.

What Every Violinist Needs to Know About the Body n This comprehensive volume explores body mapping and how it can help violinists prevent injury and develop physical freedom and sensitivity to improve their technique.

The book includes descriptions of the fundamental concepts of how and why musicians move in certain ways and how the body is designed to move in order to prevent injury and pain. It then explains how body mapping and mismappings can affect performance. The book’s many detailed images help to illustrate these points. What Every Violinist Needs to Know About the Body, by Jennifer Johnson, GIA Publications, Chicago, IL, 2009.

❱❱ See something you like?

Order many of these books online through MakingMusicMag.com/covered or call Music Dispatch (800) 637-2852. Mention ad code MM5 when ordering.

September/october 2010

Classical Guitar: A Beginner’s Guide Just for Fun Series n The Just for Fun series from Alfred Music Publishing is designed for total enjoyment. The songs are arranged so that they are simple enough to be fun, yet musically satisfying. Each book contains tabs for 12 hits in one of four different genres: Easy Rock, Rock and Pop, Classic Rock, and Swingin’ Jazz, with editions for guitar, ukulele, mandolin, or banjo. Handy references, including chord dictionaries and tab glossaries, are contained in the back of the books.

The Easy Rock books feature 12 great rock songs with just a few chords, including: “As Tears Go By,” “Big Yellow Taxi,” “Casey Jones,” “Gimme Some Lovin’,” “Gloria,” “Good Riddance (Time of Your Life),” “A Horse with No Name,” “Margaritaville,” “Moondance,” “Peaceful Easy Feeling,” “Take It Easy,” and “Take Me Home, Country Roads.” There are 12 songs, from classic to modern rock, in Just for Fun Rock and Pop. The well-known tunes include: “China Grove,” “Do You Want to Know a Secret,” “Don’t Stop Believin’,” How You Remind Me,” “Jumpin’ Jack Flash,” “Layla,” “Panama,” “Running on Empty,” and “Stayin’ Alive.” Just for Fun Classic Rock has 12 hit songs of the ’60s, ’70s, and ’80s, such as: “After Midnight,” “Go Your Own Way,” “Hotel California,” “It’s All Over Now,” “Jump,” “Long Train Runnin’,” “Maggie May,” “The Night They Drove Old Dixie Down,” “Paint It, Black,” “Stairway to Heaven,” “Sunshine of Your Love,” and “Truckin’.” In Just for Fun Swingin’ Jazz, you’ll find 12 hot songs from the ’20s and ’30s, including: “Ain’t Misbehavin’,” “Ain’t She Sweet,” “As Time Goes By,” “Bye, Bye Blackbird,” “Dream a Little Dream of Me,” “Five Foot Two, Eyes of Blue,” “I’ll See You in My Dreams,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “It Had to Be You,” “Makin’ Whoopee,” and “Sweet Georgia Brown.” Just for Fun Easy Rock, Rock and Pop, Classic Rock, and Swingin’ Jazz, Alfred Music Publishing Company, Van Nuys, CA, 2009.

n This book gives a step-

by-step approach to the basic techniques of playing the guitar in the classical tradition, including fundamentals that true beginners need to learn, such as guitar anatomy, correct classical playing position, music reading, and harmony. It includes more than 25 pieces to learn and play, plus a CD of the exercises and songs so that you will know how each is supposed to sound. Classical Guitar: A Beginner’s Guide with Step-by-Step Instruction and Over 25 Pieces to Study and Play, by Paul Henry, Hal Leonard Corporation, Milwaukee, WI, 2008.

Drumstick Control: A Realistic Approach to Snare Drum Technique Applied to the Drum Set n Drummer Jeff Moore designed this snare drum

method book for drum set players of all levels, beginner to advanced. The material is presented as a step-by-step process that focuses on stick proficiency and includes stroke types and patterns necessary for today’s contemporary drummer. The exercises not only help to develop coordination and control, but they are also designed to improve accented strokes, paradiddles, rolls, drags, and flams. On an included CD, Moore demonstrates many of the exercises in the book. Drumstick Control: A Realistic Approach to Snare Drum Technique Applied to the Drum Set, by Jeff Moore, Alfred Publishing Company, Van Nuys, CA, 2009.

www.MakingMusicMag.com

Destination

. A . S . U e Hitsvill by cherie yurco

Photo: Motown Museum

n An unassuming house on West Grand Boulevard in Detroit, Michigan, was the birthplace of the Motown sound. The former resident of the home, Berry Gordy, Jr., borrowed $800 from the Gordy family savings club to start Motown Record Corporation in 1959 and called his home/ headquarters Hitsville USA. Eventually, Gordy took over eight houses on the street, before moving to a downtown Detroit high-rise in 1969 and later to Los Angeles.

From 1961 to 1971, Motown had 110 top hits, with big names like Stevie Wonder, Marvin Gaye, The Supremes, The Four Tops, and The Jackson Five, signed to the label. And by the mid-’70s, Motown was the largest independent record company in the world. Today, Gordy’s former home is the Motown Museum, which chronicles Motown’s history for visitors from around the globe. They take a step back in time as they walk through the fully restored living quarters and stand in the original recording studio, Studio A, where Motown greats like Smokey Robinson and the Miracles, the Temptations, Gladys Knight and the Pips, and the Jackson Five once stood to record their early hits. “Motown was truly a phenomenon,” says museum founder Esther Gordy Edwards, Berry Gordy’s sister and former Motown executive vice president. “At one time, Motown Record Corporation had 450 employees, average age 23. There were more women vice presidents at Motown than any other company. We operated what later became the largest independent RPM record manufacturing business out of eight neighborhood houses on West Grand Boulevard in Detroit, Michigan. All that time, we knew we were making music but we had no idea we were making history.”

A peak at Studio A, where the stars of Motown stood in their early years to record their music.

The museum’s mission is to preserve the legacy of Motown Record Corporation and to educate and motivate people, especially youth, through exhibits and programs that promote the values of vision, creativity, and entrepreneurship. To that end, it holds a fascinating collection of historical photographs, artwork, music, costumes, and other memorabilia from the Motown era to give visitors a thorough overview of key events in the development of the business and the cultural force that is Motown. Motown Museum is open Tuesday-Saturday 10:00 a.m. to 6:00 p.m., and during the months of July and August the museum is also open on Mondays. Guided tours are given throughout the day at regular intervals. General admission is $10 for adults and $8 for seniors and children aged 12 and under.

Motown September/october 2010

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Get your products in the hands of our readers. Making Music is the best way to reach music enthusiasts, who are seeking information, instruction and inspiration so they can get the most out of their exciting hobby.

Place your ad today. Call: 800-724-9700 x101 or Email: kgalster@MakingMusicMag.com

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QUESTIONS & ANSWERS

What was your oddest musical performance? n When I was 16, I got a job playing

acoustic guitar and singing soft rock cover songs in a fine restaurant in my hometown, which was 40 miles north of Manhattan. I thought I had opened the door to future fame locally, and beyond. The restaurant also sold fresh fish from a case in the lobby. When I arrived, wellrehearsed with a three-set list in hand, I was instructed to set up my amp and PA behind the fish case, out of sight, so patrons would be able to hear me, but not see me. I did as I was told, and started the show. The manager came out and told me to duck down a little because people could still see me. I lowered my mike and crouched like Lon Chaney, Sr. in The Hunchback of Notre Dame and continued. I packed up and left after the first set, without explanation, and went home smelling of flounder. No one ever called me or asked why I’d left, and my family and I continued to eat at the restaurant in years to come, greeted by the same manager, who obviously did not remember me. Josh Max New York, New York n I was playing bass guitar as one of the

accompanists of my high school choir. I was backstage holding my bass, when a girl came running around one of the curtains and plowed into me. The bass’s peghead slammed into the bridge of my nose really hard and I saw stars. Shortly after, our cue came up and we went on stage and began the performance. My playing was inspired. I hit every nuance of the arrangement. The audience

seemed riveted by my performance— they couldn’t take their eyes off me. It wasn’t until we took our bow that I realized, what I thought was sweat, turned out to be a violently bleeding forehead laceration and a mild concussion! My face, my white shirt, and my bass were covered in blood! After we left the stage, I was taken to the emergency room and received a few stitches. Needless to say, the reviews in the local paper were “interesting.” Mike Pillittere Georgetown, Texas n At a ski resort club, many years ago,

my band was asked to play the New Year’s Eve party. In the middle of the building there was an opening that looked like a carport to allow cars to pass through. The club was located directly above this drive-through. The club’s capacity was only 350. Being New Year’s Eve, the tickets had sold out. None of us knew that the man taking tickets at the door was letting people without tickets pay him to get in. It was

later estimated that at least 100 extra people had crammed in. We were playing a song with a strong, driving beat, when I noticed that the speakers were swaying like a tree in a strong breeze! That’s when I realized that the stage underneath me was moving like a trampoline. Apparently there wasn’t enough support to handle that many people jumping up and down. We immediately stopped the song and took a break, and hoped the structure would hold up for the last few songs, which it did. Ken Rhodes Enoch, Vermont n My oddest musical performance was

playing with my band under a tiki hut at Marineland in Florida for the reopening of their dolphin exhibit. The hut was pitched forward and I remember the drummer sliding forward toward me as we played. Leslie Blumenfeld Jacksonville, Florida

Have you made new friends through music? Send your comments to Harmony@MakingMusicMag.com

september/october September/october2010 2010

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